Культурний синкретизм як форма реалізації ідеї діалогу та гармонії в поетичній творчості київських неокласиків

Author(s): Ludmiła Siryk / Language(s): Ukrainian Issue: 07/2015

This article concerns itself with the way(s) the Kiev neo-classicists school treated many cultural sources of foreign origin. The essay argues that cultural syncretism, defined as organic blending – in artistic texts – of separate elements, constitutes a specific form of expression through which to render the idea of dialogue and harmony of diversities. This is exemplified by Neo-classical poetry analyzed with regard to multicultural elements existing on various levels of the text (foreign words, the works’ titles; mottoes, names etc.) and by intertextual analysis. The article discusses semantics, origin, ways of deployment and symbolism of incorporated elements as well as their function in determining the meaning(s) of the text. It also demonstrates the role of creative strategy of ‘playing’ with a different text, introduced into poetry as intertext. This study takes into consideration the function of footnotes as one type of paratexts. An examination of cultural syncretism indicates an integrating role of culture and a system of humanist values the Neo-classicists promoted, simultaneously referring to European classics and updating their universal values. The author claims that cultural syncretism – in an immanent way – stresses the idea of equality of intercultural relationships and also constitutes a conceptual model of communication whose basic categories are represented by dialogue, tolerance, harmony and solidarity. This model’s practical value lies not only in the realm of art, but also in the social sphere and international relationships.

Polskie inspiracje w ukraińskim dyskursie literackim lat 20. XX wieku

Author(s): Albert Nowacki / Language(s): Polish Issue: 07/2015

This article is devoted to the reflection on the Polish-Ukrainian literary connections in the 1920s. In the light of the research results there can be observed a noticeable impact of Polish literature on Ukrainian literature and Ukrainian literary circles, which intensified at the turn of the nineteenth century. Most frequently Polish influence manifested in mediation in the transfer of the latest modernist tendencies of Western culture. However, Poland was often presented as a successful model of cultural development. This work also shows that the reception of Polish literature was present in the Soviet Ukraine as well, and it was most noticeable in the literature of Kievian Neoclassicists.

Шевченкознавство: «вічні» перспективи розвитку

Author(s): Olena Varenikova / Language(s): Ukrainian Issue: 09/2016

The article describes the definitions of some Ukrainian researchers in the field of Shevchenko study during the 1st third of XX – the beginning of XXI centuries, concerning the unlimited subject of studies, analyses some social-scientific correlation that contributes to the phenomenon of "always new Shevchenko study".

SPECYFIKACJA KANONU LITERACKIEGO WE WCZESNYM MODERNIZMIE UKRAIŃSKIM

Author(s): Serhii Romanov / Language(s): Polish Issue: 2/2017

In the article the Ukrainian literary life of the end XIX – beginning XX centyry is analised. This period is classified by science the early art nuouve. The qwestion of leaders of a literary movement had topicality. The most of art critic and readers considered model the agents older generation sach as I. Franko, M. Staritskiy, N. Kobrunska, P. Murnuy, I. Karpenko-Karuy and outher. All this people were agents of realism (critical romantical) and / or naturalism epoch. The authors of younger generation – Lesia Ukrainka, M. Kotsubinskiy, V. Stefanyk, O. Kobylanska, V. Vynuchenko, O. Oles – wrote in the new creative style: symbolism or expressionism – art style as that developed under the influence of western exemples. That the young writers the Ukrainia Literary Canon of epoch early art nuouve (in the call succession).

REFLEKSJE NAD TOŻSAMOŚCIĄ W DRAMACIE OŁEKSANDRAIRWANCIA KŁAMCZUCH Z PLACU LITEWSKIEGO

Author(s): Marta Kaczmarczyk / Language(s): Polish Issue: 5/2017

The author analyses the drama The Liar from the Lithuanian Square written by a contemporary Ukrainian poet Oleksandr Irvanets, taking into account the issues of a language and identity. The drama reflects the most painful problems of a modem Ukrainian life.

