Polish Studies of Kyiv: works of International scientific conference, Kyiv, 23-25 of May, 2018. / chief editor R. Radyshevskyi. – vol. XXXV. – Kyiv: Talkom, 2019. – P. 369-375.

DOI: https://doi.org/10.17721/psk.2019.35.369-375

Tkachenko A.

SCIENTIFIC FEAT OF IGOR KACHUROVSKYI

Abstract. Іgor Kachurovskyi is a poet, prose writer, translator, literary critic. The author of article-essay dwells only on literary criticism of his hypostasis, and more specifically – poetry. Metrics, strophics, phonics, generics, literary stylistics is his scientific element and his heroic activity.

The unique character of the philologist is his free mastery of material and free engagement of illustrations also from his own artistic practice, sometimes polemical unention of authority, and even though the deliberate encouragement of the reader to a dispute or just to not dogmatic thinking. The original observation of the non-absolute syllabic, the presence of metric syllables in it and those that the researcher called grammatical, and it seems that they are should better be described as rhythmovaria- tional, because not changing the meter, they vary the rhythm ( we talk about not grammar but about rhythm and its metric dimensions). Thoughts about metric pluravalency that is multidimensionality of some textx are very interesting and important.

A specialist in poetry is persuasive in his opinion about types of rhythm and clauses. Why should we use borrowed French terms a “male” clause (and rhyme), a female clause (and rhyme) when the French themselves have already reduced “female” stresses? In addition, the terminological series of “male” – “female” – “dactylic” – “hyperadactic” is not successive. It would be better in the following way: choreic – yambic – dactylic ... As for a clause, then the Greek terms “oxytone”, “paroxytone”, “proparoxytone” are bulky. The best is to use clear digital terms – 1-syllable, 2-syllable, 3-syllable, 4-syllable, 5-syllable... and even 5-syllable clause.

The approach of I. Kachurovskyi to phonics was much more systematic comparatively with “continental” literary criticism. His phonics reaches a binary opposition euphony / cacophony. It gives grounds to a deeper structuring of these phenomena in dimen- sions paradigmatics / syntagmatics.

Key words: Igor Kachurovskyi, verse, line, rhyme, clause, strophe, kolomiyka’s distich, baroque strophe, metrics, rhyth- mics, phonics.

Information about author: Tkachenko Anatoliy, Doctor of Philology, Professor, Institute of Philology, Taras Shevchenko National University of Kyiv.