Table of contents

Words-symbols in the works of Grigoriy Skovorody as a sign of artistic thinking

The article analyzes the words-symbols in the artistic and philosophical world of Gryhoriy Skovoroda. Based on the classification of D. Chizhevsky, in the symbolism of the Ukrainian Baroque poet considered concepts-symbols by the following meanings: biblical words-symbols, archetypal symbols, cosmogonic words-symbols, symbols-names of creatures, natural phenomena, to denote the peculiarities of the environment. The poet-philosopher in his works uses such biblical words-symbols as God, Christ, the Bible, the heart, the angel, the prophet, the cross. In the works of G. Skovoroda there are archetypal images-symbols of fire, light, water, blood, circles. In the works analyzed by us, G. Skovoroda uses such cosmogonic words-symbols as: sun, moon, star, star. The word-symbol of the wing in the poet’s works is closely connected with biblical symbols, creates a positive characteristic and means «take-off». In the works of G. Skovoroda the main function of symbolic names of birds, such as: crow, dove, nightingale, eagle and hawk, characterological, it carries an emotional load. In the collection «Fairy Tales of Kharkiv» words-symbols to denote the names of animals represent certain human qualities. Gryhoriy Skovoroda also used symbols-names of natural phenomena in his work, in particular, such as: thunder, lightning, clouds, rainbow. Quite often in the works of G.S. Skovoroda there are such words-symbols to denote the features of the natural environment, such as forest, sea, roads. According to research, Christian symbols were of great importance to Gryhoriy Skovoroda, but a significant part of the symbols came to his worldview from the ideas of the ancient Slavs.

The image of the hero-artist on the material of the works of Vladimir Vynnychenko

In modern science of literature there is a growing interest in the subject of the artist and his creative process as one of the ways of self-expression of extraordinary personality in the real world in general and in the art world in particular, and to study the nature of the artist. Fine art occupied a significant place in the aesthetics and poetics of Vladimir Vynnychenko. The themes and issues of some of his literary works were influenced by the creative environment of Paris, where the writer spent many years, as well as personal acquaintance with individual Impressionist artists. Vynnychenko’s characters are the protagonists, they always conflict with the world, although they do not always win in these confrontations. They are often lonely, lacking support and understanding, but strong. Innovative artists are not afraid to loudly declare a decisive break with tradition, call for the improvement of technology and depiction of exclusively human material, choose emotional and highly psychological subjects of paintings, observe and depict feelings. This approach in painting was quite obvious for Vynnychenko, an artist, and the literary work of the great Ukrainian is considered in the context of the world’s leading psychoanalytic currents of the twentieth century. So it is not surprising that psychologism in the work of the writer was decisive. In Vynnychenko’s analyzed works of art we meet various images of artists, observe their work, hear their thoughts on painting, imagine the era in which they lived and worked. We understand that for both them and Vynnychenko, the focus is on the direct fixation of impressions and observations, on deep psychologism and philosophical understanding of reality. The themes of Vynnychenko’s paintings are diverse. However, unifying for all is the focus on the so-called “humanity” of the paintings. Artists focus on facial expressions, conveying expectations, hopes, inner anxiety. Psychological interpretation of images and expressiveness in the transfer of human character are welcome. The degradation of classical art with its primitive and stereotypical paintings focused on the rich bourgeoisie becomes obvious to all. Aesthetic ideals are also changing. Ugliness often breaks through external beauty, or the ugly manifests internal beauty. The concepts of “aesthetics of the ugly” and “beauty of pain” become identical with “new art”.

