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PROWOKACJA, BLUŹNIERSTWO, INTERTEKSTUALNOŚĆ: STRATEGIE (AUTO)MITOLOGIZACJI W TWÓRCZOŚCI SAVY DAMJANOVA

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Tatarenko A.

Porównania

2018

vol. 23

issue 2

91-105

In the article we examine the postmodern strategies of (auto)mythologization in the creative work of a well-known Serbian writer, Sava Damjanov. Constituent parts of this strategy include intellectual provocation, creation of a personal literary world and myth combined with apocryphal, ironical (sometimes on the verge of sacrilege) treatment of “great narratives” and national myths, and with intertextuality (including autocitations). Special attention is paid to the strategies of autorepresentation (textual and visual) and to the strategies of leveling the frontiers between “real” and literary reality (the use of erotic code both in textual and in visual form, the leveling of frontiers between textual and corporal codes, between fictional and autobiographical, between the writer’s body and his works).

W artykule zainteresowanie badawcze koncentruje się na postmodernistycznych strategiach (auto)mitologizacji w twórczości znanego serbskiego pisarza Savy Damjanova. Składnikami tych strategii są prowokacja intelektualna, tworzenie swojego własnego świata literackiego oraz mitu w połączeniu z apokryficznym, ironicznym (czasami pozostającym na granicy bluźnierstwa) stosunkiem do „wielkich narracji” i mitów narodowych oraz intertekstualności (w tym autocytowanie). Szczególne miejsce zajmują strategie autoreprezentacji (tekstualne i wizualne), a także strategie znoszenia granic między rzeczywistością realną a literacką (stosowanie kodu erotycznego w postaci zarówno tekstowej, jak i wizualnej, znoszenie granic między kodami tekstualnym a cielesnym, między fikcją i autobiografizmem, między ciałem pisarza a jego utworami).

Образ автора у щоденнику та повістях Тараса Шевченка: еволюція розуміння

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Pakharenko V.

Studia Polsko-Ukraińskie

2020

vol. 7

38-58

In his article, Vasyl Pakharenko explores the logic of deepening literary interpretations of Taras Shevchenko’s image in the prose of the artist and discovers the differences of this image in poetry and prose. If the lyrical hero of the poetic texts demonstrates a determined, uncompromising nationalism, then the narrator in the diary and short stories is rather a territorial patriot. And yet, he thinks of himself as located in the socio-cultural space of the Russian Empire, expresses critical views on the Koliivshchina, resorts to the Russian language, emphasises Enlightenment values, and demonstrates the masculine type of writing. All this testifies to the deviation from the romantic to the previous, classicist, tradition. That type of prose refinement is caused by the forced compromise of the artist with the empire in the conditions of brutal terror during the exile. There are several interpretations of such a position of an author in literary studies: Shevchenko’s diplomatic attempt to re-educate liberal Russian and Ukrainian intelligentsia (P. Zaitsev), psychological dualism of the “adapted” and “unadapted” personalities of the writer (G. Grabovich), distinctive forms of expression of the holistic image of the author (V. Smilyancka). Each of these positions has its own logic, but is characterised by a certain one-sidedness. The nature of Shevchenko’s compromise becomes clear if we take into account the peculiarities of carnival tactics of the spiritual survival of the artist in the conditions of the world. This is a creation of a kind of author’s mask, a game with stereotypes of the dominant culture and public consciousness.

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1 Porównania

1 Studia Polsko-Ukraińskie

1 Pakharenko V.

1 Tatarenko A.

1 2021

1 2018

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PROWOKACJA, BLUŹNIERSTWO, INTERTEKSTUALNOŚĆ: STRATEGIE (AUTO)MITOLOGIZACJI W TWÓRCZOŚCI SAVY DAMJANOVA

Образ автора у щоденнику та повістях Тараса Шевченка: еволюція розуміння