мотив игры и символика национальной игрушки в избранных произведениях Украинской писательницы в Бразилии веры вовк как пример Украинского магического реализма
The Motive of the Game and the Symbols of the National toy in the Selected Works by the Ukrainian Woman Writer in Brazil - Vera Vovk as an Example of the Ukrainian Magical Realism

Summary/Abstract: The article analyzes the selected works of the Ukrainian writer in Brazil, ViraVovk (aka Vira Lydia Katherine Selanski, was born 1926, Boryslav, Poland, now Lviv oblast, Ukraine, transliteration of the name in German and Portuguese is Wira Selanski) – poet, prose writer, playwright (dramatist), literary critic, musicologist, composer, artist,translator, social activist and publisher. Vira Vovk was in emigration and she is in Rio de Janeiro since 1952. Her works are often identified with the New York group that appeared in New York in 1950's. This group unified the Ukrainian immigrants and their descents(as well as PatryciaKylyna, Patrice Nell Warren, who is not native Ukrainian) who had European elite base and had nostalgia to their motherland. The languages of their texts are Ukrainian and other (English, German, Portuguese etc.). Their poetical method suggests modernism. But the tendencies of contemporary researches analyze the texts by Vira Vovk as solo. So, the phenomenon of Vira Vovk, who is often referred to as the New York group of poets, is determined by the Ukrainian new-looking individual and independent thinking and a fundamental self-identification with Ukraine. Her texts are difficult, and the style has genetic and contact roots. There are biographical, Jung (Yung), or archetypal,symbolical and other methods investigated. The materials of the analysis are the selected poems from the collection “The Cocks of Barcelos” and the some stories of the collection “Carnival”. The cocks of Barselos are the Portuguese clay toys. This realty is important because of Vira Vovk knows different cultures in her travels. So, her experience is personal and close. The symbol of the toy is compared in the different initial traditions(as well as the Slavonic one) and carnival traditions are lighted up. The symbol of doll is interpreted as ancestors relations, the relation with spirits. The doll defends an orphan(as in the Eastern Slavonic fair-tale about Vasilisa) and can revenge to foes. The carnival described by Vira Vovk is native Brazilian but it also has universal features. The game is researched as the act of homo ludens (Johan Huizinga). The game that turns the actor into a serious sacrifice, here means giving up material in favor of the spiritual aspect, purification. In this way the heroine who can be viewed as a pagan priestess, is likened to Christ. So, this interpretation is Christian. The feminine character, ritual (carnival) dancer,is woman-shaman at the same time. The complexity and elitism of the style of the writer are enclosed in lapidary, numerous allusions, and motifs of magical realism, neomythologism,surrealism, symbolism and many other trends, currents and schools. For example, the style by this author has features of Renaissance, baroque, neo-baroque. The genres which ViraVovk uses are not “pure” and often are the synthesis of different genres. The writer likes fairy-tales, folk-tales, legends, parables. The research can trade tendencies which are in the texts of the Latin American avant-gardists, Gabriel García Márquez, Alejo Carpentieretc. At the same time, the direct impact is not visible. The reality of Vira Vovk has real and non-real features. The methods and receptions of this author are vision, dream, illusion,hallucination. The Hutsulian environment, which formed the identity of Vira Vovk, as well as German and Latin American contexts, defined the method of the writer is a synthesis of motives, the combination of paganism and Christianity, for example, the cultures and mythologies of different peoples (nations, tribes). The motivation of this version is conditioned by the mix of different cultures and religion cults in Brazil. The confession of the author of the Greek Catholic, and the Catholic context is very strong in her works. But also, besides the Byzantine and Latin rites, the writer uses in her texts motifs of other religions, as well as other cultures. The creative method by Vira Vovk constantly evolves.Hence the choice of the writer of different symbols and motives has illusory surprises. In fact, this motivation is very important. The works have their own logic.Thus, this is a classic example of folk Christianity (in particular of Catholicism), or religious dualism, of dual faith. In the research the writer’s genetic-contact relationships are emphasized, and the genetic one is dominative, because of other cultures are means for achieving the aims and purposes of the author, they are emphasizing the self-identification of the lyrical heroes. These opinions and conclusions must be known in the analysis of the fundamental concepts of the texts of Vira Vovk: image, symbol, myth, ritual, rite, play. The symbols of the toy (including the national) are considered and lighted up by comparative analysis of folk customs and games of the carnival (for example Brazil), where are the repercussions of initiation and sacrifice. The emigration also can be analyzed as the initiation of the Ukrainian woman. The research demonstrates that the toy is represented by Vira Vovk as national memory. The category of sacral/profane is accented in the article

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