The concept of beauty in V. Vynnychenko’s early works

The article reveals the specifics of artistic manifestation of the beauty concept based on V. Vynnychenko’s early works. This is due to the presence of a number of search lines in the writer’s interpretation of aesthetic and to a significant number of works representing current issues. Beauty is defined as a fundamental component of life in the works by V. Vynnychenko and several author’s plots of its comprehension are revealed. Firstly, it is found that in writer’s early works the characters experience a crisis of faith, emphasize the relativity of absolute truth and Christian ethics, rethink the concept of sin and sacred Christian commandments («Love your neighbour as yourself», «Do not deceive», «Do not kill», and «In the sweat of your brow, eat your bread»), professing dual moral standards and the idea of «benevolent selfishness». The writer places material values into the center of existence instead of spiritual Christian ones. The former acquire absolute status and most importantly are able to ensure the realization of the fundamental goal – to maintain vitality in the project of «fullness» of earthly existence. It is emphasized that in his early works, V. Vynnychenko substantiates the concept of «life-as-a-market», where you can get financial or moral compensation through «selling/buying/exchanging» valuables, among which female beauty is one of the fundamental values. The analysis confirms the idea that woman’s beauty and love are mercantilized due to the devaluation of spiritual values, they lose their ideal metaphysical essence and are transformed into ordinary goods and vital cycle of values components. That is closely connected with the problems of «exchange-purchase-sale» of the values, money cynicism and the interpretation of the family as an economic contract (the case of the story «The Poor People», dramas «Bazaar», «Young Blood», «Crucified»). In V. Vynnychenko’s art world, several search lines are connected with the category of beauty, particularly the problem of coordination of bodily, physically expressed female beauty with spiritual beauty in the context of «exchange of values». The author also experiments with the concept of free marriage, which is considered an alternative to an unhappy family as an economic project.

Russia, terror, war. the historical philosophical messages of Maksymilian Voloshyn

The modern geopolitical situation represents in new light heritage Maksymilian Voloshyn 1917-1924 – his reaction to the tragic events in Russia of the early XX century. He, the poet, the artist, the thinker with the European outlook, has declared own understanding of October revolution and the subsequent Bolshevist terror in the full conceptual text. At the heart of this conceptual text the idea of relationships of cause and effect in history which has caused attempt of logical justification of the systematic destruction of the citizens by fellow citizens. Voloshyn has pointed to spontaneity, cyclic character of the Russian history, exposed the antihuman essence of the state structures at all times. The historical philosophy reflexions of the author, the Ukrainian by origin, who challenged the Russian Empire in his texts, are concentrated in the several given reason messages. These messages where there are parallels with Europe, survey of current events, the analysis of the historical past of Russia, visualisation of persons, it persistently broadcasts to descendants and all civilised world. Its purpose, the philosopher-documentarian in warning the world community against danger, which is represented by the country with «mad and awful destiny», the country-aggressor, bearing to the civilised world terror and wars.

The personalities and the space of memory about the holocaust in a modern Ukrainian literature

The Holocaust theme was concealed and falsified for a long time because of non-literary reasons. Therefore, only when our country got its independence, a lot of aspects became clarified – especially the increasing of geographical markers of the Shoah, the aspect of memory and traumas of its victims and witnesses, the aspects of a woman history of the Holocaust etc. One of actual problems of nowadays is the problem of personalization of the Holocaust history with including the names of victims, saved and saviors for extending the space of memory about the tragedy of European Jews in the times of WWII. Literature, as well as historical science and commemorative practices, actively participates in this. The object of our attention in the following article is modern Ukrainian prose – novels “Sonya” (2013) by K. Babkina, “Me, You, And Our Drawn And Undrawn God” (2016) by T. Pakhomova, “A Story Worthy of a Whole Apple Orchard” (2017) by M. Dupeshko, “The Beech Land” (2019) by M. Matios. The aim of investigation is the characters of victims and saviors who have real prototypes: an icon of the Holocaust in Poland and Liublin, 9-years-old Henio (Henryk Zhytomirski), Righteous Among the Nations Maria and Stepan Vrublevski (Maria and Stepan Sichevliuk-Vrublevski), the Chernivtsi poet Selma Meerbaum- Eisinger, the mayor of Chernivtsi Traian Popovici, the diplomats Grzegorz Szymonowicz and Fritz Schellhorn. Implementation the life stories of real personalities into fictional form leads to expanding the memory about the Holocaust in Ukraine, and it’s also a way of creating a modern culture of memory, that is particularly important in a context of the international tendencies of finding the common understanding through awareness of a personal responsibility of others’ lives, and non-admission of repeating the tragic pages of the XX ct. history, one of those was the Holocaust. Since the long-term silence of the traumatic experience of the Holocaust victims didn’t create an intergenerational connection in the process of transmitting the memory of the Holocaust, modern literature, with its artistic construction of the past, becomes not only a tool for spreading knowledge about the Shoah, but also a way of creating the cultural memory about this tragedy. The prospect of further research of the following aspect is seen in a deep analysis of new examples of both Ukrainian and translated literature, including novels written by authors that are biographically related to Ukraine.

