THE UKRAINIAN DOCUMENTAL BIOGRAPHICAL PROSE: ITS GENRE AND STYLISTIC “BORDERS” ON THE MATERIAL OF IGOR MURATOV’S NOVEL “CONFESSION ON THE TOP” AND YEVGENSTEBLIVSKY’S BOOK “ZVENYGORA. INSURGENTS. SABER TO THE COMMISSIONER”

Анотація

Specific of the Ukrainian documental biographical prose is studied in the article; its genre and stylistic “horizons” are outlined on the novel “Confession on the top” by Igor Muratov and “Zvenygora. Insurgents. Saber to the commissioner” as the book by YevgenSteblivsky;Soviet and post-Soviet visions of the Ukrainian history and its drivers and two types of artistic documental writings are compared;dissimilar ideological concepts such as pro-Bolshevik and pro-Ukrainian ones are indicated. As a result of the comparative typological analysis major similarities and differences are determined. So as Igor Muratov’s “Confession on the top” is a novel (psychological novel-confession of VitalyPrimakov is by Leonid Pervomaysky“court of died over alive oneself”) then YevgenSteblivsky’s book doesn’t have а clear definition of genre (art and adventure novel; “romantic and terrible legend on Cossack cavalry of the Ukrainian People's Republic epoch”; the first historic action on the events of Zvenigorod-Tarashcha uprising in 1918). Artistic and psychological features are prevailing in Igor Muratov’s literary work, historic truth is complemented by the author's speculation/fiction (mainly in the field of character’s self-reflections), whileYevgenSteblivsky’sbookis specified in documentary, factography, archive prehistoryand autobiography, however, the artistic value is just obvious.The vast majority of characters in both literary paintings are historic persons except Sydor of “Confession on the top” and wise magician Teacher Orest Hoshi of the book “Zvenygora. Insurgents. Saber to the commissioner” (Reality of them is not yet documentary confirmed but their presence in the analyzed texts is indispensable and even significant). As the central figure,Igor Muratov proposes “resurrected” Vitaly Primakov; epoch is presented in the light of his (Primakov’s) consciousness, memory, thoughts. Instead YevgenSteblivsky opens the boundaries of a single, to the recipient’s attention presents Rudynsky family first pronounced in different-time representatives as Maksym (Rud) been contemporary of the UPR epoch and Vitaly Primakov and our contemporary Roman (Rom) fates of which are revealed in the art literary discourse almost parallel in propercontexts. Presence of the character-contemporary as one of the potential features of the documental biographical prose is articulated in each analyzed book: transformation, “implantation” of soul/consciousness of the “other”, infusion of narrator’s blood into fates of chieftain Rud and student, later journalist Rom are stated, even more – formula “Rudynsky = Steblivsky” is frankly realized (“Zvenygora…”); “Self” of the author-narrator, narrator-contemporary is merged with Primakov’s “Self” as the highest level of psychology (Igor Muratov’s “Confession…”). Importance and relevance of studies on the Ukrainian documental biographical prose in its historic development and prospect are articulated by the author.