Художня та літературно-музична інтерпретації образу І. Мазепи (епопея Б. Лепкого "Мазепа" та опера П. Чайковського "Мазепа")

Ключові слова: синтез мистецтв, література, музика, образ, інтерпретація, поема, епопея, роман, опера, лібрето.

АННОТАЦИЯ

Лупак Н.Н. Художественная и литературно-музыкальная интерпретации образа И.Мазепы (эпопея Б. Лепкого „Мазепа” и опера П. Чайковского „Мазепа”). - Рукопись.

Диссертация на соискание научной степени кандидата филологических наук по специальности 10.01.05 - сравнительное литературоведение. - Тернопольский национальный педагогический университет имени Владимира Гнатюка. - Тернополь, 2007.

В диссертации исследуется образ Мазепы в контексте европейской культуры сквозь синтез и взаимодействие разных видов искусства (в частности литературы и музыки). Сопоставляя неоднозначные и противоречивые взгляды относительно толкования личности украинского гетмана, уясняются исторические, социальные, национальные истоки того или иного художественного произведения, а также специфика характеротворческих средств отдельного вида искусства.

Феномен бытия образа И. Мазепы в литературно-музыкальном контактном пространстве базируется на концепции диалога и семиосферы, в частности на одном из постулатов: необходимой предпосылкой диалога является асимметрия, проявляющаяся в различии семиотических структур его участников.

Выстраивая музыкальную концепцию творчества Б. Лепкого, вскрываются источники музыкальности художественного языка писателя, определяются синтетические способы достижения литературным произведением музыкального эффекта.

Ключевые слова: синтез искусств, литература, музыка, образ, интерпретация, поэма, эпопея, роман, опера, либретто.

SUMMARY

Lupak N.M. Artistic and literary-musical interpretations of I. Mazepa's image (epopee „Mazepa” by B. Lepky and opera „Mazepa” by Chajkovsky) - Manuscript.

The thesis for the scholarly degree of Candidate of Philology in specialty 10.01.05 - Comparative Literary Studies. - Ternopil National Pedagogical University named after Volodymyr Hnatiuk. - Ternopil, 2007.

The dissertation deals with the I. Mazepa's image in the context of the European culture through the synthesis and interchange of different kinds of art (literature and music particularly). Comparing of contradictory and conflicting views upon the interpretation of the Ukrainian hetman's figure we elucidate historical, social, national circumstances of a certain artistic work appearance, as well as specific features of image making of every kind of art.

In the art as the integral system operate the main rules of the artistic thinking, common for all kinds of creativity. Concordance of the world artistic models makes possible to analyze arts interchanges and codes shifting while changing each artistic language in a different one. Using the semiotics state that semantic meaning reveals the opportunity to be expressed by different system we involved the important aspect of the arts interchange, decoding literary-verbal work into the language of different kind of art, musical-verbal.

Phenomenon of I. Mazepa's figure existence in the literary-musical contact space is based upon the dialog concept and semiosphere, especially upon the statement that necessary preconditions of a dialog is asymmetry that appeared in different semiotic structures of the dialog participants. In comparison of literary and musical works, united by common sign „Mazepa” we may observe the transition from one semantic system into the other one, which gives the reason to speak about the dialog (heterogenic and polymorphic) as historical specific mechanism of translation.

Taking into consideration the specifics of literary and musical works of art, the different ways of image developing and image creating are observed. In literature this way corresponds with the scheme idea - image - feelings, while in music the scheme is feelings - image - idea. The artistic image which appears on the foundation of such artistic synthesis may be qualified as new phenomenon with complicated and multisided structure.

The problem of art synthesis was central for many Ukrainian artists and scholars since the end of the 19^th beginning of the 20^th centuries. Their desire to `transfer' some means of musical and artistic arts into the verbal field of literature helped to overcome the limits of a certain kind of image making, as well as `fusion' of epic, lyrical and dramatic kind of literature helped to overcome the limits of a certain form. The desire of artists of transition period to reproduce man's deepest feelings made their worldview closer to the musical art laws, the fundamental aspects of which reveals in the way of writers' thinking and wide spectrum of their self-expressions.

B. Lepky creativity became the organic part of the process of the Ukrainian literature development at the end of the 19^th beginning of the 20^th centuries. The active search process of `new world viewing', depicting well known things „from the new point of view” as well as depicting situations from the „characters' perspective” prompted the writer to enrich the artistic tonics by using the experience of the corresponding kinds of art. The writer's artistic search had been influenced by different style streams with the modern ideas and were founded in the surroundings of great Ukrainian artists of word, such as I. Franko, Lesia Ukrainka, M. Kotsjubynskyi, Olha Kobylianska, V. Stephanyk, V. Vynnychenko, M. Voronyj, O. Oles' and others.

Constructing the musical-aesthetic concept of B. Lepky creativity we research in the thesis the backgrounds of musical components in the writer's language, reveal the synthetic ways of musical effects in a literary work.

Key words: art synthesis, literature, music, image, interpretation, poem, epopee, novel, opera, libretto.

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