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The article introduces the concept of mega-essay as an integrated format into literary circulation in the era of postmodernism. Its specificity is outlined in other forms of ensemble association of essay works: mega-essay as an integrated formation is a consolidated format, it differs from other forms of essay compilations (collection, cycle) with greater completeness, more thorough basis of design. It has a closed structure, because all its structural components (sections, subsections, framework elements constituting the whole book) are interconnected. They are closely related to the author's intention, outlined in the preface or introduction, concluded on the basis of causal and associative principles. Based on the analyzed works of Ortega y Gasset, O. Zabuzhko’s «Notre Dame dʼUkraine», N. Zborovska’s «My Lesia Ukrainka», etc. conclusions are made about specific features of the mega-essays, in which the phenomenon chosen for comprehension (culture, epoch, turning point of history) is described in detail by incorporating internal and external contexts, authoritative references, other works, and if necessary, with the dominance of the essayistic method of presentation of opinions, related to the personal views of the author. Emphasis is placed on the affinity of ideas and selected essay formats of Ortega y Gasset and O. Zabuzhko, given their content and structural organization. Conclusions are made about the role and significance of essays of this format in postmodern European literature. [ABSTRACT FROM AUTHOR]

The article analyzes the peculiarities of the reception of Jose Ortega y Gasset's works in the essays of Oksana Zabuzhko. Emphasis is placed on the commonality of creative origins and ideas of both authors. The intellectual and poetic connections of iconic works are analyzed, particularly "The Revolt of the Masses" and "Notre Dame d'Ukraine. Ukrainian woman in the conflict of mythologies". The uniqueness of the ideas of the Spanish thinker in the construction of the concept of Ukrainian identity by Oksana Zabuzhko is emphasized. It is concluded that the works of Jose Ortega y Gasset are analyzed and intertwined with the work of Oksana Zabuzhko regarding socio-political and poetic aspects. The format of the mega-essay, common for both authors, chosen for the presentation of their reflections, is objectively analyzed. This format is a harmonious, highly artistic formation in which the content and form are balanced: here, all sections (parts) are logically and consistently connected, placed in a cause-and-effect relationship. Both artists chose the method of "philosophizing in the space of literature", aestheticized intellectualism, and enriched rational analysis of art and history, which allowed readers to get closer to the essence of Spanish / Ukrainian civilizations. [ABSTRACT FROM AUTHOR]

The article is devoted to the analysis of Montaigne's book "The Essays" from the point of view of postmodernist criticism. The work is conceived as an experimental eclectic and mosaic formation, full of paradoxes, which creates the multiplicity of its interpretations in terms of different practices, including postmodernist practices. The features of the author?s self-identification are analysed through the postmodernist paradigm. The originality of the essayistic method of understanding reality through the philosopher 's own beliefs is investigated. The intertextual nature of his essays, based on individual authorial commentary on citation material, reinterpretation, and reevaluation of the past experiences, through which the author creates his image, are analysed. The ironic nature of Montaigne's works, his methods of playing with the reader are analyzed separately. It is generalized that the author's ironic position in the book "The Essays" is an indicator of the freedom of his personal thinking and a catalyst for readers to develop their own attitude to everything he contemplates. The comprehension of the compositional organization of the book "The Essays" from the point of view of rhizomatism is suggested. It is concluded that by combining tradition and experiment, Montaigne demonstrates the limitations of both classical tradition and postmodern aesthetics. [ABSTRACT FROM AUTHOR]