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Professor Krystyna Pietrych talks to the Ukrainian writer Taras Prochaska about his work, especially the last book, They Won't Wrote about It in the Newspapers, diagnosing the causes of the difficult political situation in Ukraine, and the writer's childhood and inspirations.
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Biographical writings emphasize the ability of fiction to combine facts and conjectures. This binary is laid at the level of documentary bases of biography, presented by memoirs, epistolary, diaries. Self-image forming is accompanied by some mystification owing to variety of reasons.Person’s biography has its own plot. It may be interesting or boring for other people. Real life can be devoid of intriguing facts (as an option – a person works hard and has no leisure time), then you need to show the facts of inner life and to develop them into the story, interesting to readers. The role of the personal factor is determinant, because the writer presents a subjective vision of certain events in the life of a historical figure. Biographical narrative is a productive way of entry of the individual into the culture. Ego-fiction, which originated as a literary form of individualism, has become a peculiar phenomenon of modernist literature (J. Kotsiubynsky, O. Kobylanska, V. Stefanik). The original work serves as a grateful modeling material for further artistic biography, because it contains not only autobiographical motives, but also expresses deep reflection.Modern biography marks the transition from being plot-eventual to associative and psychological. In the process of psychobiographical works’ creation the object of the real life story becomes the object of the author's reflection. There is the increasing of aesthetic imperative – the writer's conscious effort to recreate the life of the individual and biography interestingly and artistically accomplished.Interest to the biography as a literary genre is powered by universal interest to ourselves. The penetration into the inner world of writer’s own characters is a branch of creativity itself.
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This article is dedicated to Ukraine-Polish relations and mutual influences and proven relevance of "Lesya Ukrainka and Polish literature." Specifically considered extraordinary creativity and original writers – Maria Konopnicka and Lesya Ukrainka, roll and parallels their heritage. It was found a close relationship and transparency major trends creative ways the two writers, found common sources, motifs, themes and issues in their poetry, prose and drama.
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The article is dedicated to the analysis of the concept “stork” (“leleka”) in the prose literature for children written by E. Hutsalo and M. Vinhranovsky. There have been traced the main concept verbalizers, its semantics has been clarified, the axiological markers of the studied concept have been identified. The concept “stork” (“leleka”) was determinated in both writers’ works, it contains the national ethnic meanings and individual senses encoded by the authors.
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The article focuses on the realization of the category of keeping silent in the novel I (Romance) written by Mykola Khvyliovyi. The punctuation marks such as “three dots”, horizontal prick-lines found in the text, parceling constructions as the materialized sign of the disagreement have been singled out among the graphic means of the reflection of the category of keeping silent in the text analyzed. Besides Mykola Khvyliovyi uses the words to nominate silence / keeping silent: the nouns (“silence”, “stillness”), the adjectives (“silent”, “deserted”, “deaf’, “dead”), the adverbs (“silently”, “hollowly”), the verbs (“to keep silent”, “to rustle” etc.). The appeal to the eye images by means of the repetition of the verbs “to took”, “to see”, “to glance”, “to peer”, “to watch, “to took back” is one more different way of the explication of the silence effect in the text. In the novel the characters, the town and the nature keep silent confirming the absence of possibility to express real feelings by words and consequently, everything is told by keeping silent and keeping silent is able to express everything.
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In this article there have been analyzed the personal documents, the essays and journalism-like genres describing the events of the Ukrainian Dignity Revolution and the War in Donbass. The narratives included are very diverse in the terms of the speakers, their social status, the specificity of their jobs and the ways of getting involved in the history.
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WAPLITE is one of the literary groups, which took an active part in shaping the face of Ukrainian literature in the 1920s. On the one hand, their vision of literature was the literature con-elating with the socialist model, on the other hand, the literature resonating with the most important trends in European literature. The main ideologue of the new aesthetics called “a romance of vitslism” was a co-founder of the group, Mykola Khvylovy, but Oleksa Slisarenko, Oles Dosvitnii, Yuri Yanovsky and Alexander Dovzhenko contributed much as well. This article is based on the analysis of the programming documents and literary works.
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The aim of the paper is to present the cultural, linguistic, etc. influence that the two historically coexisting nations, Hungarians and Ruthenians living in Subcarpathia have had on each other. The prose work of Dmitro Keselja, a Ukranian (Ruthenian) writer served as a basis for the research. The research uses a descriptive method. The conclusion is that due to historic coexistence, social and political influences both cultures had an impact on each other forming and enriching each other’s outlook on the world. A proof of this is this rich compiled material. The research could aid the clarification of the often irreconcilable disputes that inevitably arise in multinational regions such as Subcarpathia.