Memory of world war II in the novels of Kate Atkinson

The article analyzes Kate Atkinson’s novels «Life after Life», «Ruins of God» and «Transcription» in terms of memory studies. The current objectives of the study were: 1) to outline private memories in the textual structure (these are the main correlates of individual and collective memory); 2) revealing the relationship between the injuries suffered by the heroes and the «wounds of time» inflicted by World War II; 3) understanding the mechanism of «crystallization» of collective memory in a particular cell («place of remembrance» in novels); 4) delineation of the boundaries of the cultural archive, which is reproduced by the author. The study found that the main message of the novels is focused on the theme of World War II, its understanding and reflection in the collective memory of the British. Through the images of the main characters, the author recreates the memories of wartime. It is noticed that in all novels the chaotic, instead of chronological principle of reproduction of the past is applied: the plot acquires cyclic character. This image principle mimics the work of the human brain, which sporadically emits layers of memory. This kaleidoscope of memories follows the author’s logic: the scattered fragments of memory form a coherent history, correlated with the national archive. Teddy Todd is a survivor who survived to preserve the memory of his fallen comrades («places of remembrance») and to testify about war crimes, as well as to nurture a new generation of Britons. At the same time, Ursula Todd and Juliet Armstrong present a feminine but polar experience of war. At first glance, there are no significant differences between the heroines: both work for secret military departments, contributing to the approach of victory, both took the place of men who went to the front. At the same time, Juliet Armstrong is a double agent recruited for espionage in favor of the Soviet Union, who, through her own betrayal, separates herself from the collective memory. Miss Armstrong’s memoirs do not correlate with the National Archives, but are the antithesis of the British collective consciousness, constituting an unexplored «white spot» (the phenomenon of betrayal is indeed something of a native «stain»). The post-war duty of Teddy and Ursula Todd, the true heirs of national values, is to heal the «place of remembrance» and to preserve the memory of the fallen. Todd’s memories should be embodied in «places of remembrance» (monuments, museums, military burials, works of art, etc.). The conditional archive of the novel, the «place of remembrance» recreated in it, correlate with the collective memory of the peoples of Britain, thus encouraging the understanding of the traumatic experience of World War II.

The article is devoted to the coverage of the problem of bricolage as a method of memory reconstruction in the novel “Austerlitz” by the greatest German writer Winfried Sebald. The article notes that “Austerlitz” marks the transition from trauma to conscious identity as part of the historical memory of the Holocaust. It shows how the hero of the work, Jacques Austerlitz, acquires his identity by assembling from scattered information his personal history, reflecting a significant part of the collective tragedy. The genre feature of the work as a travelogue, memoir, investigation, as literature bordering on documentary and artistic experience, where the real is combined with the fictional, is highlighted. The article describes in detail the content of the technique of bricolage as a form of “wild”, “pre-rational” way of thinking, as a technique of fitting auxiliary materials (old photographs, newspaper clippings), a montage of disparate episodes, the technique of collage. The structure of the work’s storytelling is analyzed when the narrator does not tell the story but describes what he hears from Jacques Austerlitz. It is as if it is not a text, but the story itself, which someone tells, and also shows pictures for authenticity. The functions of the hero in the novel gradually shift from people to things, documents, bearers of the memory of individual and collective civilizational catastrophe. These indescribable witnesses break the blockade of traumatic silence around the childhood of Austerlitz, embodied in images of blindness, dumbness, oblivion. Before the protagonist of the work, the “man without a past,” the history of his family, the ghostly happy childhood that was rudely cut short by the separation from his biological parents, is suddenly revealed. Sebald demonstrates a contemporary form of novel narrative in which the truthfulness of the Holocaust narrative is revealed by incorporating the exile’s personal authorial biography, pain, and guilt into the memory of this tragedy. The role of photographs and descriptions of architectural structures in revealing the immanent semantic content of the subject, not manifested verbally, is analyzed. The latter is the key document that unites and structures the important for the writer themes of memories, memory, indifference, oblivion, return to the ghostly past, overcoming of the psychological trauma. Based on the analysis the author concludes that the attitude to the reader as a co-author brings Sebald’s novel closer to the tradition of the European intellectual novel and postmodern hypertexts, in which meaningful units are not presented in a traditional linear sequence, but as a multiplicity of links and transitions. The author notes that the acute experience of humanitarian catastrophe, the multilayered text, the density of meaningful meanings make this work a notable phenomenon in the context of artistic comprehension of traumatic memory.

