THREE MEN'S NOVELS ABOUT THE REVOLUTION OF DIGNITY: POETICS AND MYTHOLOGY OF THE MAIDAN
DOI:
https://doi.org/10.28925/2412-2475.2021.17.5Keywords:
Майдан; роман; Революція Гідності; міф; архетип.Abstract
The article examines three novels about the Revolution of Dignity, written by men and published in 2015: “Fiery Winter” by Andriy Kokotyukha, “Maidan Semester” by Kyryl Halushko, “2014” by Vladyslav Ivchenko. Among other works on this subject, they are already partially characterized by critics and scholars. This article focuses on the mythologized geo-image of the Maidan, which is a source of metaphorical meanings and ultimately reveals itself in the archetypes of Chaos / Harmony / Order and Own / Stranger. This study is one of the stages in the study of the strategy of forming collective memory in Ukrainian novels about Euromaidan and was partially tested in the form of a report at the conference. The key results were achieved through a combination of the concept of artistic understanding of the myth by Northrop Fry and aspects of artistic myth-making by Elena Bondareva, which made it possible to identify the main areas of study of the key for all three plots geo-image. The place of the Maidan topos in the structure of the plots is traced, in particular its first appearance. It is concluded that the authors rely on the positive mythology present in the mind of the reader, developing its semantics in accordance with the attitude of the characters to the events of the Revolution of Dignity. The potential of binary oppositions is traced in this. It is established that a larger number and variety of characters allow the author to develop the metaphorical semantics of the Maidan mythology (V. Ivchenko), while the limited system of characters (A. Kokotyukha) preserves the semantic potential of the Maidan topos, reduces it to retransmission of already formed families. K. Halushko takes a different approach, allowing his character to change his views as a result of participating in revolutionary events. Further analysis showed that the undeveloped metaphorization of the Maidan topos does not allow A. Kokotyukha to engage in appropriate archetypes to deepen the semantics of the work as a whole. Instead, the other two authors, despite their different ways of constructing the plot, succeeded. As a result, an assumption was made about the further artistic understanding of the theme of the Revolution of Dignity and the potential of the relevant artistic strategies. The proposed approach requires further testing on a larger array of works.
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