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The article deals with A. Gudyma’s novels in verse “Ustym Karmalyuk”,(1992), “Severyn Nalyvayko” (1995), “Mazepa’s Confession” (2003). The paper reveals that the peculiarity of these works is not the historic facts reconstruction but the augmenting the means of artistic expression for displaying the historical background though the documentary is an integral part and a genological feature of the works.Reconstructing the history in images A. Hudyma presents the characters on the events background. Although these heroes had already been the artistic interpretation subject before, but they have not found a proper assessment, because they are famous historical personalities – Ustym Karmalyuk, Severin Nalyvayko, Maxim Zalizniak and Ivan Gonta, Ivan Mazepa, and even in their “posthumous” existence they were interpreted ambiguously and contradictory both in the folklore and literary expression. A. Hudyma’s novels in verse are unexplored despite the fact the scholars mentioned them in the context of problems (V. Bilyatska) and image (V. Bilyatska, L. Romanenko, L. Sakai-Lisnichenko) disclosure but the artistic interpretations of historical fact have not been the object of scientific review.The author refers to the works of real evidence, chronicles, artifacts, works of folklore, he models this material in the story by citing, giving the titles and epigraphs. For example, “Mazepa’s Confessions” consists of six chapters, to each of them, along with the artwork from the album “The Ukrainian antiquity”, there is an epigraph quoting the historical sources. Each part of the novel in verse (three) “Ustym Karmalyuk” begins with the citing court records, archival materials with the date where the latter is the key to the matter. The work “Severin Nalyvayko” interpreted the events that had crucial importance not only for Nalyvaiko, but for whole Ukraine − the battle near Pyatka, the Ostrog Prince’s actions, the execution of Kosinski by Vyshnevetsky in Cherkasy, the insidious grip of Nalyvaiko and the issuance of him to the Polish.The article reveals such features of A. Hudyma’s novels in verse as philosophical manner, the appeal to ethnomental, folklore and historical and documentary sources, the diverse of artistic and poetic devices, image-symbols, it stresses the importance of all of them in the theme representation through the folklore images.
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The article treats the status of the change of aesthetic general cultural paradigm in the period of socialist realism, which raises as completed phenomenon and is interpreted as a version of popular culture (Tatiana Sverbilova), or “artistic force field” (Leonid Geller, Antoine Bodin) with the kitsch basis of the “politicization of aesthetics” (Tamara Hundorova), on the basis of their respective ideological party resolutions of Soviet times. The confrontation with social realism with the modernism and avant-garde (Dmitry Zatonsky) is accentuated. Maria Litovska notices that in totally-ideological tendency of art when the child has acquired the status of State property, her consciousness through literature was formed in perspective of latent atheism. Literature was changed into “long-term propaganda element” (Andrei Fateev). As a result, the range of texts of children’s literature suffered from the ideological, thematic and genre compression, those “atheistic times” the “atheists union” generated a faith in the original “worshipping” of Joseph Stalin. Party strategy of socialist realism began its practice actively and rigidly, basing on literature for children, which suffered not only from the compression of the genre spectrum of texts, but also from the selection of the necessary to a child themes, motifs, images. This children’s literature lost not only its creative originality, but also a thinking recipient. It became a powerful tool of total ideologization of society, by its world outlook program, first of all, depriving the younger generation of faith in God. The poem by Eduard Bagritsky “Death of Pioneer” is analyzed as a typical example of such an ideologization. The poem was based on real events, the renunciation of God appears highest feat. In Soviet times, from the position of former ideological platform, the poem has received extremely appreciation. The heroization of the image of the dying Valentina in the times of socialist realism has contributed to strengthening in the consciousness of recipients her implicit atheistic faith. The suggestive resource of the text is reinforced by phonetic and syntactic repetitions: alliterations, anaphoras, lexical repetitions, variated duplicate address of the girl’s name, parallelisms, as well as a number of rhetorical questions and calls. Bravura pathos of trochee trimeter poem “Youth Guided Us”, which became the famous song, tragically contrasts with the suffering of girl’s mother. Despite the fact that the ideology of socialist realism aspired to “sterilize” the author’s consciousness of the religious dominants in the case of other children’s classics – Agniya Barto, Samuil Marshak, Nicholay Nossov, Korney Chukovsky, refusing to accept the principles of the method, especially total atheism, deviation from the Soviet standard of art for children, provided their lyrics (of course, along with high artistic value and diversification), by the ability to move from contemporaneity to the space of “great time”.