Analytical review of modern Ukrainian literature

The article gives a brief analytical overview of modern Ukrainian literature; presents the literary career of several bright, in our opinion, artists, who represent different geographical regions of Ukraine and also different generations of writers. The author of the article made an attempt to analyze the literary works by Lina Kostenko (the first prose novel, The Notes of a Ukrainian Madman, 2011), by Yuri Andrukhovych (collection of essays “Here was buried Fantomas”, 2015), by Lys Volodymyr (novel-chronicle “Jacob’s century”, 2010 and “Solo for Solomiya”, 2013),·by Yuri Vynnychuk (novel “Tango of death”, 2012), by Irene Rozdobudko (“LSD. Lyceum of obedient wives”, 2013), by Maria Matios (novels “Hardly ever otherwise”, 2007), by Yevgeniya Kononenko (novel “Imitation”, 2001), by Jana Dubinyanska (novels “The ghosts’ wives”, 2003). Emphasis is placed on the importance of studying these works in secondary and higher educational institutions of Ukraine, as they present existential issues relevant to our time, and, what is very important, show the true history of Ukraine, hidden for decades. The works depict the realities of Ukrainian life since Austro- Hungarian times to the totalitarian regime of the USSR, in particular , the accident at the Chernobyl nuclear power station, its consequences and reaction of the Soviet government to this tragedy, the Cold War between America and the USSR and more. The originality of life and worldview of Ukrainians in Galicia (Yu. Vynnychuk), Polissya (V. Lys), Bukovyna (M. Matios) is illustrated. The modern issues in the works of Yu. Andrukhovych and Lina Kostenko, that is, problems of education, culture (music, books, cinema, radio, television), politics and economics, universal values and temporary fashion and the need to rethink them in today’s context are revealed. Now we can state that the works of modern Ukrainian literature presented in the article reproduce the main realities of the Ukrainian society in their historical context: they try to formulate the questions correctly and encourage seeking answers for these questions. In our article, we did not claim to make a full coverage of the research topic, because we are well aware of its scale. However, choosing the subject of our study to analyze the creative work of contemporary authors, we aim at proving the need to promote the texts of contemporary Ukrainian authors among young people to involve them in discussing important issues of our time and to make them be aware of responsibility for their own destiny, their people and humanity. We hope that the literary works by the proposed authors can be of interest to a wide range of readers not only in Ukraine, but also abroad.

The category of visualisation in literary studies – the interdisciplinary aspect

The concept of “visuality” describes the image of the channels of perception presented in different forms. The text has visual features, due to the content, but also due to its symbolic, sign system. Philologists have been dwelling on the idea of the “visual” ability of a language, by means of fiction, which singles out the existence of pictorial art forms such as landscape, portrait and sculpture. The great interest in the category of visualization is said to be because of modern types of communication. The aim of this article is to review some aspects of the category of visualization, in its current state and its representation in the art of the modernist’s era. The category of visualization covers a wide range of concepts, such as creolized texts, some semiotic studies, intermedialism, iconic texts, the theory of ekphrasis and hypotyposis. It was established that the “escalation” of the image role has led to the need to highlight the concept of “visuality” within modern linguistics. Visual thinking is interpreted as a kind of non-classical rationality. At the moment, philologists know a wide range of concepts that include the term “visual”. For example: visual culturology, visual political science, visual sociology, visual anthropology, the theory of visual communications. We found out, that the modernist era, puts emphasis on the elusiveness, the mystery, the enigma and on the undeciphered inner, so that the hidden meaning was increased. It was believed that all references suitable for perception by the human eye are codes that hide an eternally existing idea. Such a visual presentation allows the recipient to understand the essence of the work on an intuitive level. Symbolism was an integral part of modernism. For optimal study of visualsm, a hypothetical-deductive method was used to get acquainted with the existing materials at this stage of development. Modernism is a set of artistic trends in the art of the second half of the nineteenth – mid-twentieth century. Its supporters were inclined to believe that life forms in the twentieth century exhausted themselves, and the periods that were considered successful for realism were in fact epochs of decline. The new literary phenomenon of the time was called modernism, and the search for positive ideal images began, in contrast to the destruction of public opinion and the crisis that appeared in the place of past ideas. Modernism has destroyed all ties with traditional aesthetics and the ideals of the past. At the same time, the visual aspect of modernism became a mixture of two oppositions the visual and the written text.