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The aim of the work is studying and summarizing the usage principles of the ethno-stylish artistic means to the process of the Ukrainian books production through their representation in artistic work. The studies which object stands on the book graphics and which subject is ethno-stylish part of its artistic performance are based on the isolation and systematization of the appropriate tools. To determine the level of the scientific coverage issues the author refers to the works of some art viewers because of their complex vision of the ethno-stylish art in the Ukrainian book graphics, including Osinchuk M., Antonovych E., Yatsiv R., Moskaliuk V., Belichko N. and others. Methodology. The research methodology includes an analysis and systematization of corresponding signs. The analysis and classification of the artistic book`s components (possible carriers of the stylistic features) allows us to determine the role and styling influence degree on the overall image of the printed edition and the factors` isolating that determine the specific artistic choice concepts, helps to understand the way of the books` master, made to achieve the desired result. Scientific novelty. The Master`s opportunities of the Ukrainian books in the ethnic styling are reviewed this article. The author reveals the relevance of the studying this problem nowadays in the contemporary art space at the growing interest in the social manifestations of the national artistic consciousness and attentions the reader`s peculiarities of perception of the Ukrainian book image as a national form.
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In the article vision of general world view "situation" is expounded for creation of poets of Kyiv school. It goes about research of features of poetic language as direct expression of the specific state which links rational and impersonal, turning back to the primitive matrix of premifological and Ukrainian mythological consciousness. The poetry is also based on Ukrainian and European philosophy, aesthetics and psychology and others like that, and has such features as undeclarativeness and even germetizm, that predetermines receptive efforts of understanding; search of old poetic tradition and output on an original free poem.
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The article is devoted to the interpretation of philosophical code of masterpiece of Ukrainian literature—Ivan Franko’s “lyrical drama” “Zivjale lystja” (‘Eithered Leaves’)—in categories of existential philosophy and psycho-analysis. Existential drama of the lyrical hero-“aesthete” (lover-suicide) is examined through a prism of dialectics of eros and thamatos, biophilia and necrophilia. Also are analysed Werther’s, Faust’s and Mephisto’s, buddhistic, suicidal cubcodes of “lyrical drama”. “Zivjale lystja” is interpreted as original artistic psycho-drama, psychological autotherapy by aestetisation of love story of writer and projection of his personal complexes in the literary text.
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З присвятою Петру Гончаруку, відомому історику і справжній Людині на честь 80-річчя
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The article deals with the little-known aspect of the Ukrainian music history, viz. the Ukrainian diaspora’s commemoration of the Ukrainian music founder Mykola Lysenko. Based on the archival documents and publications, the typology of these commemorations is ascertained, the most remarkable cultural events are singled out, the composer’s little known musical compositions and sound recordings are introduced.
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The Ukrainian writer and playwright Hryhory Kvitka-Osnovyanenko wrote his satirical drama The Visitor from the Capital or Turmoil in a District Town in 1827 but it was published only in 1840, while Nikolai Gogol’s play The Government Inspector was brought out in 1835. The topic of the incognito traveller, a false government inspector whom the threatened town officials attempt to suborn in different ways, circulated in the imperial Russian society at that time. The possible influence of Kvitka’s play on the famous The Government Inspector is a question which has excited the imagination of literary critics since the middle of 19th century although they have treated it quite differently. The range of opinions varies from the complete rejection of the possibility to suspect plagiarism, irrespective of the fact that Gogol himself denied he was familiar with his Ukrainian fellow writer’s play. An overview of opinions and articles devoted to the question is presented in the paper.
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The purpose of the study is to determine the place of the scientific work of Y. Stefanyk in Ukrainian literary criticism and to clarify the significance of his contribution to understanding the literary process in Ukraine in the twentieth century, outlining the literary criticisms of Y. Stefanyk about V. Stefanik, Lesya Martovich and the writers of the Ukrainian diaspora, in particular style, image manners, innovative trends. To realize the goal, we are expected to perform our tasks: to carry out the analysis of the literary heritage of Yurii Stefanyk in the context of the literary process of the twentieth century; to find out the role and place of Y. Stefanyk in the Ukrainian literary process of the twentieth century and abroad, to reveal the significance of the studies of the life and work of Les’ Martovych, Vasyl Stefanyk and the writers of the Ukrainian diaspora in the writings of Yurii Stefanyk; generalize scientific research in the study of the life and work of Ukrainian writers; to qualify Y. Stefanyk as one of the founders of the scientific study of the way of life and the creative work of Vasyl Stefanyk and Les’ Martovych. Research methods. We practiced comparative historical, biographical, descriptive, aesthetic and functional, typological and comparative methods, aimed to make a scientific research, and also the methods of analysis and synthesis, induction and deduction, method of collection, selection and synthesis of information data, aimed to conduct a scientific research. The scientific novelty of the study is the consideration of an independent person in the field of Ukrainian literary criticism - Y. Stefanyk, who played a key role in the study of the creativity of Ukrainian writers. For the first time in Ukrainian literary the basic information related to the activities of J. Stefanyk is assembled and integrated, writer’s place in Ukrainian literature of the twentieth century is defined. Conclusions. We succeeded in outlining Yurii Stefanyk's sphere of activity. Identify the main vectors of the artist's work, show the role and significance of the work of the researcher of literature for the development of the Ukrainian literary process in particular and in the global context as a whole. The style of thinking of J. Stefanyk is generally controversial, partly even unbalanced, but behind it there was genuinely objective desire to understand the complex issues of literary history and evaluate them. Sometimes his style is compromise, justifying previous false judgments. The analysis makes it possible to assert that the critic sensitive characteristic to each artist signs his style, draws attention to the aesthetic value of works of an author. He is well aware of the colors of the language, especially the style of the writers, about whom he writes. Literary school, has acquired with the father, and later in publications, which cooperated experience research and textual works, and especially literary talent led to his professional judgment, credibility assessments of certain aesthetic effects.
