«Кара Божья» и «Чудо Господнее» в рассказах об осквернении святынь в текстах современной украинской крестьянской традиции

Author(s): Julija Buĭskikh / Language(s): Russian Issue: 38/2014

The article deals with the investigation of a concept of ‘Lord’s punishment’ and ‘Lord’s miracle’ in the folk oral stories about violation of the sanctities in modern Ukraine. It is based on a large amount of data collected in different Ukrainian regions in rural environment in 2007–2013. The most representative ninety texts were involved in the research. They could be divided in two main groups due to their plots: 1) the violation of a temple (church or chapel is turned into a grain, vegetables or techniques store, club-house, school; communist activists dance at the altar or defecate inside of the church); 2) the destroying or burning a temple itself. In the number of texts the motives of ‘Lord’s miracle’ and ‘Lord’s punishment’ act in a certain unity. Thus, in one case, the motive of the miracle precedes the motive of the punishment. In the other case, God shows His miracle some time after the punishment came. Anyway, the motive of Lord’s punishment is the main concept in the majority of the texts selected. It is separated in two plots: the punishment immediately gains upon the defiler (defiles) or it reaches them later. It this case it overtakes as a long agonizing death or can reflect the life of the defiler’s children and even grandchildren. The destroying of the church means the annihilating of the whole world order in the traditional worldview of the village-dwellers that influences their everyday life till nowadays.

In memoriam Лиляна Минкова

Author(s): Rumiana Damianova / Language(s): Bulgarian Issue: 32/2016

До 200-ліття Тараса Шевченка

Author(s): Lyubov Vladychenko / Language(s): Ukrainian Issue: 1/2014

Latopisy Akademii Supraskiej

Author(s): Teresa Chynczewska-Hennel / Language(s): Polish Issue: 1/2014

O teatrze waszym i naszym. Wykłady o teatrze/ Лекції про театр

Author(s): Anna Korzeniowska-Bihun / Language(s): Polish Issue: 1/2014

П'ятнадцятий Міжнародний з'їзд славістів у Мінську

Author(s): Walentyna Sobol / Language(s): Ukrainian Issue: 1/2014

Władysław Andrzej Serczyk (23 II 1935 - 5 I 2014)

Author(s): Teresa Chynczewska-Hennel / Language(s): Polish Issue: 1/2014

Інтерпретаційний портрет Тараса Шевченка у форматі сучасної медіа-культури

Author(s): Alla Sazhyna / Language(s): Ukrainian Issue: 90/2014

We are talking about a kind of “embodiment” of the image of a Ukrainian classic in modern media text. We are considering examples of contemporary popular media culture, transforming the image of Taras Shevchenko. Advertising is one of the genres of modern mass culture that actively reformats literature, including and Shevchenko’s canon. For the most part, Shevchenko’s image is embodied in the so-called social advertising. Its purpose and objective is to proclaim and strengthen moral, ethical, aesthetic values of the Ukrainian people through the image of Kobzar. It is symptomatic that the next input of Taras Shevchenko’s image in the socio-political context takes place at the time of the Orange Revolution and during Euromaidan. This update is based primarily on harmony of Kobzar’s value orientations with those of modern Ukrainian society: fellowship, freedom, patriotism – these are the key programs upon which the dialogue of generations is build. The image of the classic is embodied in various forms of popular media culture, actualizing a kind of dialogue with the classic via language of the recipient. The embodiment of Taras Shevchenko’s image in the new art forms actively takes place in urban literary topos. A new form of modern pop art, which is called for embodying the image of the classic, is the so-called digital painting. A whole block of modern media texts is being created under the laws of the postmodern game with program irony, parody and pastiche. Another kind of transfer of classical paradigm through the media language is the creation of literary works based on original literary works (fanfic). Members of Taras Shevchenko’s fandom diversely reassess Kobzar’s image as a personality. The examples considered here motivate the modern receptive “Shevchenko’s portrait”. Numerous examples of popular literature through the game, intertextual and intermedial techniques, parody and others involved in the creation of a new myth. This myth can be called „Our Shevchenko”, it becomes a sign and evidence of continuous dialogue between classics and the present.

