Ukrainian Literary Parody: Origin, Mainstreaming, Poetics

Віннікова, Наталія Миколаївна (2015) Ukrainian Literary Parody: Origin, Mainstreaming, Poetics PhD thesis, КУБГ.

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For the first time in the Ukrainian Literary Studies, the dissertation offers a complex approach to the process of originating, development, structural and semantic transformations of parody genre based on a broad range of the Ukrainian literary texts of the 16 – early 21 centuries. A study of genre evolution and literary reception of parody in the Ukrainian literature revealed continuous nature of its formation and development. Though its history extends back over 400 years, the genre was formed in its classic form only at the beginning of the 20 century. Before that, the method of parodying, important throughout the history of literature, had been popular. The origin of parody genre dates back to the times of oral folk art. Individual style, which had not been formed as such, and had been shaping only in the framework of certain genres and forms of literature was not a part of the Ukrainian folk parody. Those were folk texts (dumas, koliadkas, schedrivkas and others), which were parodied. It should also be mentioned that parodying is traced in old Ukrainian literature as well. Following the European tradition, Ukrainian writers of the 17-18 centuries often parodied biblical, liturgical, spiritual, church and religious texts, as well as written monuments of non- literary origin such as governmental documents, court reports, diplomatic letters, grantor letters, wills, acts and others. Though active parodying of mainly non-literary texts in old Ukrainian literature was meant to become a moving force for the development of classical parody in the 19 century, it never happened. At the beginning of the époque of new Ukrainian literature, the writers quite rarely created parodies; instead, burlesque and travesty works of different trends and literary value appeared, and some scholars often refer those texts to parodies for no justified reason. It was at the beginning of the 20 century, when modernist libels became popular, that the quest for radical and relatively new resources for esthetic reordering began, which was connected, on the one hand, with the revival of national processes, and, on the other, with close European contacts. At this stage, parody was widely employed and played a noticeable role in the national literary development, battle of thoughts and styles, and discussions of the issues of sense and form of art. As a result, a group of young, bitter and quite skillful parody masters asserted themselves. Among them were Vasyl Ellan- Blakytnyi, Omel’ko Buts, Ostap Vyshnia, Yuriy Vuhnal’, Teodor Orysio, Vasyl Chechvians’kyi and others. Parody was used by the representatives of almost all styles and style forms of poetic modeling of the world in the early 20 century: of futurism, neo- classicism, symbolism, neo-romanticism, etc. During World War II Ukrainian writers’ interest in literary parody was less strong. In the middle of the 20 century, many literary texts of this genre were printed in magazines and newspapers; therefore, scholars overlooked them. At this stage, the genre of literary parody had been developing more noticeably in exile. Mystified parodists became a special feature of that time. Porfiriy Gorotak, Svyryd Lomachka, Khvedosiy Chychka entered the Ukrainian literature as integral images with their texts, biographies, life credos, and were not just literary pseudonyms, but also literary masks the creators of which hid behind. Under the influence of mystified parodists in exile, the genre of parody was rekindled in the continental Ukraine. Literary parody was actively developed at the threshold of the 20-21 centuries. A consistent analysis of modern literary parody proves their representativeness, systematicity, and genre modeling processes formation. That is why, the parody evolved from the form of literary play or humor to a modus in literary understanding of being, from criticizing earlier authors and literary schools to self-criticizing and self-parody of modern authors. The modern parody is characterized by various intertextual elements (reminiscences, allusions, implied and explicit citations and so on), masks, duality principles, pseudo carnival principles, parody portrait, grotesque metamorphosis. Ukrainian literary parody of late 1990s – early 21 century went far from its classical forms; ironic carnival modus is now characteristic of it. The notion of parody was discussed in the dissertation, with focus on its genre nucleus and literary dominant features. Genre features of parody are reflected as having structural integrity with basic regularities and mechanisms of inner processes. A range of issues related to structure-forming potential of the genre is highlighted. Typological properties of parody genre (two-dimensional nature, intertextual basis, directionality to the object of parody, reproduction of its peculiarities, critical nature etc.) and peculiar mechanisms of their updating in literary practice of the Ukrainian parody writers were discussed. Classification of the Ukrainian literary parody, based on two criteria – directionality to the object of parody and key functions of parody, – was offered.

Item Type: Thesis (PhD)
Uncontrolled Keywords: parody; literary genre; оrigin; мainstreaming; poetics; parodying; two- dimensional; object of parody;
Subjects: Автореферати > Спецради Університету
Divisions: Інститути > Гуманітарний інститут > Кафедра української літератури і компаративістики
Depositing User: Наталія Миколаївна Віннікова
Date Deposited: 23 Nov 2015 11:47
Last Modified: 02 Dec 2015 08:07

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