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2016 рік став для „Питань літературознавства” ювілейним – науковому збірнику виповнилося 50 років. Це півсторіччя цікавої і драматичної історії розвитку української філологічної науки, що засвідчила суттєві ідеологічні переакцентування внаслідок радикального зламу соціального устрою, точкою біфуркації якого став 1991 рік. Період функціонування видання розколовся навпіл: 25 радянських років і 25 років незалежної України.
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The article aims to present a critical project of publishing the literary and artistic works by Bruno Schulz in a uniform edition. Few readers realize that Schulz’s fiction exists intwo editorial versions: the anonymous Cracow edition (published several times since1957) and the Wrocław edition (prepared by Jerzy Jarzębski for the National Library series in 1989). The differences between them are not essential, but they call for a critical intervention which is not an easy task.
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Linguists’ great interest to the problem of borrowing lexical polonisms and their adaptation into the system of a language-recipient is caused by their wide use in Ukrainian literature of the XVI-XVIIth centuries. Discovered Ukrainian sources of the researched period demonstrate ideographic divercity of Polish lexical borrowings that allows modeling the structure of language mapping of the world, solving the problem whether borrowings enrich the structure of language concepts or just vary the means of conceptual expressions that were formed in the past and already exist in the language.
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This article deals with the analysis of the concept DEVIL as a representative of the sacral and chthonic spheres of M. Kotsyubynskiy’s story “Shadows of Forgotten Ancestors”. Nominative field, semantics and axiological features of this concept have been considered in the research. It has been found out that DEVIL in studied texts is characterized by an extensive system of names; it is polysemantic, ambivalent and manifests itself as a constant of Ukrainian linguistic culture and individual author’s concept.
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The article deals with the problem of Ovidius phenomenon in the context of general principles of the interpretation theory. The understanding of the artist’s fate in Polish, Austrian and Ukrainian literature of the second half of the 20th century has been investigated. The work also exposes the peculiarity of the ancient Roman writer’s transformation from a historical personality into a literary image.
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Comparative analysis of novels Field Work in Ukrainian Sex by Oxana Zabuzhko and Runners by Olga Tokarchuk is within the scope of the reseacher’s interest in the article. The theme of a journey is in the centre of study; interpreted in the categories of existential search and revealed through the concepts of language, history, motherland, nation, family and home. The conclusion is related to the similarity of using of the image of a journey as a pattern of self-identification in contemporary Ukrainian and Polish literature.
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The article deals with the concept of Central Europe in the essays by Yuri Andrukhovych and Andrzej Stasiuk collected in the book My Europe. Both authors try to deconstruct the spatial categories deeply rooted in the collective consciousness, at the same time proving to be reproducers of the regressive mental schemes generated inside the European discourse.
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The article focuses on the imagological analysis of Mykhaylo Kotsubynskyi’s creative work. Russian ethnic artistic images of a famous Ukrainian impressionist have been analyzed in the context of a social-political situation in Ukraine at the turn of the XIX th– XXth сenturies.
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The paper analyzes the results of a research on the popularity of Schulz in today’s Drogobych, conducted there in 2014 as a basis of the M.A. thesis titled "The (Un)knownSchulz. Reconstructing the Memory of Bruno Schulz in Drogobych" [(Nie)znany Schulz.Proces odtwarzania pamięci o Brunonie Schulzu w Drohobyczu]. It shows the knowledge of the town’s present population about Schulz. The respondents answered a number of questions concerning his life and work, as well as their personal attitude toward thewriter. The information obtained provides an answer to the title question: “Is Bruno Schulz well-known in Drogobych?”
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The article deals with the policy manifestos of the famous Ukrainian poet-futurist Mykhailo Semenko. They reflect fundamental regulations assumed as the basis of his Quero-Futurism and Pan-futurism theories.
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In article discusses creative path of prominent Ukrainian filmmaker Sergey Parajanov who was producer-innovator of the twentieth century and artists of Ukrainian poetic cinema which left a footprint in the world cinema. Producer was a prominent representative of Independent art which was formed in Ukrainian during the political “thaw”. Parajanov received wide recognition as a producer in Ukrainian, Georgian and Armenian cinematography of his films include professional skill profound philosophical thinking, knowledge, of national folklore and music expressive language film. Poetry? Pictoral and musicality are imbued with all his films.