Екзистенційні акценти типології вигнанця

Author(s): Yulia Vilchanska / Language(s): Ukrainian Issue: 90/2014

The given article treats the creative work of two emigrant poets Yevhen Malaniuk (Ukrainian diaspora) and Boris Poplavsky (Russian diaspora). The study concerns the transformation of biographical experience in a trope. “Emigrant's state” of both poets acts as an internal factor of their self­identification. The ontological potential of texts is read in the context of the theme, the status of “exile” (the new scientific paradigm, which defines the situation related to expatriation). Exile generates a specific form of culture, since emigration certainly makes the writer marginal against the new (Another), not yet accepted (or not accepted at all) culture. We need to understand how a creative personality reacts to such changes and how adaptation / not adaptation to the “new life” influences on the creative work. The impossibility of fit into the new world guides the artist to his own inner space. A comparison of two, supposedly completely different poets, as B. Poplavsky and Y. Malaniuk is not paradoxical, considering the commonality of the key moments in the biographies of both former compatriots and in fact peers: it is a saving escape from the Bolshevik reality and implicitation in another society. There is every reason to consider it as common denominator of the typology of exile in general. The artists draw closer together typologically by devotion to their own national culture, their poetic purpose, the coherence of their common theme of exile, the imitation of the modernist tradition of new poetic writing, which indicates a comparative analysis of their heritage. Exile gives not only the theme but also distorts the worldview of the artist trying his existence. The influence of logic of the marginal consciousness of an exile poet on the trope lyrics system is also analysed. The theme of “paradise lost” is read from a special existential viewpoint.

Ocalony przez mit. Schulz i Lilien

Author(s): Piotr Sitkiewicz / Language(s): Polish Issue: 6/2015

Although at first sight it is difficult to find clear connections between their art, in hisessay Schulz expresses his admiration for Lilien’s work and prompts the reader how their respective imaginary worlds come together. The main reason for Schulz’s admirationis the myth of childhood, which the writer cherished so much. Besides, he perceivedLilien as an artist who in his works expressed important currents in the political thoughto f his times and changes in the collective identity of Jews creating their own state in theland of Israel after centuries of living in diaspora. Thus Lilien is a spokesman of hispeople, a kind of medium through which the spirit of the age and history can express itself. He is also a great mythmaker.

Wystawa Lachowicza

Author(s): Bruno Schulz / Language(s): Polish Issue: 6/2015

A review of an exhibition of the Drogobych artist, Feliks Lachowicz, published in "Przegląd Podkarpacia". Schulz perceived in the works of Lachowicz, who made pictures referring to his hometown’s history, an unprecedented chronicle project, and believedthat the artist had a talent of medieval illustrators. The text concludes with an appealto the authorities to purchase Lachowicz’s works for the future municipal gallery housingthe achievements of local artists.

Feliks Lachowicz (1894–1941?)

Author(s): Piotr Sitkiewicz / Language(s): Polish Issue: 6/2015

Amateur painter, draughtsman, and sculptor, born in Drogobych. Fought in World War I, as a Russian POW sent to Siberia. Having returned to Poland, worked at “Galicja” refinery in Drogobych. In 1940, arrested by the NKVD and sentenced to 5 years inconcentration camp. The circumstances of his death remain unknown. His most importantworks are two series of graphics showing his hometown: History of the Town of Drogobych – "For the Glory of Motherland" and "Hope of the Drogobych Burghers" (1933) and "Urycz in Legends. 14 Miniatures" (1938). Lachowicz created in his works a mythology of the town according to his own vision of the past. His art does not reach for the new but returns to history to connect to the mystery of the bygone and the primeval. At this point, his and Schulz’s artistic paths converge.

