The object of the analysis in the article is quite an original novel written by Boris Necherda «The Death of a Carrier», which belongs to actual prose works of a famous poet both for the depth of an artistic interpretation of moral-aethetic problematic and for the persuasion of the version of an aethetic singularity of unfamous, unfortunately, but talanted in many senses intellectual novel, built on the principle of an adventure-detective, criminal work. It is based on the Odessa material of the period of «post»-tragic and difficult times of 1990-s after the collapse of the empire of evil — The Soviet Union. The intrigue of «The Death of a Carrier», which is the bases of the plot and composition of the novel, is swiftly developing due to artisticly persuasive system of agonal conflicts. Each of them deals with a criminal business: Charistos — Xana (the most dramatic in its psycological representation circle of the novel); Charistos — Runtelas a unity / divergence of two confederates — criminals; Charistos — Yuriy Galalenko as the battle of two different in ideal principles of a creative work talanted artists; Charistos — Skladchikov (as a variant — Charistos — Grabiak and the police); Charistos — Vitya Khramushkin, Zubkov (the representatives of the brotherhood of captain Ovchara); Charistos — Igor Yakhnoskiy and his assosiates — enlights the sense of the characters of the personages of the novel and the tragedy of a spiritual impoverishment, caused by a totalitarian Soviet society.The means of creating the prototypes of the personages of the novel from the real people from Boris Necherda’s surrounding are very important, especially the creation of the image of a famous Odessa artist Yuriy Kovalenko and changing of aethetic search of two different but spiritually close creators.Agonal circles, spread all over the text of «The death of a Carrier», influence both genre nature of the novel and its plot and composition, creating a philosophic subtext in such a way. Thus, the novel of Boris Necherda gave a great impulse to formation of an existantial, intellectual detective in Ukrainian literature of the end of the 20th — the beginning of the 21st century, built on the harmony of two opposite spheres — mass-reading and eletism (immanent artistic nature of the text, which subbases creates a philological game, leading to a abyssal sense of the novel).

In the article features of artistic interpretation of Chernobyl tragedy in poetic and publicistic works of Lina Kostenko are considered.The Chernobyl theme in the works of Lina Kostenko constitutes the basis and center of the lyrical experience, forming a complete work. The Chernobyl tragedy entered the poetic consciousness of the poetess so deeply that even in the works on another theme memories of Chernobyl, allusion to it arise, a mosaic of thoughts and feelings of the poetess turned to modern reality is formed.Lina Kostenko continues the best traditions of Ukrainian literature which are associated with acute perception and ethical and philosophical artistic understanding of the most important socio-historical events, phenomena, processes for the country and people. At the same time, the poetess not only recreates her artistic perception of the world, but also transforms, reinterprets traditional genres, sometimes falling back to combinatorics of various genre and poetology systems. Not so much as desire for a unique repetition of themes, images, emotions, thoughts but also some kind of inner peculiar repeatability is inherent to Lina Kostenko’s creative consciousness. It is based on the integrity of the author’s lyrical subject with its special ethical and philosophical vision of reality, the view of life addressed to the contemporary reader.In the work of Lina Kostenko a distinctly pronounced tendency of the aesthetic solution of acute socio-historical, moral, philosophical problems actual for the modern life of the Ukrainian people emerges.The peculiarities of this view of life, the experience of the world are peculiarly refracted in the lyrical and tragic theme of the Chernobyl disaster.

Рецензія: Читач. Рецепція. Інтерпретація: [матеріали наукового круглого столу / за ред. Н. М. Шляхової: МОН України; ОНУ ім. І. І. Мечникова; філолог. ф-т; каф. теорії л-ри і компаратив]. — Одеса: Астропринт, 2017. — 128 с.

In this article is offered the hypothesis of analogy of semiozis of carnival and «the semiotics of passions» which, with a support on the point of view of A. J. Greimas and J. Fontanille, can be considered as some kind of performance. As illustrative material is chosen the poem by the modern poet A. Shiryaev «A street organ — from a cheek to the horizon…». In a lyrical plot of the above-named text is submitted Shiryaev’s poetic version of the myth about Amadeus. In a lyrical discourse, the work chosen for the analysis, is revealed the principle of violation of borders allowing to realize the potential of consciousness of the lyrical hero and also the medial objects and spaces surrounding him. Summing up the results, it should be noted a number of the key positions revealed in the course of the research. For A. Shiryaev’s lyrical plot is basic the atmosphere carnivalization, existence of various medial objects and topos (a street organ, a window, a fair, a rainbow), a borderline of existence of Amadeus and a mythologization of his status. The above-named aspects are in many respects reached by the author by means of a semiotization of the passions experienced by the lyrical hero that confirm the hypothesis of analogy of the semiotics nature of a carnival and «semiotics of passions» offered in this article as some kind of performance. Amadeus’s image is allocated with the flickering nature it agrees a semiosfer of a carnival and the experienced passions, being represented by a creative person in general, a mytheme of W. A. Mozart and an author’s carnival mask of the modern poet Andrey Shiryaev.

