Journal articles on the topic 'Marko Vovchok'

The proposed article is devoted to the study of the artistic specifics of «forgotten» fairy tale prose by Marko Vovchko. In modern literary criticism, despite some achievements in the field of research of the fairy-tale heritage of the writer, there are still works that have never been subjected to critical analysis, an example of this − the collection «Fairy Tales and Tales of Marko Vovchko» (1874). Today, this publication, without receiving proper evaluation, is in the shadow of the author's work. The only exception is the folklore-historical story «Marusya», and the rest of the works: «Queen I», «Perfect Chicken», «Inventor» have not received their literary assessment. Therefore, the fairy-tale prose of Marko Vovchko is gradually returning from oblivion to the modern reader. Note that this process is accompanied by the need for detailed and in-depth rethinking. Thus, the proposed study is relevant because it aims to prove the originality of the unknown to critics of the fairy-tale work of the writer. In the given article with the help of biographical method, method of analysis and synthesis, text analysis the artistic originality of Marko Vovchko's fairy-tale prose is determined. The fairy-tale works of the author «Queen I», «Perfect Chicken», «Inventor» in their genre direction- social and domestic fairy tales are practically not studied. They reveal moral and ethical issues due to social and psychological factors. The most prominent in the above-mentioned works of the writer is the problem of selfishness and meanness of the human soul, which in turn is subject to the pressing social problem − the dominance of lordly arbitrariness, which leads to fatal consequences. The outlined problem acquires a corresponding gradation here: first it is revealed in the fairy tale «Queen I», later it is actualized in «Perfect Chicken», and acquires a special tragic sound in «Inventor». First of all, you should pay attention to the titles of the analyzed fairy tales. They have a kind of ironic connotation, which is revealed at the end. For example, in the plot of the fairy tale «Queen I» ridiculed such flaws as the arrogance and arrogance of human nature, in «Perfect Chicken» − a hint of immorality of the so-called «perfect» lordly behavior, in the fairy tale «Inventor» − expressed hidden irony of the romantic idea transformation of society. The article also clarifies the basic principles of storytelling in the collection «Fairy Tales and Tale of Marko Vovchko»: the presence of a social plot, uniformity in the development of events, a combination of romantic and realistic stylistic features in the image of reality, psychology as one of the basic principles of fairy tales.

The traditional narrative on the history of public education and reading in the Russian Empire considers books for “common people” as a genre appeared not earlier than in the 1860s, and en masse only in the 1880s. This article substantially corrects this notion and uses the material of 15 fictional texts created by the educated elite (Mikhail Zagoskin, Vladimir Sollogub, Vladimir Dal’, Vladimir Burnashev, Nikolaj Uspensky, Maria Korsini, Mikhail Mikhailov, Marko Vovchok, etc.) for folk reading in 1839– 1861 to prove the existence of the early stage of this type of didactic literature for the people. Using the method of determining so called ‘elementary plots’ for fiction texts, the author identifies 4 groups of texts with different types of plots (plotless, type “Temptation”, type “Violence”, texts about love and marriage), which embody different ideas of whom the peasants were as subjects, how they were to interact with each other, with the law, and the authorities. The analysis of the stories becomes the starting point for interpreting the model of peasant agency that the authors of the stories elaborated for the folk. The study shows that while the patriarchal model of the peasant agency dominated in the 1840s and first half of 1850s, on the eve of the abolition of slavery in 1859–61 the democratically minded authors (Marko Vovchok and Mikhail Mikhailov) tried to construct in stories for peasants an emancipated type of agency, with human dignity at its core. The special section of the article describes the intersection of literature for common people of the 1840s with children’s literature of the 1830s.

The purpose of the article is to study the sources and pedagogical interpretation of the "women's question". The subject of the research is the “women's question” and its artistic realization in the novels of Marko Vovchok. The analysis of the problem was carried out by integrating the traditional methods of Russian comparative historical literary criticism with new approaches to world literary criticism - gender, sociocultural, postcolonial, and feminist. As a result of the study, we came to the conclusion that the pedagogical views on the "women's issue" in the writer were formed and developed under the influence of communication with the Ukrainian and European intelligentsia of the 19th century. The progressive part of the intelligentsia of the second half of the XIX - early XX century advocated a change in the social status of women. Representatives of public and pedagogical opinion believed that a woman can not only be a mother, wife, housewife, she is capable of self-realization in other areas of society, for which she needs a decent education. The journalistic work on this problem of women with a possible comparative characterization of the regions of some European countries, which in the period under study were part of the Austro-Hungarian empires, deserves further study

