WATER CONCEPT IN THE NOVEL BY OLENA PECHORNA THE WITCH

Abstract

In Ukrainian prose of the first decades of the ХХІ century nearly greatest attention to the artistic word cleanness is spared by Olena Pechorna, her scantily explored novels deserve a system study. The novel The Witch occupies an important place in her artistic work and it is organic for her idiostyle paradigm, but while did not get a professional estimation. In our article we carry out an attempt to define the specific of dominant water concept in the novel The Witch for the first time. The key in the article become the study of the realization type of the water concept of in the book, and also the research of changes of its expression by comparison to the previous novels of authoress, finding out of method of subordination of The Witch poetics to the named concept. In the article are used psychoanalytic, system and comparable methods of research, elements of corporeal-mimetic method. The Witch continues a row of pseudomystic novels, where the expressed corporalness and system personification of the natural phenomena, objects, abstractions, etc. assists to the irrational atmosphere.

Personification here is more electoral, its receptions are carried in descriptions of the emotional state, landscape, interior. «Circular elements» go out on the first plan and they assists to conceptualization of the different phenomena row. That are leit-motif imitations: updating; elements of application of meal and / whether taste feelings; the anatomy-type description of the phenomena, objects, abstractions, etc.; expressed corporalness.

In The Witch system of images and microimages a separate place belongs to the water concept. As well as in «The Circles on the Water» or «A Fortress for the Heart», a water is living here, but already not anatomic and it is more frequent represented in description of processes and states. The accordingly executed descriptions of personages experiencing and properties complement a water dictate in the novel. The dominating woman beginning, incident to the pantheistic picture of the authoress’ art world, is underlined by the dominant role of water element and by proper key concept.

This concept is realized through variant poetics and subordinates the work structure, co-operates with the analogical clusters of personification, leit-motif imitations, with the concepts of memory, returning, paradise, hell, etc. The named water concept also assists in forming in the novel of the mosaic mythopoetic paradigm. The concepts of memory, «winged» woman are actualized in the novel.