Хронотопна модель межі-полону в книзі А.Бессараба " Ми не маємо права не бути сильними"

Abstract

У статті проаналізовано композицію книги А. Бесараба «Ми не має права не бути сильними» як один із чинників її актуалізації в художньому й медійному дискурсі, визначено особливості моделі хронотопу межі-полону, що відображає процес себевіднайдення особистістю, схарактеризовано концептосферу поетичного ядра й наративних стратегій інтерв’юера та героя інтерв’ю у ній.

The article analyzes the composition of A. Bessarab’s book «We do not have the right not to be strong» as one of the factors of its actualization in artistic and media discourse, defines the features of the bordercaptivity chronotope model, which reflects the process of self-finding by personality, characterizes the conceptual sphere of the poetic nucleus and narrative strategies the interviewer and the interview hero in it. The edition consists of a small preface and three functionally equivalent parts. This is an interview of T. Nishianidze, a volunteer and project manager of the Books for the Front project, with A. Bessarab, who spent 14,000 hours in captivity, poetry interviews, captive interviews and a photo supplement. The text of the book is analyzed from the standpoint of the spatial organization as a phenomenon, taking into account the content and compositional features of both artistic and media discourses. The comparative aspect allows deepening understanding of the specificity of cultural and mass communication types. The methodological approach developed to N. Astrakhan is applied to the study of literary and journalistic works. According to him, the theoretical study of works involves two related directions, reflecting the transition from a static analytical model (linguistic) to a dynamic interpretive model (speech). The chronotope model of the boundary-captivity in the analyzed book reflects the process of finding a hero himself in the world of the multiplicity of meaningful perspectives. Having lost his physical freedom, the hero rids himself of the fear of being himself. This process is first and foremost related to its national self-identification. In the poetic part of the author’s reflection unfolds the concepts of ‘captivity’, ‘test’, ‘creativity’, ‘self-awareness’, ‘finding yourself’, ‘patriotism’. The interview implements the narrative strategy of a forward-thinking, thoughtful, humane narrator. The line of the interviewer traces the categorical strategy: it is the antithesis of a group of ‘oneman’ concepts, and a way of formulating some questions related to the hero’s captivity and others.