The paper deals with the creative work of Hanna Barvinok (Oleksandra Bilozerska-Kulish), whose literature career began in 1850s and who laid alongside with Marko Vovchok the foundations of Ukrainian female prose. Readers mostly became familiar with her works because of Panteleimon Kulish, who contributed to the publication of her works in his own editions, but never edited them. The author distinguishes the main stages of the creative work of the writer, which are marked by her living on the Motronivka farm until her return to the farm and the period of Hanna Barvinok’s living there together with P. Kulish. At the introductory part, the information about the main publications of Hanna Barvinok’s stories and their assessment by the criticism of the 19th and the beginning of the 20th century (including such figures of by Ukrainian literature as Omelyan Ohonovskyi, Borys Hrynchenko, Ivan Franko, Oleksandr Hrushevskyi, Mykola Voronyi and others) is provided. And yet the author of the article, taking into consideration the estimation of Hanna Barvinok’s stories by these people, goes further and focuses on the artistic specificity of Hanna Barvinok, peculiarities of her language, her mastership in revealing the fate of different women, and the uniqueness of her creative work among other authors who wrote about peasant women in the 19th c.

The article for the first time publishes in full four letters of the Ukrainian philologist, folklorist, writer Opanas Vasyliovych Markovych (1822–1867) to Hryhoriy Pavlovych Galagan (1819–1888), one of the most influential landowners of the Left-bank Ukraine and a prominent public figure. Opanas Markovych is one of those representatives of the Ukrainian intellectual community of the middle of the 19th century, whose contribution to the development of National culture has not been yet appreciated. The publication of Opanas Markovych`s correspondence with Hryhoriy Galagan is intended to deepen the understanding of the outlook and ideological priorities and life practices of this person and contribute to an understanding of how the system of networking of the Ukrainian intelligentsia in the middle of the 19th century. The letters, dating from 1856–1858, are evident behind a number of issues relevant both personally for the author and the addressee, as well as for the circle of liberally minded Ukrainian nobility, to which these people belonged. Ethnographic search, the recording and publication of Ukrainian song folklore, the appearance of the works of Marko Vovchok, and the discussion of Panteleimon Kulish’s novel “The Black Rada” are the leading themes of the epistolary. References to the family life of the correspondence participants create a domestic-historical context of their communication attention should be paid to the fact that the letters are written in Ukrainian, so in this regard, their publication is important for a wide range of scholars of humanities. Therefore, their publication is important for a wide range of scholars of humanities – not only historians, but also philologists, specialists in sociolinguistics and others. The language of the letters, with a large number of folk idioms, using archaic grammatical forms, represents the way of the Ukrainian literary language in the 19th century.

In the history of Ukraine, the part of a woman is special. She must not only continue generation and educate one in the national-Christian spirit but also protect it even with arms in her hands. In this aspect, the Ukrainian woman's mission is special as in domestic history and the world's one. If we look at the retrospective fate of a woman, then we could see several specific types: 1) the mistress and stateswoman (for example – the great Kyiv princess Olga-Helena); 2) the lady of foreign lands (for example – Regine: Anna Yaroslavna, wife of king Henrich I of France: Nastia Lisovska which we know as Roxolana); 3) the lady of a word (Marko Vovchok, Lesia Ukrainka, Olha Kobylianska, etc.); 4) the public figure and Samaritan; 5) the woman-warrior. Time of state struggle educated such type. Here we can see «the beautiful part» in two roles: the woman as a soldier (Olena Stepanivna, Sofiia Halechko, Handzia Dmyterko) and the woman as a participant in the underground movement (Olha Basarab, Dariia Hnatkivska, Kateryna Zarytska, etc.) In the time of the Ukrainian Insurgent Army (UIA), this difference disappeared: women were members in the underground movement and soldiers, and writers, and Samaritans at the same time (Marta Hai, Bohdana Svitlyk). This publication aims to show the most characteristic and bright heroic and sacrifice acts of Ukrainian women (and men). This publication has four short chapters about our women, who, together with men, struggled for Ukraine's independence. They supported men; they were long and hard terms in prison – GULAG. Many such women were killed, but they did not stop their struggle and showed many examples of fidelity and strength. Now such women are bright examples, especially for heroic women who fight nowadays in Eastern Ukraine. Keywords: Mykhailo Soroka, Kateryna Zarytska, Mykola Rudenko, Raisa Rudenko, Mykola Sarma-Sokolovskyi, Varvara Klymko, Nataliia Shukhevych, Mutalif Hehraiev, Kharytia Kononenko, Ulas Samchuk, «Protses of 59», Oleksandra Pidhirska, Nadiia Surovtsova, Olha Duchyminska, Iryna Senyk.

