Social and communicative role of resistance in Volodymyr Vynnychenko's dramatography (bolshevism and the bourgeoisie through the writer's perspective)

Abstract

Background. The study is dedicated to the analysis of the social- communicative function of resistance in the dramaturgy of V. Vynnychenko, particularly through the prism of depicting the conflict between Bolshevism and the bourgeoisie at the beginning of the 20th century. The problem lies in studying resistance not only as an artistic device, but as an active communicative mechanism that ensures the author's dialogue with the audience, forms national identity, and criticizes the ideological dominants of the era. The relevance of the topic is due to the contemporary rethinking of the role of literature as a tool of social criticism and cultural resistance, especially in the context of the historical events of the Ukrainian Revolution of 1917-1921 and the subsequent Bolshevik occupation.

Methods. Using methods of descriptive analysis of dramatic works and classification of types of resistance by degree of explication, we investigate the evolution of V. Vynnychenko's authorial position - from criticism of bourgeois morality to an ambivalent attitude towards Bolshevism, which is reflected in his political activity and journalism ("Revolution in Danger!", 1920).

Results. The main attention is paid to three plays: "The Lie", and "The Black Panther and the White Bear". Using a comparative table, the degree of expression of the social-communicative function of resistance is established: 90 % ("The Lie " - allegory of class struggle, peak of political radicalism) and 80 % ("The Black Panther and the White Bear" - ambivalence of individual and collective). The average indicator - about 85 % - indicates the consistent use of dramaturgy as a means of social communication.

The results are consistent with the works of V. Humeniuk, T. Hundorova, S. Mykhyda, M. Soroka and others, who emphasize the psychological depth of intellectual heroes, their internal struggle, and function as carriers of social tension. Vynnychenko's dramaturgy appears as a psycho-autobiographical code that transforms the artist's personal conflicts into a universal aesthetic language of protest.

Conclusions. The social-communicative function of resistance in V. Vynnychenko's dramaturgy is a key mechanism for criticizing Bolshevism and the bourgeoisie, a platform for dialogue on national identity, moral dilemmas, and resistance to imperialism. The works retain relevance as a model of literature­catalyst for social transformations and can be the basis for further studies of the author's other plays.