Топос моря в історичній романістиці Раїси Іванченко

Abstract

The article reviews the latest researches on novels written by Raisa Ivanchenko. The literary studies problems which have become the subject of literary theorists' investigation in the novels «Betrayal, or how to became a Sovereign», «Poison for the Princess», «Perun's anger», «Golden Stirrups», «Vow» are distinguished. It is stressed that the topoi question wasn`t under the consideration before. It points out that the researchers do not often deal with the topoi problem in literary texts. Evidently, it is caused by the difficulty of the theoretical question. It is stated that the topoi was studied mostly by foreign theorists. Between the first researchers there were Aristotle and Ernst Curtius. Yanina Abramovska and Anna Bulgakova studies it nowadays actively. Their thoughts on the topoi are considered. The beginning of the novel «Betrayal, or how to become a Sovereign», where the panorame picture of the storm is depicted is properly analysed. It contains a great symbolism for the whole novel. The writer masterly compared the image of decuman wave and the nineth century, which is artistically interpreted in the novel, in it. The other episodes of novel, where the image of the sea is the matter of symbolic picturing of the events, are investigated. Also the moments, where sea landscapes are depicted to make the narration more realistic are pointed out. The parts of the novels with authentic and adapted folklore with the sea topoi are analysed. The article traces five novels by writer-historian depicting four seas: Black Sea, Baltic Sea, Caspian Sea, Sea of Marmora. It`s important that the author uses historical instead of modern geographical names (Pont, Ruske, Teple, Kholodne, Veletenske, Varyazke, Dzyrdzanske seas). A more realistic historical image of the world is created in such a way. The conclusions focus on the role of sea topoi on the structural, image and conceptional levels of the Raisa Ivanchenko`s pieces of art.