The article discusses the problem of the author and the ways of explicatory author's consciousness in fiction literature. It describes the main approaches to the problem of the biographical school, formal school and post-structuralism. The theoretical works of M. M. Bakhtin and B. O. Korman are the methodological basis of the analysis of the forms of author's consciousness in the Andrei Bely’s novel "The Silver Dove". The basic forms of expression of author's consciousness are defined: the shape of the subject (characters and narrative instance); point of view (spatial, temporal, phraseological); plot and composite level of the work; architectonics; metatext (title, epigraphs, dedications, notes).The results of the study of the narrator as subjective expressions of the author's position in Andrey Bely’s novel "The Silver Dove". It consists of the several masks. Five storytellers are organized in a hierarchical multilevel storytelling system. There are three socio-characteristic of the narrator on the lower level– rural, district and estate. They have no autonomy, obey to the conditional narrator and attached to a particular locus. Their eyesight is limited and reflects typical features of the social groups to which they belong and represent. The author's attitude to them expressly ironic and evidences the demonstrative difference of their positions from author's point of view.The function of the folklore narrator is to transfer the internal state of the protagonist of the novel, Peter Darialsky, and express his perception of folk-poetry power. The mythological beginning connects this narrator with the author-storyteller, occupying the highest position in the conventional hierarchy of storytellers. It has maximum freedom of movement, his point of view is dynamic, and his "face" can come through the mask of other storytellers. The "lyrical hero" of the novel is the most consistently and openly narrator which expresses the author's position and whose voice sounds in a few lyrical digressions.The effect of the synthesis of several narrative instances occurs due to musical technique as a counterpoint. Thus, the complexity of the narrative structure of "The Silver Dove" is caused by the connection of narrative speech with non-direct speech, the alternation of the different speech styles with blurred boundaries between them, hidden and explicit references to "alien" text – artistic, philosophical, mythological, poetic, and contrapuntal technique of connection multiple viewpoints and multi-level system of narrative instances, which creates the polyphonic integrity of the novel.

The article deals with the investigation of B. Karadgev's documentary film-portrait «The Supplier of Words» devoted to the modern Russian writer A. Gavrilov. The author gives the complex analysis of various intertexts forming the semantic field of this film. It is shown that the explanation of the director's concept is impossible without knowledge of A. Gavrilov's creativity and his intertextual, metatextual, and autobiographical goals. The research motivation is defined by the lack of interpretations of "The Supplier of Words» and the active interest of the modern literary criticism to the questions of the interaction of the texts belonging to different art forms.The conceptual basis of the film is made by the semantic constants of Gavrilov’s creativity - the problem of the word (language) and the problem of communication. The matters of self-identification and self-creation become the major subject fastening of this film. The real "I" of the hero is revealed in the lyrical plot which narrates about loneliness, calling, literary mission, self-search, life and death, time and eternity. The image of the artist organizes the art reality. Any household detail can receive symbolical filling.The director uses a «text in the text» approach. The fragments of A.Gavrilov's works define the plot and the chronotop of the film, and also its metaphysical plan. Gavrilov's prose is based on the associative musters, and the repetitions of motives. Art integrity of the film is defined by through images and motives – dance, ravine, night, monument; they form the intertextual field of the film text.In «The Supplier of Words», the author uses literary, musical, picturesque and cinema intertexts. The intertextual elements serve as the means of connecting and interosculating "the life text» and «the literature text», such elements carry out the autoreflective function, emphasize the metaphysical aspect of reality, and at the same time promote lowering of the central image.

