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The satirical mode of William Thackeray and Ivan Franko: typological correspondences

100%

Plavutska I., Babiak Z.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

2023

issue 10(3)

49-54

In the article, a comprehensive comparative analysis of the satirical prose of W. Thackeray and I. Franko, focusing on socio-political themes, is carried out for the first time in Ukrainian literary studies, significantly expanding our understanding of the interaction between the works of these artists. The authors systematize theoretical concepts about satire as a literary genre and concentrate on the phenomenon of sociopolitical satire. The research identifies and explores objects of satirical representation in the works of the Ukrainian and British writers. In his works, William Makepeace Thackeray subjected contemporary society to scathing criticism, following the path of truth and nature, employing irony and grotesque to expose various moral and ethical flaws of its representatives, such as feudal privileges of the nobility, subservience to titles, hypocrisy, vanity, and decadence. According to A.M. Khalimonchuk’s calculations, Ivan Franko’s satirical legacy comprises over 30 satirical short stories and sketches, six satirical poems, three comedies, and several dozens of satirical poems. In addition to translating the works of prominent satirists from around the world into Ukrainian, Ivan Franko’s archive contains numerous unfinished satirical works from various periods of his literary career. Ivan Franko’s literary contributions played an equally significant role in the development of Ukrainian national satire as William Thackeray’s works did for British and European satire as a whole. In the article the poetic modes used to create satirical phenomena in Thackeray’s and Franko’s prose are analysed. The hypothesis regarding the possibility of indirect contact-genetic relationships between the works of these authors is put forward.

Топас маскi ў драматургiчнай спадчыне Кандрата Крапiвы

67%

Тарасава Т.

Białorutenistyka Białostocka

2016

vol. 8

Motyw maski – ważny wskaźnik zmian i przedmiot rozważań – należy do kultury XX wieku. Obraz maski i temat maskarady wykorzystują twórcy – przedstawiciele różnych tradycji narodowych – w wybranych formach gatunkowych. Maskarada wiąże się z kłamstwem, reinkarnacją, z problemami realnymi i nierealnymi, utratą własnej tożsamości. Popularność motywu maski w literaturze dwudziestowiecznej jest wyjątkowa: maska występuje na poziomie tematu, motywu, struktury obrazu, sposobu tworzenia utworu. Na przykład, w sztukach Kondrata Krapiwy pojawia się motyw maski i maskarada jako zespół zjawisk kulturowych w literaturze narodowej.

The mask motif which became a significant element of the 20th century culture is not only an important indicator of paradigmatic change, but also a subject of reflection. Artists of different national and cultural backgrounds often use the image of the mask in various genre forms. Masquerade theme is associated with deception, reincarnation, the problems of the real and unreal, the loss of identity. The range of application of the mask motif in the 20th century literature is very wide: the mask may be present on the thematic or motif level, or on the level of image structure. For example, Kondrat Krapiva’s plays “Who Laughs Last,” “My Dear Fellow,” “The Gate of Immortality” use the mask motif, the masquerade theme as a complex of cultural phenomena of national literature.

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1 Białorutenistyka Białostocka

1 Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

1 Babiak Z.

1 Plavutska I.

1 Тарасава Т.

1 2023

1 2016

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The satirical mode of William Thackeray and Ivan Franko: typological correspondences

Топас маскi ў драматургiчнай спадчыне Кандрата Крапiвы