КОНЦЕПТ ПАМ’ЯТІ У ЩОДЕННОМУ ЖЕЗЛІ Є. ПАШКОВСЬКОГО

Author(s): Oksana Kowacka / Language(s): Ukrainian Issue: 5/2017

The article deals with the description of Shchodennyj zhezl by Yevhen Pashkovsky through the concept of a cultural memory, the new ways of representing an individual and collective experience, the emphasis on a post-colonial significance. The themes of a generation cultural memory and identity, a traumatic history, a physical and psychological repression of memories, that passed over in silence and undescribed the experience of generations have been emphasized. The cause and effect of the relationships between the pre- and post-chernobyl time and its symbolic embodiment of the Holodomor and Chernobyl have been analyzed.

Креатив невизначеності: поетичний текст через сто років

Author(s): Olha Chervinska / Language(s): Ukrainian Issue: 98/2018

The article under studies reveals the ties between Pavlo Tychyna’s first (distinctly multiformat by the poetic writing technique) poem collections “The Clarinets of the Sun (1918) and “The Plow” (1920), which reflect the tragedy of the historical boundary of epochs. Despite the fact that the biographical path of this genius poet has been more than efficiently investigated, many scholars estimated him rather ambiguously. He was referred to in numerous ways: as a poet of exaggerated fame (V. Hadzinskyi), as a farm Orpheus (V. Barka), as a clarinetist (Yu. Lavrynenko), as a talent corrosion (M. Kotsiubynska), as a genius-victim on the Calvary of Glory (V. Stus), as eternally young (S. Telniuk) and as three times dead. His “uniform dressing” (from a shy and, at the same time, a too gifted village boy-hypodiacon to an academician and the Minister of Education of the Ukrainian SSR) prevents him from being perceived in a fair and unbiased manner. The poetics and the contents of his first collection “The Clarinets of the Sun” (1918), which contained the verses of 1913–1918, have marked the emergence (according to H. Hrabovych) of a “resonating ego” of the personality that stands on the existential edge between the terrestrial and the divine. The collection cannot be considered as consonant with Tychyna’s next work “The Plow”, which, in fact, contained the poem “On the Square” (also 1918). The article under discussion interprets the text of the verse as a peculiar, essential “chain” that fastens together almost drastically heterogeneous (by their pathos and poetics) collections “The Clarinets of the Sun” and “The Plow”. P. Tychyna’s first collections, at the intersection of the poem “On the Square”, appeal to the notion of “metalyrics” (poetic self-reflection). Today, the latter term expands the area of its meanings, although is still mostly interpreted in the context of Theurgy (“created art”). The above feature, so peculiar for modernism, is very distinct in the first collections by P. Tychyna, which is reflected in the poetics of their titles. The second collection seems to contrast “The Clarinets of the Sun” due its pathos: the clarinet and the plow are the tools that can in no way go together. This imagological contradiction is presented as a solid proof of the integrity violation (bifurcation) of the poetic world perception. However, it only looks so at first sight. The analysis of the poem “On the Square”, in the aspect of consonant peculiarities of both collections, confirms their deep unity.

Вершини української лірики: вірші П. Тичини – І. Драча – Ю. Іздрика

Author(s): Yanina Yukhymuk / Language(s): Ukrainian Issue: 98/2018

In the article analyzing the impact of major historical events and activities of prominent personalities of the century (1918–2018) on the development of national literature, and the main attention to Ukrainian literature. Considering books of poems by such unique writers as P. Tychyna, I. Drach and Yu. Izdryk in the context of the world literary process, the author notes the depth of the national tradition of the poem, equally they have the tendency to romanticize both political events and social processes.Accession to independence was the impetus to the development of a national culture in countries that had previously been a part of the empire or were dependent on the interaction with certain countries. The evolution of the concept of independence, which for 100 years has significantly expanded its meaning, is also seen in the analyzed collections: “Solar clarinets” (1918), “To the origins” (1968), “Lazy and tender” (2018). The theme of inner freedom, without which outer freedom is an illusion, highlights the mentioned collections among other works by contemporaries of P. Tychyna, I. Drach and Yu. Izdryk.For the effectiveness of the analysis, theories of aesthetes-intuitionists were used: H. Bergson, B. Croce, and H. Read, which open up new ways of understanding fiction.