Ethnocultural Ukrainian-Lithuanian contacts of the Lithuanian-Polish era

In the course research the problems of the common political history of Ukraine, Poland and Lithuania were comprehended, first of all, the influence of the Slavic world on the process of formation of the Lithuanian state, mutual influences of historical and cultural nature. The article focuses on the cultural interethnic contacts of Lithuanians and Ukrainians. Linguistic interethnic contacts, Lithuanian-Ukrainian interactions in family and marriage traditions of Ukrainians are revealed. Within the frameworks of the study the language situation was described. It can be argued that the Rus influence was stronger here, because the so-called “Rus language” was used both in everyday life and in official records. But it posed difficulties in its linguistic interpretation, many variants for its nomination were suggested which was described in detail in the article. Numerous Lithuanians in modern Ukrainian lexicon representing various fields undoubtedly testifies to the importance of Lithuanian-Ukrainian contacts in the Middle Ages and the historical contribution of Lithuanians to the formation of the Ukrainian ethnic group. The reciprocity of Ukrainian-Lithuanian contacts is evidenced by numerous Ukrainian borrowings in the modern Lithuanian language, most of which undeniably entered the vocabulary during the time of the Grand Duchy of Lithuania. A striking example of Lithuanian-Ukrainian interaction presents such a sphere of spiritual life as marital relations. After all, in the Ukrainian lands beginning from the XVI to the first half of the XIX century Lithuanian Statutes were in force (before the introduction of new Russian legislation), to which the norms of Russkaya Pravda regulating marital and family relations in the Kyiv state were transferred. Thus, Ukrainians got their own marriage and family traditions. The institution of marriage in the Lithuanian Statutes is considered quite extensively, but to a greater extent they regulated relations between the more affluent sections of the society at that time. Meanwhile, certain norms were universal: a clear definition of marriage age, defining the rights and responsibilities of parents and relatives in creating a new family, the obligations of the groom, determining the position of women and their children, and others.

This paper focuses on preserving, translating and analyzing pieces of information on the 2015–2018 Ukrainian- Polish Forum of Historians, allowing for knowledge of this event to be spread beyond Ukraine and Poland. Through this article the author wishes to show that to the governments of Central and Eastern Europe, such as Ukraine and the Republic of Poland, history became a consideration in state policy, due to massive shifts of views on how to approach history between the era of totalitarian Soviet domination and the development of current democratic governments. Although it is something that would be considered outside of state purview in the West, possibly even called “undemocratic”, the government’s interest in how history is told to the population must be viewed in the context of both information warfare, and in how the countries of Central and Eastern Europe approach international relations. Because of this, the Ukrainian-Polish Forum of Historians, organized by Polish and Ukrainian Institutes of National Remembrance (differential in their approaches to what can be considered “shared history”) is of interest as an example of how joint discussions of history, attempts to find a common position, or a compromise, were considered relevant and needed for policy makers in Poland and Ukraine. Analyzing the prerequisites of the events, the topics discussed at the Forum (largely concerning mid-20th century history of Poland and Ukraine), and its results we conclude that, although the differences on how Ukrainian and Polish governments viewed their countries’ history eventually led to the Forum stopping, the initiative led to new actions from independent actors trying to support the idea of shared forgiveness and modern Polish-Ukrainian unity despite different views on various historical events. That shows that politics of memory affect Ukrainian and Polish policymaking, allowing an alternative perspective on the theory of international relations, one that considers not simply realist expectations, but emotional attachments to a country’s past and wishes to see that past respected, or at least not actively opposed, by other nations.

Moscow and Kyiv vision of the interpretation of disputes about the past of the continuity of the historical roots of mutual statehood

Russian Federation’s attack of February 24, 2022 on Ukraine was no coincidence but a strategy to regain the status of superpower. Referring to history was its significant part. Indeed, that is a shared history, at least in the origin, though differently interpreted by both states, independent from 31 years. Based on the promoted from 16th Century vision of Russia as the Byzantine Empire’ successor, Putin’s Russian Federation claims the right to build an empire that would include all lands of the Russian Empire. It does not recognise independent statehood and Ukrainian nationality. The war was started to achieve that goal.

