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Title: Повість Л. Гомона «Велетень з хворим серцем» як соцреалістичний кітч: проблема культурного коду
Other Titles: Повесть Л. Гомона «Великан с больным сердцем» как соцреалистический китч: проблема культурного кода
The story by L. Gomon «The giant with sick heart» as social realistic kitsch: the problem of cultural code
Authors: Димовська, Анна
Дымовская, Анна
Dymovska, Anna
Citation: Проблеми сучасного літературознавства = The problems of contemporary literary studies
Issue Date: 2015
Publisher: Одеський національний університет імені І. І. Мечникова
Keywords: кітч
культурний код
культурный код
socialist realism
cultural code
Series/Report no.: ;Вип. 21.
Abstract: Статтю присвячено повісті Л. Гомона «Велетень з хворим серцем» як ідеологічному кітчу, з урахуванням культурного коду та міфопоетичних рис твору в соцреалістичному контексті. Зокрема виявлено центральну міфологему, простежено типологічний зв’язок радянського героїчного міфу з давньогрецьким міфом про Прометея. Визначено міфологізацію художнього світу твору як вияв кітчу у тексті. На приклады досліджуваного твору проаналізовано причини травестіювання високої культури в радянській літературі. Окреслено перспективи подальших досліджень даної проблеми у сучасному українському літературознавстві.
Статья посвящена повести Л. Гомона «Великан с больным сердцем» как идеологическому китчу, с учетом культурного кода и мифопоэтических черт произведения в соцреалистическом контексте. В частности, установлена центральная мифологема, отслежена типологическая связь между советским героическим мифом и древнегреческим мифом о Прометее. Мифологизация художественного мира произведения определена как проявление китча в тексте. На примере исследуемого произведения проанализированы причины травестирования высокой культуры в советской литературе. Обозначены перспективы дальнейших исследований данной проблемы в современном украинском литературоведении.
The research of social realistic kitsch and the mechanism of inscribing of different cultural symbols and mythologems in Soviet ideological context is an urgent vector in modern study of literature. This is indicated by lots of works by such researchers as V. Donchik, E. Meletinskiy, T. Gundorova, V. Kharhun, L. Saulenko, O. Urchuk, Ya. Tsimbal and others. The aim of this article is the analysis of story by L. Gomon «The Giant with sick heart» as ideological kitsch considering cultural code and mythic poetical features of the story insocial realistic context. In 30-s, when social realistic code was forming, its main direction was settled as the idea of social realism as «final sense of being on earth». At this time, art was under the influence of revolutionary romanticism, which was an outcome of understanding of creating the ideal communist future. N. Shlyahova, while analyzing the literature process of 20-th — 30-th years, names this period — «the mutinous epoch», «the revolutionary time», which seized «sick with romance» writers with its «social ideals and promised opportunities to make oneself». Obviously, this «sickness» became one of the most determinative factors in development of early social realistic kitsch, and the main modus of which T. Gundorova considers the optimism — the faith in confidence of each person in assertion of socialism, building of communism and coming of long-waited «light future».The plot of the story «The Giant with sick heart» is absolutely under the sacral laws ofsocial realistic kitsch. The image of soviet cargo boat «Adzaristan»correlates with mythologem of Prometheus. In the story, the boat is not only named as giant, but the author even emphasize such trait as «sick heart «(which has something in common with Prometheus’s injured liver) — the engine, which every day suffers from hands of anti-Soviet «wreckers». Thus, comprehending the problem of author’s appealing of totalitarianepoch to antique mythology, which we think is committed and not accidental, we come next to the perception of the story «The Giant with sick heart» as kitsch, as part of one cultural discourse of new social realistic canon. Analyzing the cultural code, to which L. Gomon appealed, we come to the conclusion that in this case, it would be more consistent to speak about palimpsestic structure of the text, as feature of literature of transitional period. Then it is appropriate to perceive the myth of Prometheus as interpretation, which opens new perspectives for reading the story, so far as the connection between the artistic work and myth, reflects the text on the intertextual platitude, in a consequence of which it infinitely widens its semantics.
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