Амплуа як метадраматичний локус в п’єсі Івана Карпенка-Карого Житейське море

Author(s): Oleksandra Visych / Language(s): Ukrainian Issue: 4/2019

Metadramatic studies are focused on the dramatic works in which problems and poetics are reflected by theater. Researches of this kind demonstrate the widespread use of numerous artistic techniques aimed at creating multiple reality underlining the fictional nature of life. One of the priorities of contemporary metadrama theory is the analysis of the peculiarities of the genre in national literatures. The article is devoted to the play Zhyteis’ke more (The Sea of Life) by Ivan Karpenko-Karyi who was a bright representative of the Ukrainian literature at the end of the 19th and the beginning of the 20th centuries. The writer had a close connection with the theatrical milieu of the time. Metadrama is implemented in the text at the level of the theme, the personosphere, as well as the Shakespearean code. The basis of the metadramatic form of the play The Sea of Life is the inability of the heroes who are the actors to define the blurred boundaries between life and stage. This may cause confusion of numerous theatrical roles (emploi).

Белинский о Квитке

Author(s): Viktória Lebovics / Language(s): Russian Issue: 2/2019

The Ukrainian literary critic Yuriy Boyko stated that Vissarion Grigoryevich Belinsky (1811–1848), the famous Russian literary critic harshly criticized Ukrainian writers who wrote in Ukrainian. In fact, he tried to persuade those who wrote not only in Ukrainian but also in Russian to use only the latter. Belinsky often referred to contemporary Ukrainian literature in his writings. His attitude towards Ukrainian literature and Ukrainian language was rather ambiguous. It was the manifestation of the interest in Ukraine and Ukrainian culture that existed in Russia at that time and also the continuation of the polemics about the existence of the Ukrainian language, which was quite vivid in the first half of the 19th century. The critic believed that the Little Russian language did exist but only in folk poetry of value. Since the time of Peter I, according to Belinsky, due to the separation of estates, noblemen began to speak Russian and at the same time, the Little Russian language spoken by people began to deteriorate. His categorical and unfair conclusion is that there is no Little Russian language but there is a regional Little Russian dialect, such as Belarusian, Siberian, and other similar regional dialects. The paper is devoted to Belinsky’s evaluation of the oeuvre of Hryhory Kvitka-Os- novyanenko (1778–1843), the Ukrainian writer and playwright. In his writings from 1839 to 1846, Belinsky analyzed and sometimes only mentioned Kvitka’s prosaic and dramatic works written in Russian or translated from Ukrainian into Russian. On the one hand, Be- linsky characterized Kvitka as a “wonderful talent” and “an excellent master” but, on the other hand, he called him ironically “the first Russian writer”, mentioning his “mediocrity” and “bad taste”. On the one hand, Belinsky spoke about witty, fascinating, and original works but, on the other, he called Kvitka’s writings artificial or late imitations. The reasons for such ambiguous attitude of Belinsky towards the Ukrainian language and literature, and in particular to Kvitka’s works, are the above-mentioned polemics about the Ukrainian language and literature, the juxtaposition of the patriarchal Ukrainian village subjected to the “disastrous” influence of Russia, and the fact that most Ukrainian writers grouped around the retrograde Mayak, an ardent opponent of Otechestvennye zapiski. The whole problem was not sufficiently explored theoretically, thus Belinsky had no opportu- nity to rely on authoritative research. The level of development of the so-called new Ukrai- nian literature also influenced the critic’s opinion.

