Ігровий чинник романістики В. Петрова-Домонтовича

Naumova O. O. The рlaying factor of novels of V. Petrov-Domontovuch – The manuscript rights. The thesis for the degree of Candidate of Philological Studies, speciality 10.01.01 – Ukrainian literature. – V. N. Karazin Kharkiv National University, Ministry of Education and Science of Ukraine, Kharkiv, 2013. The analysis of novels of V. Petrov-Domontovuch is carried out in dissertation, taking into account a playing factor. We considered the specific of playing the artistic world of novels, taking into account the playing tendencies of modernism and originality of playing a cultural and historical context, as a public and cultural atmosphere of epoch of 20th – 40th influenced on forming of V. Petrov-Domontovuch as personalities and artist. Creative searches and intellectual games of writer are related largely to his existential position. A writer gives his answers for pressing of that time questions through artistic work in the veiled playing method, he enters into with the slogans of literary discussion of 1925 – 1928 and with the ideas of М. Hvulovu. Basic attention is concentrated in dissertation on playing strategies of novels. Novels of V. Petrov-Domontovuch is characterized a difficult structure. Semantic contradiction is certain peculiar for all novels of writer, they have a not alone semantic level. Roman «Girl with a teddy bear» is examined in the context of parody, a philosophical implication opens up through a parody on soviet works of productive type, boulevard erotica-criminal novels, and also parodies on work of V. Vunnuchenko and М. Hvulovu. А parody for V. Petrov-Domontovuch is a playing reception, method to cipher own position, foremost. A structure of novel is «Doctor Seraficus» correlated with a labyrinth, work is built as totality of different ways a writer conduces a reader that to the semantic center. On the pages of work V. Petrov-Domontovuch as though offers to the reader to play in a game, try to find an exit from «corridors» that is hidden in text. Do these corridors conduce to the certain semantic center, basic philosophical question of novel: is a man able truly to win over nature? Unity between the different levels of labyrinth is provided by means of such element of intellectual game, as a paradox. By a central playing reception in the construction of novels «Аlina and Коstomarov» and «Novels of Кulish» comes forward editing: an author pulls out a certain semantic dominant round that facts are assembled. In works V. Petrov created the own model of historical reality, that was the reflection of him own ideological-aesthetic position. A genre gave an opportunity to the writer to choose facts, estimate personages, explain events. Offenses of М. Коstomarov and P. Кulish largely differed from widespread in a scientific environment looks. V. Petrov converted well-known publicmen into the personages of love novels. The receptions of «intensifying», regrouping, reductions that are playing in the essence, are used also in text of works. We used the metaphor of mask for research of playing space of novel «Without soil». In work an author largely synthesizes and summarizes those ideas to that applied in previous novels: problem of технізації and mechanization, irrationality of internal nature of man, question of style and beauty. Roman «Without soil» contains the original result of searches of generation of 20 – 40 years, shown in the idea of безгрунтянства. Personages of novel «Without soil» are a whole gallery of various masks, each of that envisaged the style of vital behavior.Наумова О. О. Ігровий чинник романістики В. Петрова-Домонтовича. – На правах рукопису. Дисертація на здобуття наукового ступеня кандидата філологічних наук за спеціальністю 10.01.01 – українська література. – Харківський національний університет імені В. Н. Каразіна МОН України, Харків, 2013. У дисертації здійснено аналіз романістики В. Петрова-Домонтовича з огляду на ігровий чинник. Розглянуто специфіку гри в художньому світі романів, враховано ігрові тенденції модернізму та своєрідність гри в культурному просторі 20-х – 40-х років ХХ ст. Основна увага зосереджена на ігрових стратегіях романів. Зокрема, дебютний роман письменника розглянуто в контексті пародійності: філософський підтекст розкривається через пародію на радянські твори виробничого типу, бульварні еротично-кримінальні романи. Структура роману «Доктор Серафікус» була співвіднесена з лабіринтом: твір вибудувано як сукупність різних шляхів, якими письменник веде читача до змістового центру. Центральним ігровим прийомом у побудові романів «Аліна і Костомаров» та «Романи Куліша» виступає монтаж: автор запропонував певну смислову домінанту, навколо якої монтуються факти. Для дослідження ігрового простору роману «Без ґрунту» використано метафору маски