The article tells about essay discourse praxis in modern Ukrainian literature during the transitional period. There is a comprehensive analysis of the transitional period and the role of essay in it, which is considered a full-value artistic work by writers and critics. Its features are outlined, and it is counted as a communicatively-discourse praxis formed by mutual processes of text production (transitional period), authors (writers, critics, scientists – if we are talking about fictional and scientific essays, however, today essays are a part of academic, publicist and philosophical discourses), topics (“about oneself and the world”), mechanisms of discourse structure (based on associations, “following the pen”), goals and audience expectations (effect of internal relation to the author’s thoughts, denudation of consciousness, engaging the reader into the process of thinking and mutual creation), the process of discourse acceptance (unconscious, chaotic, vague, free, sometimes paradoxical), channels of information distribution (through op-ed’s, blogs, separate publications, special rubrics in media, that are then compiled in collections, separately printed individual and collective collections, series), time-and-space characteristics (these works become particularly popular during the independence period and keep getting even more popular throughout the years). Essay discourse praxis, in our opinion, is an artistic and socio-cultural complex of producing and spreading processes of certain types of subjectively-reflexive information that is artistically recreated and takes its shape based on separate texts about internal and external issues that are relevant for the author with the aim of publishing them, although publication itself is secondary here, while reflexion, auto-phycology, self-consciousness are of foremost importance.In the article there is an analysis of the word “essay” genesis, that also gave a title for M. Monten’s book, characteristics of nuances concerning the translation of this word into Ukrainian and Russian languages, highlight of inconsistency in the translation and adaptation in Ukrainian language, evaluation of Ukrainian translation in 2005-2007.There is also a review of essay variations as discourse praxis based on the materials of Ukrainian writers (attempts, samples, essays, zuihitsu, experiences, sketches, outbreaks, fragments, doubts, reflexes, epistles etc.), and a conclusion about persistent positions of these works in modern discourse.

The article covers the principles of functioning of "child’s optics" in the work of T. Tolstaya.The modern stage of the development of literature transforms the very concept of an artistic text. A special role in this is played by network prose and poetry. Therefore, the research of network artwork of the writers is a promising direction of the interpretation of the modern literary process. The figure of T. Tolstaya has been evoking the active research interest. Until 2000, she published stories and novels, and recently it has been mostly non-fiction, based on the posts of the writer on Facebook.It is the post today that has become one of the most popular hybrid genres. In the tradition of our culture, a post grows into a text with signs of artistry, it can be described with such notions as "art journalism" or "essayistics". In the article, the author examines the similarity and difference between the literary text and the Internet post, concluding that the posts of T. Tolstaya quite fit the definition of essayistics. These texts include many signs of journalism and contain a full-fledged artistic principle.Child’s theme takes an important place in the work of T. Tolstaya. Child’s consciousness, child’s perception, embodied in literature, has repeatedly become the subject of scientific research. At the same time, we failed to find any special works with the child's vision of the world, reflected in the artwork of T. Tolstaya. The goal of the article is to understand the principles and mechanisms of functioning of child’s vision in short stories and posts by T. Tolstaya. Short stories like "Love – love not" (1987) and "The Invisible Maiden" (2014), as well as the author's posts in 2014-2016 have been analyzed.Methods of child’s poetics are similar in the early and later texts of the writer, but we can also see their evolution. The short story "Love – love not" represents the point of view of the child observer, and the structural basis is the opposition of one’s own to someone else’s. The short story "The Invisible Maiden" is a complex structure from the observer’s point of view: the child's point of view is superimposed on the point of view of an adult. The irony, publicistic orientation of Internet posts, apparently, to a lesser extent, pushes to create texts saturated with children's visuality. That is why the analyzed posts in their structure and subject matter are similar to the later stories of Tolstaya, the principle of which is a memoir orientation, blurring the line between artistic work and non-fiction. Although the evolution of the methods of implementation of "child's vision" in Tolstaya's texts is quite evident, the functioning of the mechanisms of child's optics is nevertheless built on similar principles, which allows us to speak of the versatility of the analyzed aspect of poetics for the author's entire work.

Рецензія: Сподарец Н. В. Модернизм Серебряного века: литературоведческая идентификация: [монография] / Надежда Викторовна Сподарец. – Одесса: Астропринт, 2017.– 452 с.

The article is devoted to the problems of literarytranslation theory describing the postulates of the translation process by the Czech translation theorist JiříLev?. It also deals with the analysis of the individual parts of Ukrainian and Czech translations of literaryworks based on the presented theory. The primary focus is on the types of translation, their semantic, grammatical, stylistic, and pragmatic characteristics aiming to provide the most appropriate rendering of the original and its interpretation within the particular translation.