The article under studies deals with theoretical and practical discourse of the issue of cinema metaphor. It emphasizes that certain investigations of the issue are carried out in terms of theory, in the aspect of typology of cinema metaphors. The article also analyzes the ways of their creation and their impact on the recipient; in the cases of moving to the practical plane, particular attention is drawn to the analysis of either individual cinema metaphors or to the peculiarities of cinema metaphors of individual authors. The film “Sayat Nova” (“The Color of Pomegranates”) has been considered in the above aspect. The author of the article distinguishes a few detailed cinema metaphors that most clearly demonstrate the deep receptive potential of visual reading of this movie text. The key metaphorical codes in this case are wine, pomegranate, water, book, ladder, ritual, sheep, dream, vision, thread, lace, and poet. Particular emphasis has been laid on the fact that the he author's methods of creating cinema metaphors are polymorphic in their nature. Some of them contain a deeply conceptual, symbolic meaning, which is formed due to the context and can be expanded because of additional connotations arising during the perception of “cinema metaphors”. Others are formed as a result of a montage combination of two or more frames, through the use of purely cinematic means (for instance, shooting angle, close-up, sound, color) or involvement of viewer’s receptive experience in the course of perception.
This study is motivated by new perspectives that help to expend the boundaries of multidisciplinary research. The article examines the discourse on the literary tale with regard to its theological specificity of narrative and how worldview came to dominate it. The most significant examples of German, Russian, Polish, Romanian and Ukrainian tales are analysed, taking into consideration national ethos. The specifics of the genre are explored in their historical and cultural contexts, with an emphasis on the difference between the literary tale and the folktale. Previous research indicates that the poetics of literary tales of this type has not been studied sufficiently. The paper aims to examine the literary tale within an ethno-national historical context, considering the main aspects of the Christian religious ethos of the 19th century. Our methodology includes an integrative multidisciplinary approach that combines the principles of historical poetics, hermeneutics, receptive poetics and classical methods of folkloristics in the light of transitivity theory. The findings support the idea that reception peculiarities of Christian tale poetics predominantly focus on plot development, personosphere, chronotope, Christian tokens, divine symbols and paradigms. The focused was both on the encoded religious intentions of literary tales (requiring receptive decoding of allusions) and the transparently expressed appeals to God with an emphasis on Christian hermeneutic instruction. Accordingly, fabulous archetypes related to religious morality were analysed using the example of Pushkin’s literary tales. Overall, distinction between the genres of Christian fairy tale, Christmas tale and Christian fantasy appeared to be the most productive. We conclude that the genre matrix of the fairy tale remains open to various modifications, and consequently, fairy tale narrative structures when combined with Christian motifs actuate other genre forms. We emphasise that reception of theological discourse on a literary tale depends on the readers’ psycholinguistic competencies and the peculiarities of their religious identity.
The article concerns the relevance of the issue of genre heredity between literature and cinema. The cinematography actively turned to the genre of biography even in the first decades of its development, in the era of the silents. It did not disappear from the view of cinematographers throughout the 20th century. Recently, this genre has been activated both in cinema and on television, which increased the interest of researchers. Hence, the receptive problematics of the Ukrainian philosopher, theologian, poet and teacher Hryhorii Skovoroda’s biography (1722–1794) is analysed in the cinematographic discourse. It was noticed that the figure of the outstanding philosopher did not attract the proper attention of cinematographers either in Soviet period (only one feature film and one documentary film were shot) or in the time of Ukraine’s Independence. However, even those few films only partially represent the “Ukrainian Socrates” to the viewer. It is stated that documentary production, in contrast to the feature films, is represented by a number of films about Hryhorii Skovoroda, which, of course, differ in their quality and creative potential. However, having an aesthetic and cognitive value, they all present a certain way of processing biographical material (letters, memories, stories of contemporaries), his writings and creative works (philosophical, literary, musical works) and perform an important function of popularizing this outstanding personality and his creative heritage. It is concluded that the cinematographic actualization of the philosopher’s biography and works in recent decades is due to the new historical situation, to the desire to perceive his legacy in a new light, to debunk the existing biographical myths. Skovoroda’s philosophical ideas not only remain relevant in the 21st century, but also appear as markers of Ukrainian identity in the modern reality.