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The purpose of this research is to identify autobiographical markers in H. Pahutiak’s mythopoetics on image and motif levels and characterize the specific character of mythologizing her spiritual-biographical experience. The paper looks at the peculiarities of literary interpretation of the actual events, toposes and persons related to the writer’s neomyth. The author’s essays are used for finding out mythogenic sources of her fiction and discovering the autobiographically marked material, interpreted in the literary prose. The paper analyzes the assimilation of the narrator and the author images characteristic of many H. Pahutiak’s works, which results in the similarity of some philosophical stories to essays on the genre level. It describes the interaction of autobiographical and mythical components in the semantics of the recurring images in the writer’s neomyth: the stone, the river, the road, the black bird, The Girl with yellow hair. The article focuses on the autobiographical marker in the correlation of the female characters with the mythologem of the setting sun. It reveals the interaction of the spiritual-autobiographical and philosophical-mythological intertexts in the “small novel” “The joyous desert”. The paper traces connections of the mythosemantics of the name Lada with the facts of H. Pahutiak’s biography and the motif of the lost harmony, which is considered one of the major motifs in the writer’s neomythological prose. The paper focuses on the strategies of cosmization, mystification and personification of the “private topography” in the writer’s fiction as well as in her essays. It looks at the peculiarities of the readers’ reception of the hypermythologized image of Urizh. The article considers the contamination of autobiographical and mythological elements to be a characteristic feature of H. Pahutiak’s idiostyle. The prospects of further research in this direction lie in defining the role of the autobiographical intertext in H. Pahutiak’s neomyth, in studying the strategies of myhologizing the author’s spiritual experience in her new works.
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The article underlines the possibility of Ukrainian satirical literature history. In general, literature uses different comic forms, such as burlesque, satire, humor, or irony. But we can speak about a particularly satirical work of literature, if an author elaborates mocking as the main purpose of a text. Besides, any comic form that develops in a work of literature makes clear the connection of writing with cultural and national identities, and this way the history of satire would be simultaneously the history of a community values in a certain epoch. The author of the article also stresses the particular role of burlesque, as a comic form that differs from satire, but exists in unison to it. Burlesque provokes a carnival festive laughter, which is pointed in all directions, while satire is precisely directed onto its particular object. According to M. Bakhtin theory of folk festive culture, an author of a burlesque piece does not remain outside of his laughter, while a satirist mocks, but remains serious himself. On the other hand, if burlesque unfolds as a stylistic lowering, it could lead to satire and often becomes a tool for it. Ukrainian literature encloses visible tradition of burlesque in parallel to the satirical one. Finally, it is concluded that Ukrainian history of burlesque and satirical literature is possible as integrated comic forms inside the model of national literature.
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Native Malanyuk study structurally is composed of diasporic and continental options that have close connections. Historiographical study of this literary direction formation allowed to define a leading role and function of research strategies developed by scientists of independent Ukraine in the process of formation. Integration of Malanyuk’s personality and creativity in cultural and literary sphere of Ukraine started in the 1990s by publications of Slovak Ukrainian M. Nevrlogo and I. Dzyuba, who outlined the major strategic issues of this branch of literature. T. Salyga (Lviv) and L. Kutsenko (Kirovograd) actively participated in the same period in works popularizing of E. Malanyuk, their analytical thinking. There was a proper regional forming of Malanyuk study centers. Thus, T. Salyga from Lviv provided publication of Malanyuk’s lyrics in 1992 describing in the preface solutions to some problems of Malanyuk study. The problem of creativity of E. Malanyuk is also significant for Galicia scientists such as M. Ilnytsky, M. Krupach, L. Senyk, P. Ivanyshyn, O. Bagan and others. Writer’s heritage was considered by them in connection with the ideological and artistic phenomenon of visnykivstva, which required the study of aesthetic dimensions of national centric pathos and patriotism of Malanyuk’s lyrics, his ideosophia. Significant role in the native Malanyuk study played Kirovograd. L. Kutsenko, using cultural and geographical principle established fundamental monographic study of the artist creativity “Dominus Malanyuk: background and personality” where he actually reconstructed life and career of the writer. In addition, the scientist introduced into scientific turnover previously unprinted works of the artist (Russian poetry, “Black poetry”, journalism, notebooks, etc.). The peculiar ones were the studies of other scientists from Kirovograd region who complemented and expanded the range of problems of Malanyuk study (S. Barabash, G. Klochek, V. Marko, O. Golnyk). In 2005 there appears the largest in Ukraine Malanyuk’s publication of works of different genres “Return” (compiled by T. Salyga). The structure of the book contains a number of scientific works of L. Kutsenko showing successful integration of regional studies and scientific practices in national literary context. We can assume that this symbolic act of research centers symbiosis finally underlined the formation dynamics of Malanyuk study in Ukraine overcoming properly regional boundaries and becoming national dimension.
