The article discusses the poetics of statements (as voiced discourse) in the plays of Odessa’s playwrighter Anna Yablonskaya in the direction of destruction of traditional narratievs. Context for the meaning’s formation becomes performative reality generated by the speech.
Lesya Ukrainka created a version of Don Juan’s history in Ukrainian culture. The poet introduced in the drama the Dolores image who loves Don Juan. Dolores became a symbol of the love archetype in the art work. Vitaly Hubarenko’s work in great academic ballet genre is one of best artistic interpre-tations of this drama. Ballet style is an allusion to S. Prokofiev’s style. Dolores image gets characteristic by genres of lullaby and prayer. Tenderness of character is embodied by penetrating sound of violins in the high register. The transformation of love theme shows us another facet of the Dolores personality who committed a self-sacrifice act for the sake of a loved one. Dolores in the ballet represents the female essence of love as a creation, thus the term „Femin-personalism” is offered in this article. The understanding of the term is defined by analogy with the philosophy. P. Bowne, E. Mounier, N. Berdyaev and other thinkers have shown an archetype of personality as a person which has a divine source.
In the article the functions of the visualization of a stone in Lesya Ukrainka’s drama The Stone Lord are considered. The genetics of stone space in the drama and specificity of its interpretation by the Ukrainian poet are defined.
Автор приравнивает сократовские диалоги Платона к драме. Он указывает на возможный литературный источник жанра logoi Sokratikoi и на за-имствования с греческой трагедии. Сократ из диалогов Платона (например из Апологии и Критона) – это персонаж, который стоит перед нравственным конфликтом: какому праву человек обязан подчиняться? Классическая греческая трагедия превратила такого типа конфликт в одну из своих главных тем (см. Филоклет и Антигона Софокла), определяя человеческое существование как драму, в которой выступает необходимость примирения спорных моральных истин. Сократ Платона, как герой этической трагедии (это один из видов трагедии, выделенных Аристотелем в Поэтике), может выиграть в этой борьбе (agon), то есть спасти единство своей позиции, или проиграть, подвергнувшись нравственной деструкции.
EN
The author considers the similarity of Plato’s dialogues to dramas. He analyses the probable literary sources of Socratic dialogues and borrowings from the genre of drama. In Plato’s dialogues (eg. Apology and Crito) Socrates is a man standing in the face of a moral conflict: what kind of law a man is ought to be obedient to? Such a conflict was one of the most important themes of the classical Greek tragedy. Greek tragedies have defined human existence as drama, as the man must reconcile many moral truths in his life that are inconsistent. Plato’s Socrates is indeed the hero of the “ethical tragedy” (one of the types of tragedy Aristotle had highlighted in his Poetics), the topic of which is the fight for the con-sistency of his moral attitudes.
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