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Journal articles on the topic 'Taras'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Radchuk, V. D. "TRANSLATOR TARAS SHEVCHENKO." Shevchenko Studies, no. 1(24) (2021): 46–75. http://dx.doi.org/10.17721/2410-4094.2021.1(24).46-75.

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The essay highlights the problem of mutual translatability of poems and paintings by Taras Shevchenko by treating them, “Kateryna” and other paired works in particular, in the light of Lessing’s “Laocoon” and from the point of view of modern semiotics and hermeneutics. The cumulative aesthetic influence of the artist’s works along with the integrity of his personality and style are accentuated. Shevchenko's masterpieces are considered as signs materialized by his talent and will in the proper means of an art that are structured as a whole due to the organic interaction of his creative drive and the diversity of semiocodes. With the attitudes of receptive aesthetics and linguistics in view, the study cautiously looks into the future afterlife of Shevchenko’s heritage.

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2

Fedorova, Maryna. "Pustovit Taras Pavlovych." Entsykpopedychnyi Visnyk Ukrainy [The Encyclopedia Herald of Ukraine] 11 (December 9, 2019): 53–57. http://dx.doi.org/10.37068/evu.11.6.

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The article is dedicated to the encyclopedia scholar, archivist, local historian, public figure Taras Pustovit, who is celebrating his 60th anniversary this year. The main ways of his life are considered, achievements in local history, archival affairs, encyclopaedia publishing, public activity are showed.

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3

Bigun, Olga. "Taras Shevchenko’s Сhristian cordocentrism." Przegląd Wschodnioeuropejski 11, no. 1 (June 30, 2020): 241–50. http://dx.doi.org/10.31648/pw.5984.

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The article deals with adoption of Christian tradition in poetry of Taras Shevchenko. Theoretical basis includes methodological principles of hermeneutics, the philosophicoaesthetic approach to art, cross-cultural methods. On the one hand, the sources of the creative components by Shevchenko’s ethics and aesthetics are related in Christian tradition. On the other hand, as a result of cordocentrist intention of the Ukrainian ethnos, Christian canon was deprived of the big part of rigorism in Old-Kyiv period. Shevchenko’s aesthetic theology is insufficiently investigated but it characterizes the absence of stark categories, dogmas and rituals. It gives an opportunity to speak about the apophatic approach in Shevchenko’s dialectic of God-seeking which appears in the apophatic approach of individual style which also you can find in Old Kyivan authors’ works. The outcome of our investigation proves that the Shevchenko’s adoption of Christian tradition shows the priority of aesthetic and cultural landmarks of Kyiv Christianity.

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4

Pavlyshyn, Marko, Pavlo Zaitsev, and George S. N. Luckyj. "Taras Shevchenko: A Life." Russian Review 49, no. 1 (January 1990): 108. http://dx.doi.org/10.2307/130097.

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5

Kline, George L. "Taras D. Zakydalsky (1941-2007)." Russian Studies in Philosophy 46, no. 4 (April 2008): 93–97. http://dx.doi.org/10.2753/rsp1061-1967460406.

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6

Starr, Chester G., and George Brauer. "Taras: Its History and Coinage." American Historical Review 92, no. 4 (October 1987): 934. http://dx.doi.org/10.2307/1863968.

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7

Kriuchkov, H. H. "UKRAINIAN MARSEILLAISE BY TARAS SHEVCHENKO." Shevchenko Studies, no. 1(24) (2021): 5–15. http://dx.doi.org/10.17721/2410-4094.2021.1(24).5-15.

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The article is devoted to the analysis of dіfferent translations of Taras Shevchenko "Testament" and National French Himn Marseillaise. Two value systems and specific psycholects of nostalgia, aggression, peace are examined. The aim of the article is to define the main psycholects in Taras Shevchenco poems, particularly in "Testament". In result of the comparison methods of several translations of "Testament" we have obtained three important psycholect of nostalgia, aggression and peace. All spheres use the concept of "love" and "mother country". The first and the second quatrains of "Testament" contain the invincible, calm, tranquil grandeur and beauty of the peace-loving country. Both quatrains are based on the psycholect nostalgia. The third and the fourth quatrains are the most discussed but they impresse everybody with their optimism, future of Ukraine, belief, victory, liberty. In the fifth quatrain the poet calls Ukrainians to revolt and to win the liberty. The psycholect of this quatrain ensures the riot and the victory. This is the psycholect of aggression. The sixth quatrain describes the future of Ukraine. The poet asks to recollect him in the new society, in the new, big and free family. The psycholect of peas ensures the ideal calm in the society of free people. The conceptosphere of the first and the second quatrains of "Testament" is founded on nostalgia's concept "Love" and "Mother country". Lexical means, grammatical structure of phrases, phonetic phenomenos and prosody provide with intellectual, logical and emotional expression of feelings in the poet's psycholect who was sick and took leave of the life and said good-bye to the Ukrainian people. Concepts of the third and the fourth quatrains are God and Liberty. Marseillaise has the same idea of the fight and the victory. The fifth quatrain follow the main concept of the struggle. Slogans of this quatrain coincide with appeals of Marseillaise: bury, rise, tear asunder chains, stain the freedom with blood. The image of enemy's blood on "Testament" corresponds to impure blood of Marseillaise. The interrogatory of students and teachers witnesses the main concept of "Testament" (95 per cent). This is "Freedom". The second concept is "Religion" (God. Pray) – 86 per cent. The third concept is "Motherland" – (toponyms: Ukraine, Dnipro) – 80 %. Strangers consider the main idea of "Testament" in the last quatrain. Ukrainian respondents consider more important adjectives about Family: free (45 per cent), new (41 per cent), big (14 per cent). Important lines of Testament are the following: Tear chairs – 23 per cent. Bury and revolt – 19 per cent. Don't forget to speak well – 19 per cent. Pray – 15 per cent. Enemy's wicked blood – 5 per cent. Testament of Taras Shevchenko is just the second national himn of Ukraine or Ukrainian Marseillaise. It is constructed on three psycholects: nostalgia, aggression and peace. The general harmony of this poem is attained by well–balance between aggression and peace. Keywords:psycholect; nostalgia; aggression; peace; concept.

