AUTHOR‘S WORLDVISION OF LEOPOLD BUCHKOVSKY‘S IN THE NOVEL «WERTEPY»

Abstract

The article reveals the features of the “dialogic” creative method of the Polish writer Leopold Buchkowski, which was formed under the influence of the polyethnic environment in the region of the Polish-Ukrainian cultural border. In the novel “Wertepy” the writer creates a polyphonic image of a “small motherland”, in which each Other is a representative of another nationality and has his own voice, which is not a subject to the author’s speech, and the dialectic of “native” and “foreign” is devoid of ethnocentric motivation and is expressed in an opposition of “local” - “non-local”. It is noted that the artistic world of Leopold Buchkovsky, which was perceived by the artist as a multinational mosaic and to which he gave his own meanings, has been completely destroyed. It is pointed out that the characteristic feature of Leopold Buchkovsky’s artistic method is the versatility and ambiguity of the ethnocultural model of the art world, which results in different reading and a wide range of interpretations of the presented material. It is noted that his works are constructed in such a way that “the reader does not always have to perceive the world according to the author’s intentions”, on the contrary, he has the opportunity to “endow it with his own hypothetical structure, see in it what he considers important and valuable.” It is stipulated that the leading themes and dominant problems of Leopold Buchkovsky’s prose are extremely philosophical and universal issues of dramatization of the fluidity of the world, ephemerality of thinking, visions, inner states, and finally memory. It is stipulated that the author’s principle determines the specificity, uniqueness and originality of the work, begins with the author’s personality, which is the semantic foundation of literature. It is noted that in L. Buchkovsky’s “Wertepy” a certain plot sequence is preserved, it is possible to notice the lack of integrity of the presented images. It is stated that the space presented in the work, in which events unfold, is always clearly defined and limited by certain frameworks. It is pointed out that the space of Leopold Buchkovsky’s work, despite its anthropocentrism and secondary nature, is marked by extraordinary picturesqueness and sensuality, which have nothing to do with artistic decoration.