THE APOCALYPTIC NATURE OF TODOS OTMACHKA'S PSYCHOWORLD (BASED ON THE PSYCHO-AUTOBIOGRAPHICAL NOVEL «PLAN FOR THE YARD»)

Abstract

The article elaborates on the apocalyptic nature of the psychoworld of Todos Osmachka based on the material of the psycho–autobiographical novel «The Plan to the Yard». The achievements of psychologists in the field of human emotional existence are analyzed. Affective states are singled out as aspects of the methodology of affect research, which will complement psychologically oriented technologies, aimed at approaching the understanding of mental traits of a creative personality, internal sources of artistry and psychophysiological processes that accompany a creative act. On the basis of Yu. Lesniak's research «Voice and Poetics of Affect», three levels of influence of affects on Todosya Osmachka's work of art «Plan to the Yard» are distinguished. At the first level – the stage of reception – the psycho–autobiographical nature of the plot of the story was traced. At the second stage, which is characterized as a series of complex experiences and emotions, considerable emotional tension of the author was traced during the description of the motives for writing the artistic work. Direct analysis of «Plan to the yard» on the third level – the role and place of the affect itself in the structure of the work of art – contributed to the expression of the worldview and features of the artist's artistic style. The apocalyptic Ukrainian world destroyed by the soviet government and the resulting emotional tension of the heroes of the story are analyzed. It was found that the constant and bright images–details of «Plan to the yard» are: riveting of iron on iron, cemetery, crosses, crows, wasteland, silence. Based on the research, it was found that in the image of Ivan Neradko, Todos Osmachka realizes his own experienced state of affect. Silence as a conscious reaction to fear is artistically transformed in the image of the protagonist of the story "Plans to the Yard". And in «The Rotunda of the Murderers», this state already develops into an escape reflex, which eventually transforms into sharp words and unconditional frankness, which was manifested in the writer's simulation of madness.