ARTISTIC PRINCIPLES OF ACMEISM IN THE POETIC PRACTICE OF E. PLUZHNYK AND D. FALKIVSKYI

Abstract

The purpose of the article is to explore the artistic realization of acmeistic principles in the poetic practice of E. Pluzhnik and D. Falkivsky.

Research methods. The comparative-historical method is used in the work, which is realized through the study of the functioning of artistic principles of Russian acmeism in the works of Ukrainian poets E. Pluzhnyk and D. Falkivskkyi. Turning to the culturalhistorical method helps to ensure the objectivity of the study, taking into account the facts of the worldview and cultural situation. The study combines receptive and hermeneutic methods, as well as general scientific methods of analysis, synthesis and systematization of the studied materials.

Results. Based on the study of T. Pakhareva, which identifies the main categories of acmeistic aesthetics which consist in the synthesis of historicism, cultural centrism and ethicocentrism, the author argues that the works of E. Pluzhnik and D. Falkivskkyi demonstrate typological closeness to an acmeism. The article clarifies that the creative realization of the principle of cultural centrism is realized in the works of E. Pluzhnik and D. Falkivskkyi through the understanding of cultural space as a means of forming ethical values of life. Ethicocentrism is connected with this category of acmeism, which is embodied in a special model of poetic behavior of E. Pluzhnik and D. Falkivskkyi, which fills life acts with aesthetic activity. The connection of history with personal destiny, with moral choice, complex dramatic nature of perception of the events of the revolution and civil war, a sense of responsibility to the future for the cruelty of the modern era and the catastrophic worldview in the works of E. Pluzhnik and D. Falkivskkyi is one of the main markers of acmeist poetry.

Conclusions. The article concludes that the poetic practice of E. Pluzhnyk and D. Falkivskkyi demonstrates the appeal to the artistic principles of acmeism, which is realized through the categories of cultural centrism, ethicocentrism, historicism, and testifies to the typological closeness to the work of N. Gumilev, O. Mandelstam and A. Akhmatova.