MYPHOPOETIC STRATEGIES OF NOVELS BY DARA KORNIY “LORD OF THE CLOUDS” AND BY STEPHENIE MEYER “TWILIGHT”
MYPHOPOETIC STRATEGIES OF NOVELS BY DARA KORNIY “LORD OF THE CLOUDS” AND BY STEPHENIE MEYER “TWILIGHT”

Summary/Abstract: Overcoming the stereotypes of exclusively entertaining literature, this texts are now recognized as one of the most requested in the genre spectrum. Rapid evolution and the lack of a unified theory complicate its already problematic study. The systematic analysis of fantasy from the perspective of the evolution of the ideal direction turns out to be uncontroversial and much more effective. A representative example of artistic works of the new generation, conceptually important in Ukrainian and American literatures, are “Lord of the Clouds” by D. Korniy and “Twilight” by S. Meyer. In our article we compare these texts for the first time to determine the commonality and uniqueness of its mythopoetic strategies. These works are ideologically and in terms of form of embodiment organic to the literary and artistic trends of the first decades of the XXI century, written in compliance with national literary and folklore-mythological traditions during their creative development and reveal typological similarities. In the combination of different national cultural elements, the image of the Ukrainian Lord of the Clouds is modernized and enriched, receiving new associative semantics in the eyes of the national reader and expanding its artistic valence. The new interpretation of the image of Ukrainian “inferior mythology” in the text by D. Korniy is original and is a step on the way to the construction of the national literature’s own myth-making tradition of the new era. “Twilight” saga by S. Meyer is also indicative in the development of urban fantasy and is a representative example of the currently formed world picture with an updated paradigm of the relationship between the forces of good and evil. When ascertaining the gender accent in these works, we find in them the combinatorial character of mythopoetics with the leading vectors of vitality and corporeality. The latter in the deciphering of E. Fromm’s concept sound like life strategies to have (“Twilight”) and to be (“Lord of the Clouds”) and are arranged in the plot with appropriate sets of mythologists and symbols. The motives of stone and body in the American work and wingedness in the Ukrainian one deserve special attention here.

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