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The article focuses on the discussion of the motif of tempest in Vasil Tkachuk’s novella under the same title. It is doubtless that the tempest symbolizes not only the force of the nature, but also the human emotions. V. Tkachuk masterfully captures the essence of a raging thunderstorm, which is being compared with an internal world of the characters with the use of various stylistic means.
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The article is an attempt to come out with Yuriy Vynnychuk’s compiling activity. The author tries to analyse anthology as a separate literary genre, the brief description of Vynnychuk’s collectanea has been presented. The prominent contribution of the writer into contemporary Ukrainian literature has been discerned.
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The article deals with the universal psychologizm of I. Franko's prose in terms of the theory and methodology. The researches of Franko hearitage (A. Krymsky, S. Yefremov, O. Biletsky, M. Vozniak, Y. Yankovsky, I. Denysiuk, M. Ilnytsky, M. Tkachuk, Y. Melnyk, T. Hundorova, M. Hnatiuk, S. Pavlychko N. Zborovska, A. Shvets, R. Holod, B. Tycholoz, etc.) revealed on a different historical stage of the study the whole range of problems with a unified understanding of the deep psychologizm of Franko’s fiction . They made a conclusion that the creative method of Kamenyar is analytical-synthetic, multidimensional and it cannot be clearly defined. This peculiarity of I. Franko's creativity is quite natural. That is a result of difficulties to find general complex of psychological features and original artistic works during late nineteenth and early twentieth century. The concept of the interrelationship between artistic anthropology and literary methodology is connected with the problem of evolutionary consciousness of the entire culture of the twentieth century, or rather cased by the whole artistic life with its attempt to find its own form of expression.This background caused the methodological options – the psychoanalytic method and the typological characteristic based on comparison with F. Dostoevsky’s prose. This type of research is possible to make, while analyzing I. Franko works as “Motherland” (“Bat’kivshchyna”)’, “Boa Constrictor”, “The Blackthorn in the leg” (“Teren u nozi”), “How Yura Shikmaniuk waded Cheremosh” (“Yak Yura Shykmaniuk briv Cheremosh” etc. It is possible to notice that the artistic and scientific model (for example, “From the Secrets of Poetic Creativity”) of writer’s thinking is close to the psychoanalytic ones, such as the method of free association of S. Freud, the theory of personality of A. Adler, the existential therapy of V. Frankl, the humanistic psychology of E. Fromm. The approaches, made by I. Franko are – to some extent – ahead of listed methods. In fact – according to G. F. F. Hegel, the method is a theory, reversed to practice.We made a conclusion that the psychoanalytic method of studying I. Franko's artistic prose opens the perspective of a dialectical understanding of the synthesis of the artist's creativity, in addition to the socio-historical, poetic horizons, and psychologically-comparative measurements in a heterogeneous cultural and paradigm of the West and the East. This also applies to the comparative characteristics of the work of the Ukrainian artist with the new Chinese literature (现代 文学).
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The article deals with the publication of a part of the collection of Marko Vovchok’s letters dating back to early years of the 20th century. In particular, it studies Vasyl Domanytsky’s letters to Marko Vovchok and her letters in reply to him. The story of publishing of the writer’s letters started in 1920s. The fourth volume of Marko Vovchok’s Stories (1928) edited by Oleksandr Doroshkevych contained, among others, 98 letters written by the author to various people and 120 letters addressed to her. Insufficient studying of Marko Vovchok’s collection of letters caused a number of mistakes concerning their attribution in the edition, in particular, her letters to Vasyl Domanytsky were mistakenly attributed as letters to Fedir Matushevsky. The editors corrected this mistake in later editions, but they made some other mistakes during the preparation of the edition. The six letters from Vasyl Domanytsky that are analyzed here, were first published in Letters to Marko Vovchok (1979).
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