Модернізм і модернізми. Версія одного парадоксу

Abstract

This paper presents a review of traditional approaches to the literary process that are based on established canons and schemes, not always readily verifiable. The history of literature usually focuses on literary movements whose origins, development and evolution do not necessarily fit in with traditional concepts. This also applies to Modernism or rather Modernisms that share a common ideological and aesthetical vision. Specific facts demonstrate that the movement emerged in Ukrainian prose earlier (A. Krymsky, Lesya Ukrainka, Uliana Kravchenko and others) that in European literature, sometimes preceding the evolving genre and stylistic formations (narratives by V. Pidmohylny, V. Petrov /Domontovych/, I. Kostetsky, Emma Andiievska). The situation in poetry was quite different: poetry was influenced by European movements, but remained at the crossroads between opposite concepts proposed by “philosophy of life” and “philosophy of the heart”, was inspired by certain styles (Surrealism) or associated with those that acquired Ukrainian features (Futurism). Synchronous trends frequently appeared, based on occasional connections and contacts (“Neoclassicists” – “Skamander” group), or without any contact (the works by Y. Pluzhnyk and T.S. Eliot). They may confirm the theory of autogenesis of stories, but rather demonstrate indirect dialogue between writers and “circulation” of ideas.