Polish and Ukrainian political and military cooperation plans in 1919–1921

Geopolitical changes in post-WW-I Europe resulted in the rebirth of Poland and a short functioning of Ukrainian state, even without the formal recognition of its independence. Poland intended to become a leader for the western-border states of the Russian Empire by promoting a federal vision of Piłsudski’s followers. From Autumn 1919, it tried that toward the Ukrainian People’s Republic ruled by Petlura. Formally, it happened in April 1920 with the signing of political agreement and military convention. The goal was to take joint political and military action in the war between Poland and Bolshevik Russia in 1919-1920. However, the Ukrainian society did not support it and undermined its efficiency. Moreover, the leaders of both sides perceived the alliance’s essence differently and were not entirely loyal to each other. The cooperation’s end was a truce in the war signed on October 12, 1920, and then the Peace of Riga of March 18, 1921. Against Piłsudski’s will, Poland agreed to end cooperation with Petlura and intern his soldiers. The only thing Piłsudski agreed to was the independent action of Petlura’s followers, which had to end with a catastrophe.

From ideologisation to patriotism: receptions of A. Mickiewicz’s model “Poet and people” in the ukrainian literary criticism of the XX – beginning of the XXI century

The article is devoted to the research of reception of A. Mickiewicz’s model “the Poet and the People” in twentieth- century Ukrainian writers’ criticism. The writers traced the canon of relations between the artist and society created by A. Mickiewicz, which had a profound influence on the literature of Polish Romanticism. Considering the reception of the ‘poet and people’ paradigm, the authors of the article note that Ukrainian poets of the Soviet period were forced to dissect certain artistic phenomena through the prism of the communist ideology of the time. One of the most consistent and productive interpreters of A. Mickіewіcz among Ukrainian writers was M. Rylskyi. He left a considerable inheritance of literature and publicist articles about the Polish poet. M. Rylskyi as a critic gave the deepest scientific standards to the analysis of the poetics of A. Mickіewіcz’s works. He did not cast aside the generally accepted scheme of the creative evolution of the Polish poet but cautioned researchers from the monolinear measuring of it. M. Rylskyi was the first one in Ukrainian Mickіewіcz Studies who noticed that mixing of styles was inherent in А. Mickіewіcz’s works during all of his creative life. M. Rylskyi allowed the identification of the poet Konrad Wallenrod with A. Mickiewicz himself, warning that after all the person of the hero does not reflect and cannot reflect the personality of the author. M. Rylskyi described Konrad Wallenrod as mysterious and contradictory, as was A. Mickiewicz. The article also compares the interpretations of M. Rylskyi and Polish researchers and writers, in particular, Maria Cieśla-Korytowska and Jan Kasprowicz. The authors trace that the Ukrainian poet D. Pavlychko was the first in Ukrainian literary criticism to draw attention to the idea of Europe in the artistic and ideological system of A. Mickiewicz as the idea of the Fatherland.

The article shows the fact that the concept of scientific discourse is interpreted as a complex phenomenon that consists of participants in communication, communication situations and the text itself. The conclusion is that discourse is an abstract invariant description of structural and semantic features that are realized in specific texts. Linguists interpret the concept of discourse as a complex communicative phenomenon that includes the speaker and the addressee of the message, the process of proper formation of speech, extralingual factors of communication, social and cultural background. This article presents a critical reading of the text “10 Best places to visit in Ukraine” and its overlook, research study in the field of online tourism promotion, published online in 2021 by one of the world’s largest tourism publishing houses, Touropia. The study aims at revising some of the characteristics of the ongoing tourism discourse through an analysis of the network of people and practices involved in these publications, their textual features and images. The article analyses the way in which various modes to create a virtual brochure with a promotional message from both institutional and commercial positions were combined. In doing this, it studies the organization of the website and its webpage, as well as the lexico-grammatical and visual features of its promotional messages. The analytical framework used includes critical discourse analysis and a corpus-based tool used to interpret different aspects of this tourism discourse. The places advertised as “Top 10” are presented to an all-aged audience that must be interested in discovering new places, appreciated to nature, fond of history and ready to consume national products. Polyparadigmatic nature has led to the active use of these terms in the field of literature, as a result of which scientific studies address issues of artistic concept, artistic discourse, which will always be open to researchers, while not exhausting its relevance.