The signs of the national culture in the V. Stus’s creative work (based on the collection „The Winter trees”).

Abstract

The author underlines, that understanding poetic artist’s space, its comprehension is currently relevant. This is especially important in contemporary conditions, when the society remains extremely tough opposition of media and elite culture, and creativity by V. Stus undoubtedly is an example of the latter.The article touches upon V. Stus’s creative work in the national-cultural context (on the example of his collection „The Winter trees”), the self-expression of his ego through the signs of the national culture, which cover the reality of everyday life, toponymes, phrazeological turns of speech, mythological images, historical phenomena and outstanding names. The author states, that the motifof Kupala fortune telling in the verse is associated with specific historical motive: Ukrainian history is full of constant struggle with numerous invaders for the freedom of their native land, that is why the Cossacks sailing past the girls in the boats. Pre-historical virgin forest is associated with a world full of spirits of "Forest Song" by Lesya Ukrainka. Repeatedly found in the collection habitual Ukrainian wreath image. Wreath – national symbol with a wide semantic field. But the author does not just borrow an image from folklore as well creatively interpreting it, fills of new meanings, without destroying the original value.Assessing religious motives poetry by Vasyl’ Stus, the author argues, that the Ukrainian outlook is based upon distinctive spiritual syncretism – dual faith, expressed in a combination of pagan and Christian religions. The poet in his own poetic world appeals to both preChristian and the Christian tradition. The author takes into account the opinion of Ye. Sverstyuk that despite training in non-church environment V. Stus did not admit impropriety in the use of theological terms.