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Русская культура как текст: диалоги со временем в творчестве Андрея Платонова и Венедикта Ерофеева

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Shemyakina O., Gushchina D.
Przegląd Wschodnioeuropejski
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2020
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vol. 1
261-270
EN
The authors trace the functioning and interaction of cultural paradigms that determine the time of a long duration. The article discusses some mechanisms of the influence of these paradigms on the modern literary process. The focus of the authors of the article is the study of the literary process by the example of the work of Andrey Platonov and Venedikt Yerofeyev. Analyzed are the prerequisites for changing the boundaries of the dialogue with different cultures, which have become a spiritual reflection of the world-systemic connections of the modern world. The authors trace how spatial, temporal representations and ritual practices are reanimated in the imaginative world of writers, and also study the mechanisms that give rise to deep traditional layers of consciousness, such as trauma, disintegration and drama.
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«Не руш моїх кіл…»: усвідомлена маскулінність як постколоніальний виклик (на матеріалі поетичного доробку О. Забужко)

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Лебединцева Н.
Miscellanea Posttotalitariana Wratislaviensia
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2014
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vol. 2: Postkolonializm — tożsamość — gender. Europa Środkowa, Wschodnia i Południowo-Wschodnia
281 - 295
EN
O. Zabuzhko’s poetry reflects the conflict of the masculine and feminine discourses, which in the paper are also defined as national and female symbolic levels. The feminine dimension is an organic, natural being, which manifests itself spontaneously — through emotions, feelings, passions, and true love. The national (masculine) dimension consists in perceiving the individual’s self as a part of the collective memory organized by the Logos. It postulates the values of the civic engagement and sees the world as an order, which structures the nation’s social and cultural legacy. O. Zabuzhko does not look for ways of reconciliation of the intellectual (rational, masculine, and male) and the intuitive (sensual, feminine, and female) levels of the personal self-realization and interprets them in terms of “either/or model” excluding any form of dialog. This peculiarity of O. Zabuzhko’s poetry is a product of the “colonial” and postcolonial contexts in which the Ukrainian culture has been developing for the last decades. The masculine discourse is a result of the deliberate choice, which the Ukrainian female writer has to make. She becomes the voice of the traumatized culture and does what the male writer must do — she tries “not to be but to write.” Such an inversion of the social roles causes the frustration of the female part of her Self.
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