The article deals with the views of a prominent scientist and a statesman Ivan Ohiienko on the process of formation of the Ukrainian literary language as the basis of spiritual and cultural growth of the people and the conditions that contribute to the development of the united literary language. The analysis of historical and linguistic aspects of the literary language development in Ukraine and the current language situ-ation in the early twentieth century, linguist’s advice on further development of his na-tive language is especially relevant in today’s socio-economic and political conditions in Ukraine, when bilingualism remains widespread in diff erent fi elds of communica-tion and the infl uence of other languages on Ukrainian language remains signifi cant. In the works «Grammatical and stylistic dictionary of Shevchenko’s language», «Our literary language», «History of the Ukrainian literary language» and others the re-searcher covers in detail the history of the origin and development of the Ukrainian language, as well as its state, in particular, spelling, vocabulary, grammatical struc-ture. The scientist analyses the language of writers -T. Shevchenko, Marko Vovchok, M. Rylsky, etc., the language of whose works became the basis for the development of the modern Ukrainian language, describes the requirements for it, characterizes the ways of its improvement. Among the main requirements for a good literary lan-guage Ivan Ohiienko calls the correctness, clarity, purity, richness and sonority of the language. To ensure the purity and other important features of the literary Ukrainian language, the scientist considers it necessary to avoid both obsolete, spatial words, as well as words and phrases, adopted from other languages. Russisms and Polonisms spoil the Ukrainian language, although, according to I. Ohiienko, some Russisms can be considered archaisms that were still preserved in the language at that time. Only the use of foreign words, which are not easy to replace with good Ukrainian equivalents, is allowed in the literary language. I. Ohiienko himself rarely uses foreign words, words, adopted from other languages, are very rare in his works, obviously, only those that denote new concepts, his language is characterized by clarity and purity

It was investigated in the article, based on thorough reading of the textbook “A Brief History of Ukrainian Literature” by Serhii Yefremov, how the teacher revealed the problem of forming a linguistic-and-rhetorical personality in the process of studying the works of Ukrainian writers.The role of the Word in the formation of a linguistic-and-rhetorical personality was defined. That is such a person who owned the Word, respected and learnt native language, understood his role in preserving cultural memory, and was responsible for the speech act.It was found that considerable attention in the textbook was paid to the development of language, in particular the Word and its path from spoken to written, from “short sentences, as in conversation, to one long and fluent sentence”, from a fairy-tale language to the height of Shevchenkoʼs poetry. According to S. Yefremov, a writer is a master of the Word, a master of the native language, who created a new world of beauty and art by all literary means and methods, using allegories and symbols.The specifics of the textbook were the short and unobtrusive characteristics of each literary direction offered to the readers’ attention with the names of the most prominent representatives of one or other literary school.Among many writers, Serhii Yefremov was focused on I. Kotliarevskyi, P. Hulak-Artemovskyi, H. Kvitka-Osnovianenko and M. Shashkevych – the only representative of Galicia. Much attention to the activities of the Cyril and Methodius Society and the work of T. Shevchenko, P. Kulish, M. Kostomarov, as well as Marko Vovchok, Oleksa Storozhenko was paid.The author of the textbook referred artistic heritage of M. Drahomanov, I. Nechui-Levytskyi, P. Myrnyi, I. Franko, M. Starytskyi, M. Kropyvnytskyi, I. Tobilevych (Karpenko-Karyi), B. Hrinchenko and Lesia Ukrainka to the period called “chasy lykholittia (times of trouble)”.An exceptional role in the formation and popularization of the Ukrainian language belonged to the activities of Borys Hrinchenko, who was not only a talented writer, translator, but also a linguist, compiler of the “Dictionary of the Ukrainian language”.Our performed analysis of the textbook “A Brief History of Ukrainian Literature” by Serhii Yefremov gives the grounds for claiming that the facts and generalizations presented by the author, offered to readers, contribute to the formation of a linguistic-and-rhetorical, nationally conscious personality, Ukrainian patriot, who is able to acquire information adequately and critically, systematize it, formulate logical conclusions, make informed decisions, take responsibility for their own actions and for their speech act. Keywords: Serhii Yefremov, Ukrainian literature, Ukrainian language, Word, authorship, public education, linguistic-and-rhetorical personality, speech act.