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The article reveals the lifespan and professional activity of a well-known poltavian, professor VolodymyrShchepotiev. He is highly acknowledged in history as a talented pedagogue, who experienced the growth from a teacher of the Ukrainian literature to the professor, rector of Poltava institution of Folk Education. Being a person with encyclopedic knowledge, as well as being keen on the history of the Ukrainian language and folklore V. O. Shchepotiev applied the folklore patterns and samples in his work. V. O. Shchepotiev was a talented scholar, researcher, and organizer of scientific lifestyle of the region. He wasthe first who initiated establishing of Poltava scientific society, was on good terms with Ukrainian Academy of Science in Kiev, as well as with scientific establishments in Kharkiv. He was the one who organized and subsequently maintained the regional archive while systematizing documents and ordering personal archives. Professor initiated the onset of local history investigations. He personally headed the department of folklore and language in regional museum and at that time he developed the structures of expositions, and systematized the museum collections. He would numerously visited the villages of Poltava to discover historical and cultural as well as ethnographical items and to convert them into museum display objects. V. O. Shchepotiev played an extremely significant role in establishing and developing the theatre and music arts in Poltava region. He was in charge of one of the part of Poltava drama theatre and was one of the talented stage director. He gave his educational lectures to people before the concert programs of the choir "Boyan" which were devoted to folklore and local history. The contemporaries would estimate V. O. Shchepotiev’s music talent, who wrote music compositions, played different music instruments. He, ultimately, was the first who started the scientific investigation of M.V. Lysenko’s biography and creative heritage. The translations of poetry and prose from French, Polish, in particular the poetry by Beranger, libretto for several operas composed an integral part of his literary heritage. His creative and scientific activity was broken down with political repression of the power of the Soviet Union. He was arrested and convicted to administrative exile according to a trial case of SVU and afterwards he was shot away in 1937.
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The major points, which were covered by our research, may be summarized as follows. Vladimir Nikolayevich Peretz has considered an outstanding figure of the scientist, academician, collector of literary monuments. Is held a comprehensive analysis of the life, activity and scientific heritage of academician V. N. Peretz. Based on the significant amount of the studied sources, reflected biography Vladimir Peretz in the cultural – historical process, as his discoverer, on the one hand, and his creator on the other. In a study for the first time comprehensively researched creative legacy of a scientist. In our study we identified the influence of external factors on the formation and evolution of views Vladimir Nikolayevich Peretz. In the process on the biographical analysis were determined his sociopolitical, historical, scientific opinion related to the achievements of world culture. His contribution was set to the cultural heritage of the nation. His activity on the background of cultural-historical development and the struggle of the Ukrainian national idea of the late XIX – early XX century was investigated. The role in maintaining and attracting in the scientific use of national values was defined. In study was highlighted his work on the formation of research centers in Ukraine. The role of Vladimir Nikolayevich in the revival of Ukrainian culture and transfer of intellectual and cultural heritage for future generations was analysed. His place among the Ukrainian scientists of late XIX – early XX century has determined. So, were analyzed the major milestones of the life and activities V. N. Peretz, evaluated his contribution in the development of the theory and history of culture. End of XIX – beginning of the XX century was characterized by the development of cultural and creative potential based on defending the Ukrainian national idea. This was accompanied by the creation of spiritual values (language, literature, art, science, education, etc.), search, preservation and dissemination of intangible heritage. A major achievement in the development of the Ukrainian national idea became statement of the unique ethno-cultural, spiritual identity and values of Ukrainian culture. Realizing this has become a fundamental cultural and creative activity Vladimir Nikolayevich. Cultural and creative activity should be understood as an activity aimed at the development of culture, including search, collection, research, and cultural transmission to future generations. Consequently, the activity of V. N. Peretz promoted cultural progress, which included the creation of conditions for the development of culture and its study. He was engaged in the research, collecting work, the formation of the library and museum collections, holding archeographic and ethnographic expeditions, descriptions of manuscripts and early printed books. Exploring the sights of the historical past of the Ukrainian ethnos, he opened the unknown and little-known phenomenon of the historical facts of the national culture, including the ancient Ukrainian literature. In the scientific revolution were introduced numerous facts of history and theory of literary criticism. His master's and doctoral dissertation were both research and the publication of a large number of Ukrainian Study materials. Vladimir Nikolayevich Peretz has developed a fruitful research and teaching work in the field of literary Ukrainian: an overview of the history of Ukrainian literature first began to teach the history of Ukrainian literature. He also taught the history of European theater and drama, was a reviewer Prime Kiev theater , sought out and published sights of the ancient theater, writing articles on the history of theater, criticized the publication of Drama . He defended the rights of the Ukrainian language, literature and culture who have been harassed by the tsarist. Significant role in the investigation of a large array of Ukrainian cultural and historical material played "seminaries Russian philology under the guidance of professor V. N. Peretz' and activism scientist in scientific societies. Over a lifetime, the researcher has accumulated and processed the vast documentary material Ukrainian history. The collection has become a large collection of teachings and valuable private collection of old. Came out a lot of research on the history of Ukrainian culture, language, literature and art. His collections have become a new major contribution of the source in the Ukrainian Fund of Culture, uncovered a number of aspects of literary relations between Ukraine and Poland, Russia and other countries. So, he filled the cultural space of the time the scientific facts and source material, which led to an understanding of Ukrainian mentality. This direction was decisive in the early stage of the study Ukrainian culture. Thanks to his tireless work devoted to the identification of the national culture, the global cultural space became revived, popularized distinctive Ukrainian culture.
