THE MARITIME CONTEXT OF KHVYLOVYI’S MYSTICAL DISCOURSE
DOI:
https://doi.org/10.31494/2412-933X-2019-1-9-113-121Keywords:
mystical discourse, sea, maritime context, mysticism, discourse analysis, symbol.Abstract
The mysterious and enigmatic sea element has long been the object of artistic reflection and therefore the object of humanity studies. Mykola Khvylovyi's artistic works are not exceptional in this aspect. Traditionally, in literature the sea is analyzed as an image or concept. But this article offers an interpretation of the sea as the context of mystical discourse. The mystical in Khvylovyi's prose has already become the object of literature studies. However, such studies reveal only certain aspects of this phenomenon and do not take into account the discourse nature of the works. The methodological basis of the article is the French School of Discourse Analysis and, in particular, the works of its founder Michel Pecheux. According to its main guidelines, the context is defined as an orderly sequence, in which some elements have the property of determining the nature, value and position of other elements. The author has chosen the texts by Mykola Khvylovyi as the object of this research that were published in the first volume of his collection “Tvory”, in which there is implicitly or explicitly a mystical symbol of the sea , which is able to determine the nature and meaning of other mystical symbols. Special attention is paid to the short story “Arabesques”, where the maritime context is expressed most clearly. It is specially focused on the fact that the author of this article interprets mysticism as “living union with this One” (E. Underhill). Thus, the study has revealed that Khvylovyi constructs a mystic way, the elements of which are: the ruins as a starting point, connected with a sense of doom, hopelessness from which only a sincere belief in union with the One can save; the sea as the mystic way, the boundary that must be overcome and which appears in the text as a correlate of death as a beginning; the grape far is the ultimate goal of the mystic way, the embodiment of the One in the symbols of place. The author has also analyzed an interdiscursive marker, expressed in the image of gentleman's daughter Mara (“panna Mara”), that is not only an allusion to the same name play by Volodymyr Vynnychenko, but also within Khvylovyi’s text it acquires the signs of a mystical symbol that correlates with the marine context.
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