Standard-Setting Role of Prosta Mova in the 18th Century

Author(s): Joanna Getka / Language(s): English Issue: 1/2021

The source of research within the framework of the article are texts of a religious and secular character, printed in prosta mova by the Basilians printing houses. The characterization of phonetic and morphological features appearing in the texts published in Pochayiv and Univ throughout the 18th century, enables the formulation of conclusions on the functioning of the literary language in the area of present-day Ukraine in the 18th century. The literary tradition of prosta mova speech in the 18th century does not expire and evolves in the direction of the modern Ukrainian language. The language of printed texts, regardless of their affiliation with the religious or secular literature, is becoming more and more characteristic of spoken language. The thesis about the evolution of the development of the Ukrainian language does not contradict the dialectal substrate factor that lay at the foundations of the modern literary language. This is not a denial of tradition, but it shows the universal tendency of the language development.

The Architectonics of Sensibility in the View of the Theory of Cultural Transfer: Early Prose by Panteleimon Kulish

Author(s): Artur Malynovs’ky / Language(s): English Issue: 2/2020

Due to the expansion of the human issues to the text, various manifestations of emotionality are structured or hidden, unconscious movements and subjective reactions to the world are revealed in the text. The individual becomes the basis for the development of the typology of the emotional images. Such images become public, turn to the carriers of genre, and form narrative matrices. The text becomes a particularly sensitive field, a tuning fork, which allows the readers to correlate their own emotions with previous, already experienced, and tested literature. Endowed with powerful cultural and historical meanings, built up and enriched in the perspective of epochs, emotions become a fluid basis for comparisons of human images at the transcultural and transnational levels. They form the tertium comparationis, within which there are a selection and birth of new images of emotion, and thus, the properties of artistic writing, measurements of the sensibility of the text to extraneous trends and inclusions, modern approaches to the interpretation of the tradition. As a result of this longevity, the world of emotions is internalized into history as a memory of the past, which lives in the present and has its internal temporality and cultural stage. However, there is always a constant “theoretical” excess in the variety of manifestations of sensibility, which serves as the basis for their comparisons, assimilations, and distributions. It has no historical layers; it is the criterion and measure of the meeting of even distant images and models on the border, in the field of tertium comparationis. The study of the emotional world of the work involves correlation with the circulation of ideas, worldviews, and aesthetic forms in the melting pot of culture. In this semiotic device, the theory of cultural transfer is formed. It allows going beyond local comparative studies to the level of globalization expansion of objects of interpretation. The founder of transfer analysis M. Espan’ formulated this methodology as the output of literary criticism on the other side of comparative. P. Kulish’s prose is a very interesting phenomenon in the context of this theory. The author resorted to a special technique of intertextual interaction, palimpsest as “embedding” and too sensitive attitude to tradition, rethinking at a cultural distance in fundamentally different historical and literary conditions.

The Narrator (Author) and the Hero in T. Shevchenko’s Poem The Funeral Feast • To the History of the Establishment of the National Prophet-Poet

Author(s): Mykola Filon,Tatyana Shekhovtsova / Language(s): English Issue: 1/2021

The study deals with the images of the narrator / author and the prophet – the lyrical character in T. Shevchenko’s poem The Funeral Feast [Tryzna]. The purpose of the study is to comprehend the author’s conception and to reveal the whole range of the ways of expressing the author’s “self ”. In this poem, the lyrical subject is variable. He functions as the author proper as well as the narrating author and the lyrical “I”, sometimes getting the features of the lyrical character. At the same time, the narrator and the character have in common the motif of prophetical service, prophetical mission.

Фраземіка повісті І. Я. Франка «Перехресні стежки»

Author(s): Kateryna Hlukhovtseva,Iryna HLUKHOVTSEVA / Language(s): Ukrainian Issue: 1/2021

The paper analyzes the phraseology in Ivan Franko’s novel Crossroads (118 units) as a cultural phenomenon, through which the author reflected the mental traits of Ukrainians, and was able to convey the psychology of the protagonists, their state of mind. The descriptive method of studying linguistic facts with its methods of external and internal interpretation is used in the work. The authors argue that the centre of the phraseicon is occupied by expressions of the somatic cultural code. The most phraseologically loaded in the text are the words eye (eyes) and heart because they are part of stable combinations of words, through which the author conveyed the psychological characteristics of the communicators, the inner experiences of the protagonists (their excitement, love, indifference to surroundings, etc.) and described the characters by their internal qualities.

