Homeniuk A. The Forms of Manifesting the Comic in the English Renaissance Novel

The dissertation is the first work in the Ukrainian literary criticism to offer a comprehensive approach to the modes of revealing the laughter source of the culture exposed in the English Renaissance Novel and decisive for the correlation of the ways of modernizing the genre denoted by the genre-forming innovations made in the era of Elizabeth I in England with the mainstream of the late-traditionalist revision indicated by the artistic experiments performed in the Continental Europe on the transition from traditionalism to historicism. The study reveals the arsenal of manifesting the comic provided by the rhetoric origins of the novel dialogism. The research correlates the awakening of the laughter stream in the field of forming the Elizabethan novel with the deconstruction of the traditionalist hierarchy of genres and styles and the formation of the concept imitator-demiurge in the Renaissance-Manneristic space of the author's self-definition. The analysis focuses on the basic forms of the self-manifestation of the comic in the English Renaissance Novel such as travesty, parody, satiric-didactic rethinking of the model of fulfillment of the ideal hero. The investigation proves that in the first version of Ph. Sidney's novel the travesty-role reincarnation introducing the Manneristic opposition “to be – to seem” in the pastoral reality affirms the possibility of restoring the fragile harmony of the external and the internal, the spiritual and the material defined by the Renaissance as the ethic-aesthetic imperative of the human existence. In the second version of Arcadia the travesty forms the poetical shape of the transformation of the comical mode into the both tragical-comical and tragical modes which reveals Ph. Sidney's realization of the unstable position of the human person in the world and manifests the artist's aesthetic reorientation on the Baroque in the departure from the romance tradition. The exploration emphasizes the correlation of Lodge's travesty manifestation of the dilemma “to be – to seem” with developing the combination of pastoral comedy and idyll into the opposition of pastoral and anti-pastoral realities. The study discovers Nash's mode of parodying the chivalry adventure providing the hero's self-manifestation apart from topoi of knight and picaro and emphasizes the correlation between historical truth and fiction laying the foundations for the artistic panorama of England of the era of Elizabeth I. The exploration defines Greene's correlation of the ridiculous and the serious as an indicator of changing the Renaissance-Manneristic criteria of the poetic creativity with those of the Baroque. The research comes to the conclusion that diverging in the poetological forms of manifesting the comic the authors' initiatives of integrating the laughter source in the multicomponent artistic reality of the English Renaissance Novel coincide in the intentional priority of the aesthetic transformation of the rhetoric word intended to reveal its resource of dialogizing both languages and worldviews in the writers' utterances.