Aim In aim of this article is – through the analysis of the structure, discourse, narrative properties of the work by Cheslаv Milos «Captive Mind» (Zniewolony umysł) involving books by O. Bogdanova, I. Kozlyk, L. Tarnashinskaya etc. to characterize understanding typology and specificity of destructive processes in the art creativity caused by the enslavement of the mind in Poland, Russia, Ukraine as well as to reveal the resistance to it.
Methods For the analysis the synthesis of the basic methods and principles of scientific research, including comparative and hermeneutical methods, taken in their interrelation and complementarity is used.
Results The article deals with the anti-humanist, antinational essence and deforming personality, the role of destructive process caused by the policy of mind enslavement, its futility, ways of resistance to it and overcoming it are revealed. The basic material for topic disclosure is «Captive Mind» (1951) by Ch. Milos, O. Bogdanova’s monograph «The modern view of Russian literature of XIX – early XX centuries» (2015), book by I. Kozlyk «Profession though the light of humanity» (2016) and philosophic and literary dilogy of L. Tarnashinskaya «The plot of a Day: Discourse of the sixties in Ukrainian literature of the twentieth century» (2013) and «Ukrainian sixties: profiles against the backdrop of generation» (2010).
Scientific novelty In a study typological and specific manifestations of destruction in the literary process, caused by the policy of mind enslavement, and forms of resistance to personal unfreedom and creativity in Poland, Russia, Ukraine are established.
The practical significance The results of research can be used for further study of the problem of freedom and unfreedom of creativity, for understanding the literary process, carried out under the conditions of totalitarian enslavement of the mind and the resistance to it. Scientific observations and conclusions could form the basis of university lecture courses on the history of Polish literature and other literatures of Eastern Europe of the twentieth century, as well as used in school teaching the history of Slavic literatures.
Key words: dialogicity, (poly) dialogue, discourse, narration, captive mind, freedom / unfreedom, Own / Other, plot, text.Article dx.doi.org/10.15330/sch.2017.6.141-158