ОНІРИЧНИЙ ХРОНОТОП РОМАНУ ВОЛОДИМИРА ЄШКІЛЄВА «ІМПЕРАТОР ПОВЕНІ» ЯК ПРИКЛАД ПОСТМОДЕРНОЇ ГРИ
ONEIRIC CHRONOPOTOPE OF THE NOVEL «THE EMPEROR OF FLOOD» BY VOLODYMYR YESHKILIEV AS THE EXAMPLE OF A POSTMODERN GAME

Summary/Abstract: The article observes theoretical and practical aspects of constructing oneiric-based fiction realities in the novel «Flood emperor» by Volodymyr Yeshkilev. Relying on the contemporary literary studies about postmodern in Ukrainian literature (Kharchuk), oneiric discourse of contemporary prose (Lazarenko, Kosheluk) and Volodymyr Yeshkilev’s creative method (Holnyk) we have offered a hypothesis of the necessity of studying the novel The Emperor of Flood in the context of oneiric analysis. Analyzing subconscious phenomena with psychoanalytic (Jung) and ideological (Zizek) methods and literary analysis we have explicited the terms «oneiric», «oneiric chronotope», and «fiction machine» and formed combinatory approach to oneiric layer of the text. The author suggests considering the novel as a postmodern game and differentiating oneiric chronotope itself («Opadlo» locus and other alternative worlds) from dream layer which stylizes the text. The elements of postmodern stylisation were extracted from the whole oneiric layer of the novel. We have also made the analysis of the author’s cinematographic style of «breaking the fourth wall» which is realized in Yeshkilev’s almost direct quoting of literary (Bakhtin’s statements about time and space in the novel are present in the text of The Emperor of Flood itself as ontological characteristics of the topos), theoretico-literary (Borges’s idea of «4 main cycles» forms the ontology of the novel) and philosophical (Nietzsche’s concept of the eternal return makes the main time-and -space law of the artistic world) ideas. In addition oneiric traits characteristic for the locus Opadlo that make object of direct psychoanalytical and ideological analysis have been defined. The article defines and decrypts main archetypes and artefacts of the reality built on subconscious imagination, and locates Yeshkilev's novel in postmodern prose and fantasy discourse.

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