In 1920-1940 the prose of writers who went through the horrors of the First World War and recreated the spiritual and moral trauma of young men who found themselves on the front lines and learned to kill and survive in war conditions was widely recognized. The concept of the so-called “lost generation” appears, its representatives are united by the theme of spiritual breakdown, which in a few years at the front turned yesterday’s schoolchildren, full of romantic dreams and patriotic ideas, into tough men who desperately try to find their place in new life realities after their return. Unfortunately, the younger generation in Ukraine, which is also forced to go through all the horrors of a brutal war, faced similar problems and existential conditions. However, today we can state that there are significant differences in the worldview and behavior of those young people who were hardened by difficult trials even during the Revolution of Dignity. Young people who manage to survive the Russian-Ukrainian war in the future, just like their generational predecessors, may face new challenges. They will also have to find their place in peaceful life, learn to deal with psychological injuries. However, there is great hope that this generation will be “non-lost” and will overcome all post-war trials with dignity. In the article, the work of the young Ukrainian poet, soldier of the 68th chasseur brigade, eco-activist, the author of the already legendary poem “To my daughter” Pavlo Vyshebaba is considered in the context of the concepts of “lost” and “non-lost” generation. Pavlo Vyshebaba is a vivid representative of a cohort of young people who also faced numerous trials, but one would like to believe that they turned out to be psychologically stronger than their predecessors.
The article offers an overview on the most notable features of the implementation of psychonarratives in fiction and documentary and fiction prose about the Anti-terrorist Operation (ATO) and the hybrid warfare in Donbas from the standpoint of the achievements of modern humanities, which gives intelligence a multidisciplinary nature. The degree of academic research on the outlined topics at both the world and the national scientific levels has been clarified. The contribution of the Western scientists to the development of theoretical and methodological principles of parameterization of psychonarratives is outlined. There is a tendency to increase the interest of domestic specialists in narratology, in particular psychonaratology, mainly in empirical terms. At the same time, an objective lack of thorough theoretical developments of the monographic or dissertation level on the outlined issues has been stated in Ukrainian studies. Terminological vagueness and imbalance in the interpretation of the key concepts of psychonarrative studies have been recorded. Methods and means of realization and manifestation of the psychonarratives in the text structures are established. There is a growing interest of domestic researchers in the direct or indirect consideration of narrative, psychonarrative and selfnarrative in fiction prose and documentary and fiction prose about the ATO and the hybrid warfare in the Donbas in the context of discursivity and intermediality. The peculiarities of psychonarrative expression on the formal structure and sence-content levels are indicated. The common and distinctive features of the realization of psychonarratives in fiction and non-fiction literature are briefly noted.
У статті розкрито суть феномену фантастичного світу Станіслава Лема, наголошено, що його фантастичні твори виходять за рамки традиційності, вони вивищуються до рівня рефлексії, у них не просто описані основні проблеми науково-технічного прогресу і досягнень людства, а пропонуються варіанти їх розв’язання, надаються певні застереження і передбачення майбутнього, що, в свою чергу, поглиблює їх соціальне, філософське звучання. Зазначено, що творчість С.Лема характеризується широким спектром проблем і тематичного діапазону, їх глобальністю, складним авторським методом відтворення уявної дійсності, неоднозначністю трактувань сюжетних та образних елементів, високим рівнем художніх засобів, вибудовуванням культу знань і наукових досліджень; проаналізовано збірку С.Лема «Абсолютна порожнеча», розкрито поняття літературної містифікації, визначено жанрові ознаки; досліджено три групи літературних містифікацій С. Лема, які визначив сам письменник: до першої групи належать пародії, наслідування та передражнювання, до другої – чернетки романів, які письменник не зміг написати, до третьої – усі тексти, у яких фантаст сміливо виклав власні погляди на розвиток технологій, культури, різноманітні наукові теорії; з’ясовано ідейно-змістові особливості текстів та розглянуто місце рецензій у системі літературних містифікацій письменника-фантаста.
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