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In the article T. Shevchenko’s ballade “Why do you come to the grave?” (from cycle “In casemate”) has been studied in the aspects of its ideological, thematic, imagery and artistic originality, and as an object of Fed’kovych’s purely individual productive reception, that took place in the mid 1860`s. Set of subjective and objective factors that contributed to it was found; creative and psychological conditions of that event, the previous writer’s achievements in the field of poetry, based on close relations with folklore and mainly German-speaking romantic literature were outlined. Specific Fed’kovych works, romantic too, were considered at the level of detection in it Shevchenko’s work stylization, motive studying, reminiscences ,figurative analogies etc. After all, each of that art dimensions remained sufficiently original, uniquely individual, that demonstrated their author’s high creative ability.
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The varieties of technique of “stream of consciousness” in Ivan Franko’s prose works, especially direct internal monologue, mediate internal monologue and omniscient description are reviewed in the article. It is found out, that Ukrainian writer (as row of European authors) used this technique earlier, than M. Prust, J. Joyce and V. Wolfe, who are considered to be the inventors of technique of “stream of consciousness”. The backgrounds and conditions of the appearance of this form of showing artistic material in Franko’s creation are revealed. The appearance of this modern form of account with Franko’s naturalistic aesthetic is connected, in particular with the study of the agony of consciousness, alcoholic intoxication, affects etc. Ukrainian writer used the technique of “stream of consciousness” in such his works as “Na roboti” (“At work”), “Iz zapysok neduzhoho” (“From diary of the sick person”), “Odi profanum vulgus”, “Perechresni stezhky” (“Cross pathes”), “Vivchar” (“A shepherd”) and others. The master of word shows varieties of “stream of consciousness” with different aim, often – as a way for clearer delineation of character’s psychology. Technique of “stream of consciousness” in Franko’s works is one of factors in the modernization of Ukrainian literature at the end of XIX – beginning of XX century.
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The article represents the overview of the 20th century Ukrainian and Russian sonnets (original works by Mykola Zerov, Valerian Borodayevs’kyi, Igor-Severyanin and some contemporary poets) that interpret artistically the fact of a writer’s biography. There was shown that, upon modeling the sequence of the events of a writ’s life and creativity in a triad ‘thesis-antithesis-synthesis,’ and involving the sensual (theme, idea, problem) and formal (composition, language, tropes, genre and style conceits) into its biographic paradigm, the sonnet turns to be a great pattern of intellectual poetry. Particularly, the sonnets with evident biographic element were popular among the Neoclassicist period (Sonnetarium by M. Zerov in Ukrainian, and the works by V. Borodayevs’ky in Russian); then, in the 1970s and 1980s, they became popular once again. Dmytro Pavlychko has been particularly productive (first of all, the cycle Hranoslov dedicated to Maksym Ryl’s’ky), yet the biography became the prominent motif in sonnets by A. Katsnelson and A. Moysiyenko. Thanks to formal stability and well-organized composition of the sonnet, a poet may realize one’s aspiration to perfection and esthetic stylishness. That is why this lyrical genre is able to express the dramatic gift of both the poet-author and the poet-addressee, who are staying in the constant strengthened field of dialogical essence of life.
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The article deals with the novel “The rose ritual of pain” by Stepan Protsyuk. This novel is examined as metaphysical model of the biography of artist. The metaphysical of Stepan Protsyuk’s fiction is primarily manifested by the existential states, when the person opens the “supersensual”, “divine being”. Consequently, the main points of metaphysical model of artist’s biografy features the existential states of Stefanyk’s life in it’s most intense moments. The depth of Stefanyk’s psychology is closely connected to the transcendental sphere that forms the metaphysical horizon of the novel. The basics of metaphysics forms the philosophical plane of the novel. So the problem that we research has to do more specifically with the philosophical expression. Philosophical and aesthetic approach to text analysis involves the use hermeneutical, comparative research methods. The spiritual concepts (emotional experience, solitude, creative imagination and others) are studied regarding the metaphysical nature of human being. The studying of novel “The rose ritual of pain” according to the metaphysical philosophy makes clear the Stefanyk’s creative phenomenon and the creative process in general. The article supplements the theoretical information about the art and biographical prose, explicates the new means of Ukrainian literature study according to the interdisciplinary research.