Код пам’яті в сучасному українському романі

Author(s): Lidiia Ivanivna Kavun,Oksana Volodymyrivna Vertyporokh / Language(s): Ukrainian Issue: 1/2021

The paper explores the problem of memory in the context of the artistic discourse of Ukrainian literature at the turn of the 20th and 21st centuries. The novels by Vasyl Shklyar, Volodymyr Lys, Lina Kostenko, Evgeny Pashkovsky, Tanya Malyarchuk, Sofia Andrukhovych, and others contain the cultural code as a means of transmitting information that has historically been accumulated here in the form of signs and symbols. In modern Ukrainian literature, we observe the reconstruction of cultural space on the basis of the assimilation, storage, and recoding of signs of collective and individual memory. Here, history and modernity are intertwined, the authors make an attempt to unite individual and collective Ukrainian, historical authenticity and artistic invention; the heroes come to rethink their past and their identity. In particular, Evgeny Pashkovsky’s texts Wolf Star (1991) and Abyss (1992) are analyzed, in which the autonomous code of (creative) memory reveals itself. It is about the fundamental problems of Ukrainian history, culture, and collective identity, operating on which the writer creates a “new memory”. Memory and history, where memory reflects the individual personal experience of specific historical events, is reproduced in the work by Vasyl Shklyar The Black Crow (2009). Volodymyr Lys addresses the life of an individual against the background of Ukrainian history during the First and Second World Wars, collectivization, “flourishing” and levelling of socialism, and the decline of the countryside in the first years of Independence. These themes are presented in the novel Jacob’s Century (2010). Lina Kostenko dedicates the work Notes of the Ukrainian Madman (2011) to overcoming the communicative gap between family members, between Ukraine and the world at the beginning of the 21st century. Tanya Malyarchuk talks about traumatic experience, forgetfulness, and recollection in Oblivion (2016). The Kapranov Brothers conceptualize the image of memory in the novel Forget the River (2016), which is related to the analysis of the problems of guilt and redemption, living in the past, eradicating life, etc. The cultural and mental division of the Ukrainian family and overcoming the gap between eastern and western Ukraine, connecting different people into one community became the subject of Sofia Andrukhovych’s artistic comprehension in the novel Amadoka (2020). The semantics of memory is related to the assimilation, storage, and recoding of signs (symbols, images, allusions, and quotations) of the cultural code, which accumulates and transmits information through historical experience.

Музичні інструменти в літературній творчості Лесі Українки: інтермедіальний аспект

Author(s): Svitlana Kocherha / Language(s): Ukrainian Issue: 1/2022

The article presents the intermedia analysis of images of musical instruments, represented in different genres of Lesya Ukrainka’s creativity. This collection (more than two dozen) is a symbolic author’s orchestra. Particular attention is paid to the instruments that perform „solo parties” in this orchestra, such as a lyre, harp, sopilka (fipple flute). The originality of Lesya Ukrainka’s interpretation of the sound richness of various instruments is emphasized as well as their suggestive (vital and mortal) influence on a listener. It is proved that the instruments which are the attributes of mythology (Hellenistic, Hebrew, Ukrainian) prevail in the orchestra of Lesia Ukrainka. As semiotic signs of culture, the instruments in Lesya Ukrainka’s works often represent state-forming ideas that were of great importance at that time. Constant usage of the image of the strings identifies the neo-romantic aesthetics and the cordocentric ideology in the writer’s works.

