Специфіка фрески у поезії Володимира Лучука

Abstract

Volodymyr Luchuk did not perceive genre as a canonical concept, and this is why his original naming of the genre does not necessarily correspond to the established definition. His individual approach to genre expanded and sometimes destroyed the limits of canonical forms. The objective of the paper is to identify the generic features of frescoes in Luchuk’s poetry, its interpretatitive modifications and transformations in the context of following this genre by other poets in the 1960s. The interference of the genre of frescoes in Luchuk’s poetry can be defined by the following attributes: Transposition of the metalanguage of painting to that of poetry through the prism of the author’s consciousness; Symbiosis of the generic features of frescoes and those of other literary genres: new modification codes; Attempt to create a “pure” genre model of literary frescoes. Twelve poetic frescoes by Volodymyr Luchuk presented a diverse world of the unbiased generic perception of intermedial art. This article is the first study of the genre of frescoes by Volodymyr Luchuk and the first attempt to study this genre in the context of the 1960s. It will be continued in the studies of other intermedial genres in his poetry, like sketch, landscape, nocturne, lyrical intermezzo.