The attitude to biographical works has changed significantly under the influence of postmodernism: the refusal to perceive the author as a single authoritative source of meaning has led to the perception of biographical fiction as a fiction biography, creating in the context of the ideology a biography of the biographer himself. The aim of the proposed study is to find out how gender and ideology form the strategies for presenting the Ukrainian woman writer as a character of a biographical novel. The proposed article will deal with 4 works of different periods: “The Silent Deity” by V.Domontovych (1930), “At Dawn” by Y. Tys (1961), “Maria” by O. Ivanenko (1983), “Like a Magnet” by I. Rozdobudko (2013). At the heart of all of them is the life of the first Ukrainian writer Marco Vovchok (Maria Vilinska), but quite different women are represented in these works. The biographical works under consideration demonstrate more attention to the events of the writer’s life than to what she wanted to say in her work. The interpretation of Marco Vovchok’s stories is dominated by their political (social) significance and they are presented as a basis for talking about the life of the woman (with the exception of Rozdobudko’s story).

The article considers the second edition of Volodymyr Vynnychenko’s novel “The New Commandment” (1947), written for the first time in 1932. The author of the book translated it into French together with his wife after the end of World War II. The purpose of the work and the tasks dictated by it are to analyse the “French” novel “The New Commandment” by Volodymyr Vynnychenko in the paradigm of modernist aesthetics, to reveal the main philosophical ideas and aesthetic functions of the novel, to identify elements of intertextual memory, and to understand the influence of the book by Ukrainian dissident Viktor Kravchenko “I Chose Freedom” (1946). The set of goals determines the need to use hermeneutical (analysis of artistic text), comparative-typological (comparison of philosophical novel various functions), historical-literary (solution of a number of literary problems in the context of various national literatures) research methods. Vynnychenko’s work is analysed in the paradigm of the “Transcendent Homelessness” philosophical concept, introduced into scientific discourse by the Hungarian philosopher and literary theorist D. Lukach in his Hegelian-Weber essay “The Theory of the Novel” (1916), where he quotes the German romantic, a representative of the Jena school, Novalis: “Philosophy is homesickness – the desire to be at home everywhere”. In the study of Volodymyr Vynnychenko’s contribution to European modernism in the interwar era, the author pays attention to the key thesis of the trans-cultural theory, which touches such disciplines as anthropology, sociology and political science. Particular attention is paid to the genesis and specificity of the philosophical and figurative system of one of the key “French” texts by Volodymyr Vynnychenko. The leading aesthetic components and means of forming philosophical and ideologicalpolitical paradigms of the work are also determined. The French aristocracy had a great debate on “The New Commandment”. In April 1949, the translation was published in one of the Paris publishing houses (Nouveau Commandemant. Paris: Editions des Presses du Temps Present). The French literary critics of the time responded favourably to the publication of the Ukrainian author’s book, and the literary and artistic society “Club de Faubourg” already on 10th May 1949, arranged a massive discussion of “The New Commandment”, which testified to the approving attitude towards the author. At the same time, another well-known French artist club “Arts-Sciences-Lettres”, awarded Volodymyr Vynnychenko with an honorary diploma and a silver medal. On 21st July 1949, the prestigious Parisian weekly bulletin “Le Nuvelle Litterere” responded to this fact where noticed that after Shevchenko and Marko Vovchok, Volodymyr Vynnychenko is the first Ukrainian writer whose novels have been responded to by French audience. In this regard, it is noted that the philosophical foundations of Vynnychenko’s novel organically fit into the “spiritual crisis” European discussions of those times. We have studied philosophical character manifestation peculiarities in the genre of novel-dialogue, novel-polemic, which are widely represented in the “French” prose of the Ukrainian artist and are closely connected with the French literary tradition. It is proved that, having spent almost the last thirty years of his life in France, the Ukrainian writer seems to aim at identifying common thematic, aesthetic, philosophical and ideological paradigms that go beyond mononational boundaries, and demonstrates that Ukrainian emigrant artists were participants in pan-European literary modernism, although for the most part it concerns Volodymyr Vynnychenko himself, as well as Yu. Kosach, I. Kostetskyi, A. Arkhipenko, A. Ekster, A. Manevich, I. Pune, A. Boguslavskaya, M. Glushchenko. Particular attention is paid to the genre experiment of Vynnychenko, in particular, the philosophical and political novel with such poetic features as the presentation and discussion of concordist theory, the use of such a modernist technique as “a novel within a novel”, the constant inclusion of various discursive forms of concordism discussion. The critical optics of the study combines the historical and philosophical specificity of the era of the interwar twenties, on which the novels of Volodymyr Vynnychenko are based, as well as the national identity of the Ukrainian writer and his biographical individuality.

