Творчість Миколи Вороного в контексті модерністського дискурсу

Abstract

У дисертації здійснено комплексний аналіз художньої творчості поета-модерніста першої чверті ХХ століття Миколи Вороного. Об’єктом дослідження є найпрезентативніша лірика українського письменника, змодельована в аспекті модерністського стилю. Означений стиль протиставляв себе традиції і демонстрував нові засоби художнього відтворення дійсності. Наукова новизна дисертаційної роботи полягає в тому, що на основі аналізу творчості Миколи Вороного в контексті модерністського дискурсу виокремлено й схарактеризовано основні складники моделювання художнього світу; обґрунтовано естетичну цінність поетичних текстів, оригінальні художні знахідки автора в контексті модерної стилетворчості початку ХХ століття. З’ясовано джерела художнього світогляду, естетичні та культурні засади творчості Миколи Вороного. Розкрито літературно-критичну рецепцію творчості письменника як наукову проблему. Досліджено систему символів у ліриці письменника. На підставі аналізу епістолярної та публіцистичної спадщини Миколи Вороного виявлено соціопсихологічні домінанти, що є підґрунтям структурної, семантичної і стильової специфіки поетологічних складових художності митця.

The systematic, complex analysis of the first quarter of the twentieth century modernist poet Mykola Voronyi’s artistic creativity has been carried out in the dissertation. The object of the research is the most representative lyric of the Ukrainian writer, modeled in the aspect of modern style. This style contrasted itself with traditions and demonstrated new means of artistic reality reproduction. The scientific novelty of the thesis is that being based on the analysis of Mykola Vorony’s literary works in the context of modernist discourse, the basic components of the artistic world modeling are characterized and distinguished: the aesthetic value of poetic texts, the author’s original artistic finds in the context of the modern artwork of the early twentieth century have been substantiated. The sources of Mykola Voronyi’s artistic outlook, aesthetic and cultural foundations of creativity have been found. The literary-critical reception of Mykola Voronyi's creativity as a scientific problem has been revealed. The system of symbols in the writer's poetry has been explored. Based on the analysis of M. Voronyi's epistolary and journalistic heritage, social and psychological dominants have been found, which were the bases of structural, semantic and stylistic specificity of the poetic components of writer’s artistry. Theoretical and methodological basis for the creation of modernist poetry at the beginning of the twentieth century has been determined, the time of Mykola Voronyi’s active creativity. It has been specified that Ivan Franko had a positive influence on the formation of Mykola Voronyi’s aesthetic views. It has been proved that the artist updated the modernist tradition of Western European culture on the Ukrainian soil. The mentioned renewal has been supported by his contemporaries I. Franko, H. Chuprynka, S. Rusova, L. Biletskyi, V. Doroshenko, O. Salikovskyi, M. Strutinskyi and others. In emotional admiration, the author expressed the aesthetics of the dynamic life symbols, expressing historical parallels through the prism of the image of the past with a projection to the present day, the spiritual openness of the nature. Poet’s modeling of symbolic lyrics, coordinates of his sensory-emotional spheres, disparities of associative-dreamed substances and reality have been illuminated. It is emphasized that Voronyi constantly cared about updating, expanding thematic, creative motives and ideological horizons of poetry under the laws of beauty, was constantly searching for new artistic forms, his innovative approach to the creation of poetry enriched the Ukrainian literature of the twentieth century. Voronyi’s poems have a semantic and symbolic core, they demonstrate it in all the language-expressive means, which distinguish the beauty of the word, carry aesthetic decoration, parallel characters (“To the Sea”). The peculiarity of the lyric verse as a sign of genre emotionality of the content, enhanced by artistic meanshas been accentuated. Modernist poetry bears signs of simplicity (concealment), they are encrypted. The recipient of the lyrical work is invited to work together with the author-addresser on a poetic work message. The latter is interpreted by deciphering the context, the subtext in order to find and read the semantic sphere that is deliberately hidden by the author in the depths of the text matrix (“Evening Chords”). It has been found that the poet turned to various genre types of lyrics: elegy, ballad, legend, lyrical poem, poetry grotesque, verse humor, song, lyric and epic composition (poem), sonnet, poetic obituary, poetry devotion and epigrams. The perceptive symbols synthesize intellectual reflection, the inner world of the lyrical hero, and, of course, are closely related to the inner world of the poet, since the voice of the lyrical hero is at the same time the voice of the author, the embodiment of the creative idea. It is proved that Mykola Voronyi’s poetry is bright, emotionally inspired by deep meaningfulness, imagery, Christianity and pre-Christian mysticism embodied in symbols. The latter demonstrate the signs of the modernist, which are the inner essence of a particular work, as well as the author’s view is accepted. The diversity of the symbolic names system testifies to the poet’s knowledge of mythology, folk art, as well as the extraordinary creative thinking, immersion in the world of fantasy. Analyzing the theatrical performance, Mykola Voronyi constantly pointed out the role of actors in modeling a work of art by means of clear expression and action of characters. It is revealed that in the course of correspondence there is a communicative-narrative strategy that reveals author’s image, his inner culture, understanding and perception of the world as it is, and also postulates the formation of the literary ideological and artistic perspectives. The latter are attributed to the letters, which testify the attraction of the addressee to modernism, although the author did not abandon to write works, are prone to populist tradition. The literary-artistic and journalistic works of the master of the word are uncovered in terms of the author’s ideological and artistic views, his creative approach to the modeling of tradition and innovation. It is proved that the writer considered Ukrainian culture as a part of foreign culture, and the closest to our state – the culture of Western Europe. It has been found out that the figure of a poet, one of the first apologists of modernist aesthetics, differs among other poets of early Ukrainian modernism, primarily by a kind of artistic talent and a leading literary position. The disclosure of the problem of writer’s genre-style innovation made it possible to trace the process of the emergence of the key motives and moods in writer’s creative mind, as well as – in his life principles and beliefs. Genre and stylistic innovation of the Ukrainian modern poetry initiator has been analyzed in the context of his prevailing philosophical culture, interest in the latest European literature. It is revealed that Voronyi’s poetry is written with a bias on the best examples of Western European literature of the late XIX – early XX century. Being captured by the philosophy of Nietzsche, Schopenhauer, Kierkegaard, getting to know in Vienna and Poland a new culture, he introduced a new jet into Ukrainian poetic versioning, updated text-based elements in terms of genre and stylistic modifications, peculiarities of the plot composition, speech structure, means of fiction, and stylistic polyphony. The poet showed a tendency to the classical clarity of the expression, canonized forms, fully revealing the European education.