SPECIFICITY OF THE LITERARY ETHNO-IMAGE OF ANNE OF KIEV IN M.-C. MONCHAUX'S NOVEL ‟LA PETITE PRINCESSE DES NEIGES ANNE DE KIEV” AND THE FAIRY TALE NARRATIVE BY I. MALKOVYCH ‟ANNA YAROSLAVNA: PRINCESSE OF KYIV – QUEEN OF FRANCE”

Abstract

The article examines the ethno-image of Anna of Kyiv in the historical novel by the French writer Marie-Claude Monchaux and the fairy tale narrative by Ivan Malkovych. The research is based on imagology methodology and is implemented using typological and receptive-aesthetic methods, which allow us to identify common and distinctive features in the interpretation of the ethnoimage of Anna Yaroslavna in French and Ukrainian literature. A literary ethnoimage is a literary image that constructs not only individual traits, but also the national identity of the depicted characters. The typological comparison of the two works of different literatures illustrates the specificity of Anna Yaroslavna's ethno-image: the French author emphasizes the idealism of the image, while the Ukrainian writer uses the technique of identification of the princess with her niece. Anna Yaroslavna, as a representative of her people, is a vivid and understandable ethno-image for the youngest readers. She is educated and intelligent. She cherishes family values instilled in her from childhood. Marie- Claude Monchaux creates the image of a girl who grows up in Kyivan Rus, emphasizing her special beauty and kindness. Ivan Malkovych covers Anna's entire life, telling and weaving into the story the elements of daily life of the residents of Kyivan Rus, Anna Yaroslavna's contemporaries. The features of Anna's national identity are manifested in the fairy tale narrative, the author emphasizes the importance of Anna Yaroslavna's heritage, which belongs to modern Ukraine. Marie-Claude Monchaux vividly describes Anna's exotic appearance, the beauty and majesty of Kyiv, and the religiosity of Anna of Kyiv. The dichotomy of Self / Other highlights the components of Anna of Kyiv's national identity. For the main character, Self was formed in Kyivan Rus, absorbing the customs and teachings of the Ruthenians, but over time it was transformed, absorbing the Foreign from distant France. Characteristic of French literature is the Russification of the image of the Kyivan princess, which we also observe in the work of Marie-Claude Monchaux. The French author uses transliterated Russian realities, proper names, etc., although she notes that Kyivan Rus is a descendant of Ukrainian culture. Such facts often occur in French works, in which we can see the influence of Russian propaganda aimed at manipulating the appropriation of the Ukrainian past.