The article offers a proof that the author of the two anonymous reviews of Marko Vovchok’s stories from peasant life in the journal Svetoch (1860) was not Mikhail Dostoevsky, as was stated in the commentary to the Academic 30-Volume Edition of Fyodor Dostoevsky’s Works, but Alexander Miliukov, the de facto editor of Svetoch and the author of the manifesto article A Question on Minor Russian Literature in the journal Epoch (1864).

This essay explores the scientific and literary origins of the image of an axe thrown into outer space to orbit the earth, as it appears in the chapter “The Devil. The Vision of Ivan Fyodorovich” in Dostoevsky’s The Brothers Karamazov. Did Dostoevsky anticipate the idea of an artificial satellite, as many critics and journalists argue? How were science (in this case astronomy) and literature connected in his mind? How did Dostoevsky’s scientific and creative imagination work in general? The author shows that Dostoevsky’s “prophetic” reference to a sputnik was rooted in popular articles and textbooks about Newton’s mechanics and in Marko Vovchok’s (Maria Vilinskaya’s) translation of Jules Verne’s science fiction novel Around the Moon (“Autour de la Lune”), published in The Russian Herald (Russkii vestnik) in 1869. The novel relates the chronicle of a voyage of brave researchers inside a cannonball that was fired out of a giant space gun. The essay reconstructs the trajectory of Verne’s image of a manmade satellite in Russian literature of the late nineteenth and early twentieth century.

This essay explores the scientific and literary origins of the image of an axe thrown into outer space to orbit the earth, as it appears in the chapter “The Devil. The Vision of Ivan Fyodorovich” in Dostoevsky’s The Brothers Karamazov. Did Dostoevsky anticipate the idea of an artificial satellite, as many critics and journalists argue? How were science (in this case astronomy) and literature connected in his mind? How did Dostoevsky’s scientific and creative imagination work in general? The author shows that Dostoevsky’s “prophetic” reference to a sputnik was rooted in popular articles and textbooks about Newton’s mechanics and in Marko Vovchok’s (Maria Vilinskaya’s) translation of Jules Verne’s science fiction novel Around the Moon (“Autour de la Lune”), published in The Russian Herald (Russkii vestnik) in 1869. The novel relates the chronicle of a voyage of brave researchers inside a cannonball that was fired out of a giant space gun. The essay reconstructs the trajectory of Verne’s image of a manmade satellite in Russian literature of the late nineteenth and early twentieth century.

A question that confronted educated Ukrainians, predominantly landowners descended from Cossack notables, in the Russian Empire in the first half of the nineteenth century was whether they should foster an identity distinct from an all-imperial one. A sense of historical distinctiveness, the value placed by the late Enlightenment and the Romantic Movement upon the culture of ordinary people and the wealth of Ukrainian folk culture persuaded many of the need to generate a high culture employing the Ukrainian language. Yet, prior to the Ukrainian-language prose of Marko Vovchok (Maria Markovych), an element essential for the development of a multifunctional modern culture, and of an identity able to be shared by a modern Ukrainian intelligentsia, was lacking: a stylistically transparent prose able to function not only in a poetically charged way, but as a neutral medium for communicating content. The paper identifies the features of Marko Vovchok’s writing that made this innovation possible.