ARS-POETICA IN KIEVORUSIAN HYMNOGRAPH
Journal Title: Проблеми сучасного літературознавства - Year 2019, Vol 0, Issue 28
Abstract
Medieval literature presupposes the specific functions of the author. Firstly the author can actively quote authoritative sources. And secondly, starting a literary work, he can cling to himself, confessing in his lack of spirituality, inappropriateness, inability to skillfully master the word. And the first and second trends are complementary to the same literary style of the medieval scribe — the aesthetic need to take advantage of the «topos of modesty». One of the manifestations of this topos is the justification of the artistic purpose and awareness, so that the tasks can be implemented. In the article such reasoning is defined as ars-poetica. It understood as a special discursive part of a literary work in which the scribe explains how he is going to compensate for his aesthetic limitations. Ars-poetica available in the Kievan translation and original hymnography, in the canons of the saints of the Mining Cycle. In the translated and original canons of the XI–XII centuries. Ars-poetica is fixed in the first troparion of the first song. In the Kievan translation and original hymnography of the XI–XII centuries. Ars-poetica is represented by two equivalent variants. The first version is more widespread, it assumes that the scribe turns to the God. The second variant is less common and suggests that the scribe, in essence, appeals to the God, but in the person of his glorified saints. The article states that in both versions there is the same tendency. The author acknowledges his spiritual weakness, neglect of the word, but believes in divine help, and that is precisely why literary work begins. It is proved in the article that such an aesthetic setting demonstrates a special mystical attitude of a medieval artist to a creative process that is led and directed by God, not man.
Authors and Affiliations
Yevgen Dzhydzhora
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