The Bible Code in Lesya Ukrainka’s Dramatic Poem

Author(s): Liudmyla Zhvania / Language(s): Ukrainian Issue: 1/2022

The article is an attempt to read Lesya Ukrainka’s dramatic poem In the Wilderness, using the concept of biblical code, which we understand in the intertextual aspect. It involves the analysis and interpretation of quotations, allusions, and reminiscences to reveal new meanings that such a dialogue with the Book of Books can produce. The dramatic poem In the Wilderness deals with the life of the Puritan community, for whom the Scriptures are an exceptional authority, the only source of Christian doctrines and ethical guidelines. Having this in mind, Lesya Ukrainka structures the work in such a way that the Bible appears in a particular position – as a code that allows you to understand the essence of the inner world of the characters, as well as a basis for understanding the philosophical and ideological issues that concern and disturb the author. The main one among them is the eternal question about the meaning of life. Every character of the dramatic poem seeks answers to these questions within their own worldview paradigm, interpreting the texts of the Scriptures in their own way.

Психопоетика чернетки: Камінний Господарь Лесі Українки

Author(s): Mariia Vasylivna Moklytsya,Tereza Levchuk / Language(s): Ukrainian Issue: 1/2022

The article actualizes the psychoanalytic approach in the study of draft manuscripts of classical texts, in particular Lesya Ukrainka’s drama The Stone Host. The draft of the work is almost twice as long as the final manuscript. The psychopoetic study of the draft is based on tracing changes in the interpretation of the key characters of the drama – Commander, Donna Anna, Don Juan, Dolores. The manuscripts of the drama The Stone Host and Lesya Ukrainka’s epistolary comments clearly point to the author’s general intension – to emphasize the role of the characters. From the draft to the published text, the images of the Commander, Donna Anna, Don Juan were transforming towards individualization and psychologization. As a result of text alterations and reductions, the psychology of the characters became more authentic: the figure of the Commander lost its extreme negative and positive features, which contributed to a deeper motivation of his action; Anna’s character became more complicated, her plot position strengthened; the cliché of Don Juan as a traditional image of the legendary seducer was smoothened. The most significant textual changes happened to the image of Dolores, whom the writer defined as close to herself (in a letter to O. Kobylyanska). This character became a magic mirror for Lesya Ukrainka, in which she was able to see herself in the course of time, to analyze and critically discard certain qualities. The initial version of the image, which appeared in the process of irrational creativity, is more deeply connected with the author than the final one. Lesya Ukrainka removed many fragments from the text as they lost their biographical connections and relevance. It has been found that the purposeful disengagement of events and characters from the author’s biography makes the work more intense and integral.

Семантичний простір концептів ВЕРХ

Author(s): Tetiana Yastremska / Language(s): Ukrainian Issue: 1/2022

The „top-bottom“ opposition is a binary spatial opposition which describes the orientation of objects in the space as well as identifies the spatial qualification of an object and models the coordinate system of the linguistic (resp. dialectal) worldview. This article deals with the problem of the semantic structure of geographical denominations, i.e. fragments of the derivative clusters of the base words of this opposition: верх, гора („top“) and низ, діл, під („bottom“). The author scrutinizes the semantics of derivatives, compounds, combinations of words – вершáдь, вершúда, верховúна, верховúнець, верхови́й чоловíк, верховúнка; гірськи́й люд, гірськá планéта, горя́нська Украї ́на, гóрниця, горáй, горішня́нин, нагíр’я; долúна, долúнка, долíський чоловíк, долíшній кінéць, долíшшя, подíл; нижинá, низи́нá, низи́нка, низóта, низь, низяни́н, низькодíл, óбниз, принúзина; підóк, пóди́на etc. These names represent the semantic field „Relief“. The semantics of the nouns under study represent various aspects of the Ukrainians’ life and reflect their material and spiritual culture. This study applies the onomasiological model of description, moving the focus from the meaning to the word. The analysed units represent semantic and derivational features which are typical for the dialects of the Ukrainian language. The sources of the study are dialect recordings, regional dictionaries and texts as well as linguistic atlases.

Rodowody

Author(s): Urszula Pieczek / Language(s): Polish Issue: 804/2022