Особливості сюжетотворення повісті "Площа" Сергія Степи

Abstract

Serhiy Stepa, a modern Ukrainian writer in Hungary, is the author of the books «Three Novels and the Square», «Stories and Tselmy», «Bicycle Orchestra», «Dirak’s Tree», «Gen», which indicate the writer’s skill in the combining the plots. Among the researchers, who turned to S. Stepa’s work are Nataliia Rebryk, Oksana Talabirchuk, the Polish literary scholar Aleksandr Horodetskyi (he also translated the writer’s novel «Not today, only yesterday and always»). However, although Serhii Stepa’s novel «The Square» was in sight of literary scholars, it still remains almost unstudied, so that the topic of the work is relevant. The purpose of the article is to observe the features of the plot creation of the novel «The Square» by Serhiy Stepa. The «Square», written at the beginning of the third millennium (2004-2005), brings the reader into 1966 ‒ the year of the world championship in football that was held in England, and the events in the story are tied to the completely everyday life in Soviet provincial town where despite the winds of history, teenage boys are destined to grow up. Both they and other characters who settled in the central square, have to get out of the banal life situations that people face both on this and that side of the border, at one or another time. Therefore, the story by Serhiy Stepa offers as if a universal part of life. The article outlines that the work is built on a plot-mystery along with using a concentric type of plot, which clearly clarifies the cause-and-effect relations (also conditioned by the plot functions of the characters), which tighten the episodes of the work into a meaningful node that detects disaster, caused by the intricacies of destinies, situations, mysteries, and fate, which evoke destructive and irreversible consequences for the heroes. It is observed that the work has a mosaic structure, which is enhanced by time-space transferences. The plot embraces philosophical problematics, and the issues of life, love, death, happiness appear in the story through the image of the square, which is not a living object but gains the symbol of eternal Ithaca, having stood near the characters of the work.

У статті досліджуються особливості сюжетотворення повісті Сергія Степи «Площа». Вказується, що твір побудований на сюжеті-загадці при застосуванні концентричного типу сюжету, в якому чітко з’ясовуються причи- ново-наслідкові зв’язки (зумовлені також і сюжетними функціями героїв), які стягують епізоди твору в смисловий ву- зол. Простежується, що твір має мозаїчну будову, яка підсилюється часопросторовими перенесеннями. Сюжет опри- явлює філософську проблематику, причому питання життя, любові, смерті, щастя проступають у повісті через образ площі, яка не є живим предметом, але набуває символу вічної Ітаки, ставши поруч із персонажами твору.