Review on the book: Skvira, N. (ed.) (2021). Zhyvotvorne svitlo slova: zbirnyk naukovykh studii pamiati doktorky filolohichnykh nauk Nataliï Rostyslavivny Mazepy [The Life-Giving Light of the Word: A Collection of Scientific Studies in Memory of Natalia Rostyslavivna Mazepa, Doctor of Philological Sciences]. Kyiv : Vydavnychyi dim Dmytra Buraho, 2021, 346 p. (in Ukrainian)
The current postnonclassical methodological situation draws attention to interdisciplinary practices in literary texts analysis, revealing a significant number of “interdiscursive configurations”. The purpose of this research is to analyze the short story “Thirst for Music” by one of the great intellectuals of the Ukrainian emigration, Viktor Petrov-Domontovych (1894–1969), in the aspect of interdisciplinary methodology. The research tasks are to outline the specifics of interdiscursive methodology and interdiscursive analysis of a literary text, in order to identify V. Domontovych’s novel interdiscursive codes. The chosen short story determines the author’s idiom: biographism, fragmentation, intermediality, intertextuality. Accordingly, the leading methodology of the study is interdiscursivity. It involves the use of biographical, hermeneutical, intertextual, and intermedial research methods. The study is based on the research of M. Foucault, V. Cherniavska, Y. Shevelev, I. Ilyin and others. The work outlines a set of discourses important for the general concept of the novel and evaluates their interaction in the discursive polyphony of “Thirst for Music”: biographical (a fragment of Rilke’s biography), intermedial (music, sculpture), intertextual (Rainer Maria Rilke’s Stories of the Good God, Rilke’s correspondence with Magda von Huttingberg), and architectural (Biographical novella fragment). This example convincingly proves that postmodernist methodology is productive in analyzing the literature of another cultural epoch, in this case, the modernist one. The article under studies focuses on the influence of postmodernism on literary methodology in terms of the concept of interdiscursivity. The purpose of the interdiscursive analysis is the reconstruction of all the discursive layers involved (hidden) by the author. The methodology suggests the identification of a broad range of significant bibliographical, cultural, artistic (intermedial and intertextual) architextual insertions and allusions. Through decoding the “interdiscursive configurations”, the article lays particular emphasis on the bibliographical, intertextual, intermedial, and narrative specifics of the text by the Ukrainian emigrant writer Victor Petrov-Domontovych “Thirst for Music”. It also reveals the intertextual connection of V. Domontovych’s story with Rainer Maria Rilke’s “Stories of God”, as well as Rilke’s correspondence with Magda von Huttingberg. The imagological portrait of Rilke, reconstructed from the short story, may be regarded as the essential interpretant of “interdiscursive intertextuality”. The interdiscursive analysis makes it possible to trace up directly the peculiarities of the writer’s (Rilke) relationships with his real reader (M. von Huttingberg), as well as to outline the discursive nature of story’s architextuality and its genre marking, both of which form the respective horizons of expectations. A particular attention is drawn to Rilke’s poem “Music” (1918), which condenses a wide range of themes articulated by Domontovych in his short story “Thirst for Music” - music as a special metalanguage and a timeless format of music capable of transmitting human feelings. Therefore, the musical key to reading this novel can be Domontovych’s consonance with Rilke. The “fragmentary integrity” of the short story is substantiated by means of the fragmentary, gender marked narrative, the constellation of passages, subject detail, specific phonetic coloring, tropology, and artistic syntax, all these give the prose text the rhythmic parameters of lyrics. Through synesthesia, the author creatively interprets Rilke’s literary method, leaving some figurative and musical “traces”. The veiled compositions of Handel, Bach, Schumann, and Scarlatti are seen as musical ekphrasis. The author resorts to a kind of “game” with the reader, leaving intertextual and intermedial discourses for him to decode. In this way, several receptive channels of the reader’s imagination are simultaneously activated, including visual (“seeing”), auditory (“hearing”), and kinesthetic (“feeling”).
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