THE REPRESENTATION OF TRAUMATIC EXPERIENCE IN UKRAINIAN CULTURE IN THE WORKS OF YURI YANOVSKYI (A TRANSCENDENTAL-PHENOMENOLOGICAL RESEARCH ASPECT)

Abstract

This article explores the representation of traumatic experience in Ukrainian culture during the first half of the 20th century through the lens of the literary work of Yuri Yanovskyi. The primary focus is on applying a transcendental-phenomenological approach to analyzing the writer’s literary legacy. The study examines the ways in which both collective and personal trauma are artistically transformed within the literary narrative, as well as the specific perception of the trauma-experiencing subject in the context of Ukrainian historical reality. It analyzes how historical and personal traumatic experience shapes the artistic consciousness of characters and forms an aesthetic model of reality in Yanovskyi’s works. The research identifies the mechanisms of artistic representation of collective trauma, particularly war events, revolutions, and personal suffering. Special attention is given to the crisis of identity, the fragmentation of the subject, and the rupture of historical continuity – as key manifestations of collective trauma. In Yanovskyi’s texts, these features appear through symbolic structures, fragmented narrative, dreamlike logic, and paradoxical chronotopes. Based on the transcendental-phenomenological methodology, the study analyzes how collective and personal trauma is represented in Yanovskyi’s fictional world, how it structures the narrative, and transforms the perception of time, space, and character identity. The results demonstrate that in the writer’s works, trauma functions as a form of subjective experience that reinterprets the events of the 20th century not only historically, but also philosophically and existentially. The conclusion is made that the literary representation of trauma in Yanovskyi’s creative heritage holds the potential for collective healing and serves as an important form of rethinking national identity. It is argued that the transcendental-phenomenological approach not only deepens the understanding of the author’s artistic method but also opens new perspectives for studying the mechanisms of cultural memory, the reception of the past, the experience of historical catastrophes, and their artistic articulation.