Schulz typograf

Author(s): Stanisław Rosiek / Language(s): Polish Issue: 6/2015

Schulz’s occasional graphic designs which made the margin of his art included alsoa vignette of the Przegląd Podkarpacia, drawn in 1937 and used for the first time inthe periodical’s 70th number, dated October 17. Before that the vignette had been composed of accidentally chosen type letters available at the printer’s. Schulz preferreda modern type but he did not use the printer’s resources. His vignette was an ink drawing, which guaranteed him maximum liberty. The artist combined a picture of an oil well and a refinery with a letter logo. The first letter “P” was of a double size sothat it belonged to both title words placed one under the other. The letters was close enough in style to art deco, yet the whole vignette did not follow any particular schema.The last number of the "Przegląd Podkarpacia" with Schulz’s vignette was published on July 23, 1939.

Po co tłumaczyć na nowo Brunona Schulza?

Author(s): Alain Crugten / Language(s): Polish Issue: 6/2015

Criticizing the available translations of Bruno Schulz’s works into French, the author explains why still another translation was necessary. Several years after writing a playabout Schulz’s life and work (Bruno or, A Great Heresy) van Crugten decided to submitfor publication by L’Âge d’Homme a new translation of Schulz’s stories. Schulz has beentranslated into so many languages that he became a literary superstar, which – paradoxically– resulted in a number of controversial translating strategies. Sometimes four orfive translators were working on a single volume so that the effect of their efforts could not be coherent. The French reader knows Schulz’s texts in translations which are only approximate. For forty or fifty years, translators have been making the same mistakes, simplifying and omitting difficult passages.

Manekin artysty, manekin fetysz (Mannequin d’artiste, mannequin fétiche), Paryż, Musée Bourdelle, 1 kwietnia – 12 lipca 2015

Author(s): Tomasz Swoboda / Language(s): Polish Issue: 6/2015

This is a report from a visit to the exhibition "Mannequin d’artiste, mannequin fétiche" presented at the Paris Musée Bourdelle in April 1-July 12 2015. In the first place, the show was intended to be a story about the mannequin in the history of artistic practices.In such a context, the mannequin turns out to have been a great enemy of two currents: first, romanticism, which in his conception of creative genius rejected the idea of representingreality, and second, all the anti-mimetic tendencies in modern art in which the question of adequate representation of the body can only be a negative point of reference. That double rejection of the mannequin was compensated by its position within realism, for which it remained indispensable, and surrealism, for which the mannequin (particularly the tailor’s dummy) was a value in its own right: aesthetic,oneiric, philosophical, and erotic (see the most famous works of de Chirico and Bellmer).

Emeryty

Author(s): Anna Kaszuba-Dębska / Language(s): Polish Issue: 6/2015

"Emeryty" is an interdisciplinary continuation of an earlier project by Kaszuba-Dębska– "Heels" – and the reference to the Kantor’s Theatre Informel, where the actor is aligned with the object and subjected to chance. Kantor’s actors are “bags, people in the cabinet conformed to the clothes hung there, deprived of their own free will, chattering their own nonsense”. Emeryt is an actor-subject, the alter ego of a specific person related tothe environment Kantor, mainly artists gathered around Cracow Group, or a person living today. In this way, a new community of dummies, combined with the same ideaof passing, is forming installation in urban space. Through QR codes placed on tags sewn into mannequins, the viewer interacts not only with the real object of art, but by scanning the code can also see the video, which recognizes real alter ego of the dummy.

Dzieło, którego nie ma?

