Осяяння як етап художнього творення «Нової реальності» (на матеріалі оповідання Євгена Гуцала «Олень Aвгуст»)

Abstract

У статті запропоновано стереометричний розгляд оповідання Євгена Гуцала крізь призму концепційної парадигматики Григорія В’язовського. Зокрема розглянуто діалогізовану сферу художнього буття, яке охоплює творче і заангажоване мислення, кризу приневоленого таланту режисера і осяяння вільної дитячої душі. Позиції малого персонажа проаналізовано як акт його суб’єктивної готовності до майбутньої творчості і одночасно як адекватний спосіб розкриття драматичного світу дорослого митця в умовах 60-х років ХХ століття.

В статье предложен стереометрический анализ рассказа Евгения Гуцало сквозь призму концепционной парадигматики Григория Вязовского. В частности рассмотрено диалогизированную сферу художественного бытия, которое охватывает творческое и заангажированное мышление, кризис угнетенного таланта режиссера и озарение свободной детской души. Мышление детского персонажа проанализировано как акт его субъективной готовности к будущему творчеству и одновременно как адекватный способ раскрытия драматического мира зрелого художника в условиях 60-х годов ХХ века.

In the introduction stylistic originality of the story has been viewed. Appropriateness of its analysis from perspective of the concept of writer’s creative thinking has been clarified. The objective of the article lies in stereometric interpretation of Yevhen Hutsalo’s story from perspective of Hryhorii Viazovskyi’s conceptual paradigm. In the main body of the article emphasis has been made on the dialogized sphere of fictional existence that spans creative and biased thinking, realization of the director’s creative possibilities and the school-boy’s talented aspiration, crisis of the enslaved talent and child consciousness insight. The young character’s thinking has been analyzed as an act of his subjective readiness for the future creativity and at the same time as an adequate way of revealing the adult artist’s dubious and dramatic world under the conditions of the 60s of the XXth century. The peculiarities of creating childhood memories time and space as well as psychological means of experiencing the beauty in the sphere of art have been revealed. The specific features of Yevhen Hutsalo’s stylistic manner as an author of lyrical and psychological prose have been generalized. The relations between art and demands of those times reality along with the content aspects of memory time and space have been outlined. The thematic originality of the work has been emphasized that lies in the fact that the creativity act has been delegated to the child impressed by the real art. The story has been interpreted as one of few works by Yevhen Hutsalo in which the one in two essence of talent and will to creativity has been fictionally comprehended. The psychological function of dialogues has been revealed as well as original fictional details and peculiarity of creative thinking freedom embodiment. The basis of the spiritual biographism has been detailed in creative and meditative raw which includes deep artistic concepts starting with the real author’s memory and ending with faith in creativity-as-the truth and creativity-as-joy. It has been concluded that fictional embodiment of characters’ creative thinking fully renders Yevhen Hutsalo’s ideas and artistic views during the 60s of the XXth century and illustrated the intellectual stream of his creative works.