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8

IVANYSHYN, Petro. "National sphere of Taras Salyha." Humanities science current issues 1, no. 47 (2022): 191–200. http://dx.doi.org/10.24919/2308-4863/47-1-29.

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9

MURAI, Takayuki. "Teisuke SHIBUYA and Taras SHEVCHENKO." Japanese Slavic and East European Studies 6 (1985): 113–30. http://dx.doi.org/10.5823/jsees.6.0_113.

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10

Yi Myoung Hyoun. "Nationalist Discourses in Taras Bulba." Journal of Foreign Studies 14, no. 1 (June 2010): 341–68. http://dx.doi.org/10.15755/jfs.2010.14.1.341.

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11

Taras-Semchuk, D., and K. B. Efetov. "Taras-Semchuk and Efetov Reply:." Physical Review Letters 86, no. 16 (April 16, 2001): 3689. http://dx.doi.org/10.1103/physrevlett.86.3689.

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12

Vinogradov, Igor A. "“Taras Bulba”: History and Textology." Two centuries of Russian classics 5, no. 1 (2023): 122–33. http://dx.doi.org/10.22455/2686-7494-2023-5-1-122-133.

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The article raises the fundamental problems of textual criticism of N. V. Gogol’s story “Taras Bulba.” The author of the article provides an analytical review of the translation and publishing practice of representatives of Ukrainian nationalism of the 19th–20th centuries, the features of the publications of Gogol’s story with textological “innovations” by P. A. Kulish, M. O. Lobodovsky, M. Sadovsky (N. K. Tobilevich), I. A. Malkovich. The distinctive feature of the listed cases is the ideological character of the violation of the fundamental scientific principle of choosing the final wording of the text. The preference for the publication of the early edition of Taras Bulba over the later one leads to the fact that Taras Bulba’s famous speech about partnership, the image of the path of the traitor Andriy to enemies, the words of the Cossacks before death about devotion to faith and homeland, Gogol’s prophecy about Russian tsar and the narrator’s exclamation about the irresistible Russian power became “an appendix” without author’s context. The paper clearly shows the need for a comprehensive, complex solution of textual problems and the inadmissibility of ignoring the last writer’s will.

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13

PAVLYK, Natalia. "TARAS SHEVCHENKA'S IMAGE: ARTISTIC APPERCEPTION." Humanities science current issues 2, no. 55 (2022): 161–66. http://dx.doi.org/10.24919/2308-4863/55-2-25.

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14

Mübariz qızı Hüseynli, Nəhayət. "TARAS ŞEVÇENKO BƏDİİ İRSİNİN AZƏRBAYCANDA TƏDQİQİ." SCIENTIFIC WORK 53, no. 04 (February 28, 2020): 34–37. http://dx.doi.org/10.36719/aem/2007-2020/53/34-37.

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15

Mübariz qızı Hüseynli, Nəhayət. "TARAS ŞEVÇENKO BƏDİİ İRSİNİN AZƏRBAYCANDA TƏDQİQİ." SCIENTIFIC WORK 52, no. 03 (February 28, 2020): 23–26. http://dx.doi.org/10.36719/aem/2007-2020/52/23-26.

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16

Krys, Svitlana (Lana). "Oleksandr Boron'. Povisti Tarasa Shevchenka i zakhidnoievropeis'ki literatury: Retseptsiia ta intertekstual'ni zv''iazky [Taras Shevchenko’s Novellas and Western European Literature: Reception and Intertexts]." East/West: Journal of Ukrainian Studies 5, no. 1 (March 23, 2018): 189–91. http://dx.doi.org/10.21226/ewjus378.