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Ukrainian romanticists, having put the grass-roots language into the foundation of the national and cultural revival and abandoning the legacy of the Baroque, made a fatal mistake. Its consequences can be clearly seen now, namely – they identified traditional folk and national cultures, thus creating masscult concept of populism. At the turn of the 18th century, as Tamara Hundorova mentions in her book called "Kitsch and Literature. Travesties", popular Ukrainian literature evolved and special kind of kitsch was born, which can now be called colonial. And it is at this time when vernacular acquires features of a subculture that is a sort of burlesque Little-Russian style, which survived until today in the form of the language-mix kitsch. The Little-Russian style is a mass culture product that began to emerge in the late 18th century. And even earlier – in the 17th century, when puppet-theater drama was well known throughout Ukraine, popularly called Vertep. Therefore, Vertep was probably first to have legitimized mass culture of the Little-Russian style. At that time, there were prevalent forms of popular culture such as amateur paintings, adventure literature, exotic travels and masquerades. The Little-Russian style was not unsuccessfully sustained by imperial mechanisms directed against the cultural identity of Ukraine. Understanding the masscult concept of populism in specific historic and social contexts attempts to summarize in culture, philosophy, art, and in the field of political mindsets. In light of the first context, unlike the European culture, the Ukrainian culture, as part of imperial, never experienced similar capitalist fervor of the nineteenth century and was based on conservative ideology of the nobility and governors-general, and could not build its own perception of the world. The second context – the non-canonical subordination of the Ukrainian church to Moscow in the 17th century meant nothing but the establishment of the colonial style in the spiritual sphere, which led to strong assimilation processes and fatal destruction of the authentic nature of the Ukrainian culture’s, according to Oksana Palkhovska. The third historic and social context is in separation of the Ukrainian people relentlessly and tirelessly cultivated by Russia. The fourth context dimension follows from the third one – the loss by Ukraine of its elitist cultural face. Finally, the fifth historical context of masscult concept of populism summarizes all the previous – separation of the Ukrainian culture from European, depriving it of communication tools. Therefore, the masscult concept of populism, as slave culture, assumed certain ideological struggle with the dominant and absorbing culture. This is its inherent positive pattern under colonial existence. On the other hand, populist unitarity, it's pathetic element, mythological origin and verve are inseparable from imitation of the national character, provinciality, brute populace and colonial kitsch. The Ukrainian populism existed beyond the parameters of cultural discourse of the era, but in its own local parameters often bound to issues of self-preservation and identity: nation, nationality, culture and renaissance. Populism, as an organic philosophy of any society under specific historic and economic conditions, is always on guard of national identity in transition from one historical formation to another. Its mission is exhausted at this point though. If the masscult concept of populism fails to "grow" into its transition phase, it becomes a destructive factor in the era of mature civilization. This is what actually happened to the Ukrainian populism. After two centuries of imperialist experimentation, its code undergone such complex modifications that its epidemic became a deadly threat to the whole Ukrainian identity in Ukraine itself and worldwide, despite the carved out national independence.
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The purpose of this paper is to analyze functional aspects of the title as detail in the works by William Saroyan (Corduroy Pants) and Nikolay Gogol (The Overcoat) by making use of structural-semantic method. The title as an artistic detail is a constituent element of dynamic textual microstructure in both short stories. In the essay we are concentrating on the analysis of two ‘portrait details’ (‘corduroy pants’ and ‘overcoat’) ‘moving’ throughout the entire text, thus revealing their thematic implications. By juxtaposing stylistic devices the two writers employ, we demonstrate the originality of Saroyan’s artistic method. In both works title as a detail (an attribute of clothing) is repeated multiple times and becomes a leitmotif. For the fictional characters in both stories it becomes not only necessity but an object of their dreams. Their entire spiritual aspirations, innermost wishes and desires are subordinated to the sole goal of getting an overcoat in Gogol’s short story and corduroy pants in Saroyan’s. Gogol describes the social milieu sarcastically and in the final analysis the story has a tragic ending. The social aspect of Saroyan’s story is marked by Chekhovian irony and the story on the whole is permeated with optimistic spirit as it is generally characteristic of the entire body of Saroyan’s writing.
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In the article I analyze how the concept of “Ukraine between East and West” is reflected in the contemporary literary texts by an example of three monographs on Valery Shevchuk’s prose. The authors of these monographs define Valeriy Shevchuk’s prose as a synthesis of elements derived from the Ukrainian traditions and folklore, as well as from trends and tendencies of Western literature.
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Review of: Поетика українських перекладів Вергарна [Рецензія на книгу: Кравець Я. Український Еміль Вергарн (критика, перегуки, переклади)]. – Львів : Тріада плюс, 2016. – 344 с.]
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This article is an attempt to give a synthetic overview of the phenomenon of modernity in the Ukrainian literature of the late nineteenth and early twentieth century. It considers the problem of the Europeanization of Ukrainian culture and presents different views of researchers on the phenomenon of modernism.
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The paper focuses on the issue of retranslation perceived as a significant aspect of contemporary practice of literary translation into Ukrainian, exemplified by the cases of the retranslation of short stories by Bruno Schulz and Tadeusz Konwicki’s „Minor Apocalypse”. The emergence of new translations within a short time encourages questions about the ambitions that drove translators and publishers to present new translations of the previously translated literary works, as well as about the strategies used by translators.
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