’s modernistic world perception implemented in his works is the understanding of the world, imbued with a tragic spirit, as absurd, disharmonic and cruel which is in fact hostile to the personality who estranges himself to it. The alternative to reality which arises in the form of typically modernistic myth about the artist-creator capable of changing the world by means of his word is always illusive and Utopian. In a paradoxical way such a myth is consistently deconstructed by the author himself that testifies to certain signs of postmodernistic intentions which were implemented in the artistic picture of existence created by the writer.
It has been proved that a specific conception of the character whose self-consciousness is represented as broken, inwardly contradictory is formed in M.’s works. It is impossible in essence to transform this world and the life in it. The characters can either reconcile themselves to it or run away from it, more often into death.
It was shown that typical for modernism equalization in rights of mental and material aspects when the border between them disappears intensifies the feeling of existential isolation of man.
The constant play on the border between the real and the illusory made it possible for the writer to delve deeply into unconsciousness as a phenomenon of human behaviour.
It has been determined that the aesthetic thinking of M.is characterized by intertextuality and neomythologism which turn not only into the elements of building the artistic content of the work, but also into the expression of the world-and self-sensation. Due to the neomythological subtexts, the artistic world of M.goes out on the ontological problems of existence.
It is proved in the thesis that the structural element of the artistic world of the writer is time and space which in the works of M. Khvylovy is the expression of the essence of life of the created reality, the form of its existence. The conditional timespace in the short stories and tales of the writer has a bent to cyclic recurrence and isolation. All this testifies that the understanding of relative nature of the categories of time and space, their subjectivity was characteristic of world perception of the modern man as well as the “ovo” literature of XX century.
It has been shown that the modernistic “philosophy of art” of M. Khvylovy stipulated the corresponding means of expression: the small-minded life-likeness is ignored, the cause-effect connections between the elements of the plot are replaced by the associative ones, and psychologically personal motivations of the character are replaced by the emphasized emotionness, grotesque, defiant acuteness and its conditional nature.
The connection between these features and impressionistic style principles and poetics has been investigated. Among them ornamentalism, lyricism, rythmicism, the tendency to depict not so much the reality as the response of the personality to this reality, increased expressiveness and deterministic nature of images and events, the refusal from the small-minded verisimilitude are distinguished.
The prognostic nature of creative ideas of M.has been confirmed, it is expressed first and foremost in his prognosticating neobaroque world perception, typical for the man and the society of the end of XX century. The genetic memory of the artist and the similarity of the processes which characterize the baroque and the first third of XX century with its tendencies to the fragmentary perception of reality, dynamism, artistic, but not rationalistic cognition of life caused the appearance in M.’s artistic thinking of such features as the inclination to creating phantom worlds, theatricality.
The conclusion has been arrived at that the texts comprising I-II volumes of the “Works” can be considered as books in which the structurebuilding role is played by the motifs and specific manner combining different as to their themes works into artistic integrity and, in a wider meaning, into the integrated artistic world of M.