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This article is about a the world picture and a man in it, which appears in the recipient imagination under the influence of O. Honchar’s diary. The question of writer’s life and creativity is considered. Diariush is interpreted as a kind of autobiographical genre. It is said that the daily fixing manifestations of life determines author dual role / narrator: he confesses himself and shows what is happening around him and with others. Special relationship between addressee (narrator) – the recipient (beneficiary): on the one hand, the receiver (beneficiere) – it is the sender itself, and the second – the future recipient, are examined. The specific structure of the text is characterized. The forms and ways of expressing paradigmatic relations own / other are defined. It is confirmed that human concept in O. Honchar is formed by not only direct but indirect way. It is given the list of details such as self-consciousness of mankind, man ... realized his mission, was the spiritual became …force of life...The techniques of literary skills to create portraits that make up the gallery of real characters of the epoch (writers, scientists, politicians, peasants, soldiers, and others) are revealed. It is emphasized that Honchar’s notes about Holodomor (famine) and other forbidden topics first, pay attention to the different views of their vision; second, these notes in the subtext hidden forced silence which shows typological situation of many artists. It is proved that in O. Honchar’s diaries writer biography is both a biography of a generation that preceded the sixties and biography of Ukrainian creative intelligentsia.
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The article presents the opinions about Mykhailo Hrushevsky’s life and work presented in the Polish historical and journalistic literature of the late 19th and early 20th century. Two periods in the development of Polish Hrushevskiana have been determined. The first one (the second half of the 1890s) is represented by a generally objective and scientific approach – specific research issues were actualised at that time, and a discussion that took place at the time was steered in the direction of finding the most appropriate solutions to the problem. The next one (the beginning of the 20th century) brought about a significant radicalization of the Ukrainian and Polish national movements, and hence the aggravation of Polish-Ukrainian relations, which was reflected in the nature of the historiographical debates towards their politicisation. The basic characteristics and trends of the Polish Hrushevskiana have been revealed. The total dependence on historiographical assessments of the changed political landscape had been specified. It is concluded that Hrushevsky’s historiographical concepts in Polish historians’ interpretations embodied the conceptual basis of entire Ukrainian Clio. The process of politicisation of the Ukrainian-Polish historiographical debate at the beginning of the 20th century, to the aggravation to which the both parties have contributed, reflected a general tension in the relations between the neighbouring nations on the eve of the Great War. The revival of the dialogue of the previous period and its transformation into a monologue focused entirely on the collecting of national grievances brought about significant difficulties in seeking the international understanding during the war and after the emergence of the Second Polish Republic.
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The present article analyses the lyric and epic poetry of Lesya Ukrainka. Emphasis is put on the fact that all the works of the poet reveal her epic talent, but that the transition to lyric and epic, with the introduction of dramatic moments, and dialogues, gave the poems a tragic, dramatic perception of the world with a clear lyrical colour. The ideas of asceticism, sacrifice for the humankind and the establishment of justice, love of country is defined as one of the leading characteristics of Lesia Ukrainka. It is concluded that the poet was constantly in the international sphere, as she called for justice, brotherhood, freedom – as the highest ideals of peaceful coexistence of nations.
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The article deals with a stereotypical perception of Lesya Ukrainka drama Blue Rose as an experimental and somewhat incomplete work. The main thesis of the text is: the drama fits into the context of European dramaturgy of the late 19th – early 20th century and is consonant with the aesthetic searches of symbolists. The author analyses the motive of hereditary insanity, psychology drama, including fears of the protagonist, autobiography of work, and makes a comparison between interpretations of love themes in Lesya Ukrainka and Dante, and in Lesya Ukrainka and Russian symbolists (A. Blok, A. Bely). The basis for drama philosophy of two worlds was made through the establishment of platonic love doomed to end in tragedy in an imperfect world. The activation of a Middle Ages discourse allowed Lesya Ukrainka to do all the artistic discoveries, which later become the basis for the formation of symbolist theatre.
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The article presents the relationship between the drama of Larysa Kosach (Lesya Ukrainka) and philosophy of Friedrich Nietzsche. This connection is to show the crisis of Christian philosophy, which European culture faced at the turn of the 20th century. One of the significant roles was played by the Paul the Apostle, who often appears in Lesya Ukrainka’s drama and is the reason for polemics with the New Testament’s vision of the religion, the concept of the state and social order. The similarity with Nietzsche’s philosophy here is striking, because in both cases the “Good News” of the Saint of Tarsus is interpreted not only in opposition to the teachings of Christ, but first and foremost as the factor in early Christianity, which contributed to strengthening Christian morality consistently controverted by Nietzsche and Lesya Ukrainka.
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The author describes numerous bans placed on the literature and culture of Ukrainian Baroque in the period of totalitarianism. She argues that there is still an acute need to make a new approach to the literature of the Baroque and Romanticism eras, especially to the works by such outstanding authors as Taras Shevchenko, Mykola Gogol, Mykola Kostomarov, Panteleimon Kulish, Ivan Franko, Alexander Potebnja, Mykhailo Kotsiubynsky. Ukrainian Romanticism, as depicted by the author, is in fact different from the European one in many respects, despite the fact that it knows “romantic irony” or bizarre, surrealistic perception of the world.
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