Естетичні функції символів у творчості Докії Гуменної

Abstract

У роботі досліджуються естетичні функції художніх символів у творчості Д. Гуменної. У ній проаналізовано загальний стан вивчення творчого доробку письменниці, розглянуто літературознавчі праці українських і діаспорних учених, присвячені творчості Д. Гуменної. Простудійовано теорії символу зарубіжних та українських науковців. Визначено особливості символіко-міфологічної системи письменниці, розглянуто художню реалізацію архетипно-символічних мотивів та образів у її прозі. Розмежовано символіку творчого доробку Д. Гуменної за сферами буття, які вона моделює: образ-символ Жінки-універсуму, космогонічні символи, топнімічна символіка, образи геометричних фігур у їхньому символічному вияві, кольоративні символи. Проаналізовано екзистенційні виміри художнього світу Д. Гуменної, втілені у символічних опозиціях «хаос-космос», «добро-зло», відзначено символічну наснаженість антропонімів, обґрунтовано символіку назв творів. Визначено роль символізації оніропростору в художньому світі письменниці.

The thesis is devoted to the problem of the aesthetic functions of artistic symbols in the work of D. Humenna. The work analyzed the general state of research of the writer's artistic lagancy. The literary works of researchers of Ukraine and the Diaspora, dedicated to the work of D. Humenna, were considered. It has been determined that the creative legacy of the writer is not fully understood. Many aspects are not covered by the system analysis: the rather diverse issues and themes of the writer's works are not clearly outlined, the genesis of the symbol function has not been investigated. Different views of scientists on the concept of «symbol» have been examined. It was established that literary criticism and philosophy are non-uniformly treating this notion. The meaning of the term is interpreted on the basis of an understanding of the problems and concepts of the essence of art, so there are differences in the structural and semantic characteristics of the term. The most profound problem has been studied by A. Losev: typology of symbols depending on the sphere of use, the difference between a symbol, an allegory, a myth, an emblem, a sign, a type, a marking, etc. His methodology was used in this work. The process of formation of conceptual and philosophical dominants of the writer in her views on the nature of being and the place of the person in this context is comprehended. It was revealed that participation in archaeological expeditions, knowledge of languages, study of folklore, mythology, epic of many peoples of the world made it possible to use the acquisition of these sciences in D. Humenna’s literary works. It is determined that one of the dominant motive of D. Humenna’s artistic creativity is the Mother’s motif, which grew into the symbolic magnitude of the Woman-Universum. D. Humenna draws attention to the key feature of the archetypally symbolic being of the Mother’s image in the fairy tale-essay «Bless, Mother!». It was found that linguistic analysis was found in the semantic field of the general concept of the work («Bless, Mother!»). And serves its best manifestation. In the third section, the features of the symbolic-mythological system of the writer are determined, the artistic realization of archetypal-symbolic motifs and images in her prose is examined. The symbolism of the creative heritage of D. Humenna is divided in the spheres of being, which it concerns: cosmogonic symbols, toponymic symbols, images of geometric figures in their symbolic manifestation, color symbols. Existential dimensions of the artistic world of D. Humenna, which are transmitted through the confrontation of symbolic oppositions «chaos-cosmos», «good-evil», are analyzed, the symbolic fullness of anthroponyms is noted, the symbolism of the names of works is grounded. The role of the symbolization of on-space in the artistic world of the writer is defined. It is noted that the high spiritual charge that holds in itself all the ramifications of the system of symbols in the works of D. Humenna, has an enduring significance for the revival of spirituality in Ukraine, inscribes a unique page of hopes and foresight. As necessary, a surface analysis of some works by Emma Andievskaya, Anna Vivat, I. Kalinets, Lina Kostenko, E. Malanyuka, M. Rudenko, I. Svitlychny, V. Stus made it possible to draw parallels and determine trends in the development of imagery in the Ukrainian literature of the 20th century on Level of artistic symbolism.