Author(s): Stanisław Rosiek / Language(s): Polish Issue: 5/2015

In the age of technological reproductibility the original of The Booke of Idolatry has disappeared under more and more replicas. We have been talking and writing about reproductions which are more and more distant from the original: reflections, reflexes, copies, representations, and effigies. Until today, the whole cycle of Schulz’s cliché-verreshas not been published in an adequate form – there are only more successful reproductions of particular graphics. At any rate, the identity of "The Booke" has always been precariousand ambiguous. It has always been a work in motion – flickering, unstable,composed in various ways since particular graphics have appeared in different authorial configurations (files) each of which lead its own, independent life. Thus "The Booke of Idolatry" has its multiple history and no “hard” ontology. As a whole, it is not available. Still, the trouble with it begins already at the elementary level of an individual graphic. The differences among available copies have been caused by technological conditions (different chemical processing of the positives), which bring about specific material (different pace of ageing) as well as artistic consequences (replicating his cliché-verres,Schulz would choose either a sepia or a silver-black tone). As a result, different prints ofthe same graphic look different, which implies contingency of seeing and, what follows, also of understanding and interpretation. We may encounter "The Booke of Idolatry" only in its specific historical version, by coming across its individual copy. A comparison of a dozen or so preiconographic descriptions (or perhaps testimonies of looking/seeing) of the same copy of "Mademoiselle Circe and Her Troupe" reveals a fundamental diversityof views. Is it possible to have a debate on meaning without a consensus as regards what we can see? Is a pact concerning a visible object of the debate made (or perhaps not made?) in passing, while we interpret it in a joint effort to find its meaning?

Bruno Schulz w Poznaniu

Author(s): Piotr Sitkiewicz / Language(s): Polish Issue: 5/2015

For the last several decades Schulz’s oeuvre has been a kind of “work in progress.” Although he has been long dead, more and more of his texts, drawings, and paintings seem to come down to us from the hereafter – both known from more or less credible testimonies, andquite unexpected and never before acknowledged. Certainly the most impressive findingsof the recent years are Schulz’s frescoes from Landau’s villa in Drogobych, discovered bythe German filmmaker, Benjamin Geissler, in 2001 and then partly removed to Israel to cause an international scandal. As it turns out, however, to find new traces of Schulz’s lifea nd work one does not have to penetrate into inaccessible archives or count on a miracle. In the Poznań newspaper "Nowy Kurier", an interview with Schulz and a review of his "Sanatorium under the Sign of the Hourglass" have been just found, both never reprinted or commented upon. The present paper changes this state of affairs.

SEMANTICS OF TARAS SHEVCHENKO’S POETRY IN MUSICAL INTERPRETATIONS OF MODERN PERFORMERS

Author(s): Viktoriia Padalko / Language(s): English Issue: 44/2023

The purpose of the article is to demonstrate the process of transformation of semantic paradigm of musical interpretations of Taras Shevchenko‘s poetry in the context of the Russian-Ukrainian war. The methodology of research combines general scientific methods with specific methods of musicology and literature. The use of historical and comparative methods, together with analytical method, made it possible to conduct a multidimensional analysis to identify the features of modern musical interpretations of Taras Shevchenko‘s poetry through the prism of sociopolitical transformations and to determine changes in them compared to previous interpretations. Scientific novelty. The analysis of musical versions of Kobzar‘s poetry in the context of the Russian-Ukrainian war was carried out for the first time. Moreover, new and previously unanalysed song compositions have been added to the research related to musical Shevchenkiana. Conclusions. The creative heritage of the classics has always been a kind of tuning fork for the Ukrainian cultural space. Through the prism of the attitude towards it, it is possible to track both the internal transformations of the artists' creative worldview and the reflection of external challenges the whole country face. Тhe research demonstrates the transformation of semantics of the poetry of Taras Shevchenko in modern performers‘ musical interpretations. It reveals not only changes, but also the process which explains why such changes appeared. The work also describes how interpretations expand the paradigm of meanings not only during their creation, but also in diachrony – after a certain time, when the socio-political context changes, thus the phenomenon of "interpretation of interpretations" appears. Through updating the semantics of Taras Shevchenko‘s poetry by modern performers, a kind of intergenerational dialogue is formed. This leads to demonstration of spatio-temporal connections, which, through modern media resources, present Ukraine as a country with its own centuries-old history and unique, original culture.

Sjećanje na Viktoriju Amelinu

Author(s): Tomica Bajsić / Language(s): Croatian Issue: 29/2024

»Ukrajina je borba demokracije protiv autoritarnog režima. Po Putinu, međunarodne institucije i međunarodno pravo nisu bitni, nego je bitna jedino moć. Zaustavljanje ruske agresije na Ukrajinu vraća vjeru u međunarodno pravo i Europu,« govorila je Viktorija Amelina.