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Review of Oleksandr Boron'. Povisti Tarasa Shevchenka i zakhidnoievropeis'ki literatury: Retseptsiia ta intertekstual'ni zv''iazky [Taras Shevchenko’s Novellas and Western European Literature: Reception and Intertexts]. 2nd ed., Vydavnytstvo “Krytyka,” 2015. 158 pp. Bibliography. Index. $16.90, paper.

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17

Дроздовський, Д. "Taras Shevchenko: знайомство з Туманним Альбіоном." Всесвіт, no. 1/2 (961/962) (2009): 182–86.

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18

Moroz, L. V. Moroz. "ROLE-HERO IN TARAS SHEVCHENKO’S POETRY." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 22–28. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-22-28.

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The article deals with the artistic phenomenon of role lyrics as a poetic text constructed in the form of a holistic speech statement and organized from a person who is distanced from the author and can not be identified taking into consideration biographical, socio-historical or gender status of the speech subject as well as the range of moral, ethical, ideological, aesthetic, existential values and representations submitted by him. A separate type of role lyrics includes poetic texts that are generally constructed in the form of the expression of one or more characters while the author's representation is minimized in them to some separate and fragmentary replicas which function as a specific frame element that formally combines submitted representational forms. On the contrary, it does not transfer them into the artistic plane concerning auto-psychological form of expression. This type of role-playing lyricism is constructed in the form of a monologue or a dialogue with two or more characters or a role dramatic scene where the author's voice acts as a remark linking the voices of poetic speech subjects. The article analyzes the problems of literary critics’ theoretical searches in their studies related to the lyrics subject organization specifics. It makes an attempt to characterize the spectrum of poetic speech subjects in role lyrics. An attempt is also made to typologize the role types of author's consciousness expression in T. Shevchenko’s lyrics. The varieties of the hero’s character actual role-type (i.e. personalized and personified) are analyzed as well. The hero’s actual role-type is defined as the type when degree of objectification confirms his categorical (at least, outwardly declared) non-identity with the author himself motivated by biographical, socio-professional, existential, etc. incompatibility. The article also deals with the problems related to the methods of composite and speech design of poetic role-text. It outlines conceptual and substantive points which reveal themselves at the level of ideological and thematic concepts of expression.

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19

Andrusyak, Taras. "TARAS SHEVCHENKO AND UKRAINIAN LEGAL THOUGHT." Visnyk of the Lviv University. Series Law, no. 60 (September 4, 2014): 11–17. http://dx.doi.org/10.30970/vla.2014.60.264.

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20

Yarovoy, Sergey. "N.V. Gogol’s Taras Bulba: Movie-Interpretations." Stephanos. Peer reviewed multilanguage scientific journal 26, no. 6 (November 30, 2017): 203–10. http://dx.doi.org/10.24249/2309-9917-2017-26-6-203-210.

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21

Sokoliuk, Ju I. "ARCHIVAL DOCUMENTS ABOUT TARAS SHEVCHENKO HOMELAND." Shevchenko Studies, no. 1(24) (2021): 93–102. http://dx.doi.org/10.17721/2410-4094.2021.1(24).93-102.

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Article by Iu. Sokoliuk Archival Documents on the Birthplace of Taras Shevchenko aims to broaden the scientific understanding of locations that are important for the creative development of Taras Shevchenko. An extremely important aspect of the methodological work is the involvement of archival information in the channels of mass and scientific communication, the discussion at seminars and conferences, publication in specialized publications, etc. Archival documents of the 19th century reflect the features of real life of all segments of the population of Russian Impire. In the given intelligence the author directed his efforts to applied research in the archives of Kyiv. The relevance of the intelligence is that the documents are still unknown to the general public. Some archival cases relate to Mr. Paul Engelhardt's estates, whose serfs were the Boyko-Shevchenko families. Of particular interest are cases of abuse of serfs in the village of Kirilovka. This shows that the human tragedies described by Shevchenko have a true historical basis. Summarizing the rich information material collected by renowned Shevchenko scholars, it should be noted that Shevchenko's childhood in a special way influenced the formation of the poet as an artist and as a person. Modern science opens new pages every day. An address to the original sources is an extraordinarily important aspect of modern Shevchenko’s studies. More and more scientists are interested in this topic. Therefore, we conclude that the archival institutions of Ukraine are still an inexhaustible source for studying the historical realities of T. Shevchenko's life and their influence on the writer's work.

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22

Dmytro, Makliuk. "Interpretation of Taras’ character in M. Lysenko’s opera “Taras Bulba” as an integral part of the national cultural code." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 61, no. 61 (December 31, 2021): 143–61. http://dx.doi.org/10.34064/khnum1-61.08.

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Statement of the problem. Mykola Lysenko’s opera “TarasBulba”, first staged in 1924, has confidently become a theatrical repertoire and a significant event in the national art. The opera has an outstanding spiritual value, in addition to its artistic one. For the first time, the opera genre manifested the idea of national identity, the embodiment of which for the Ukrainians is the image of the Cossack ataman Taras Bulba. Even after Ukraine gained independence, the issue of national identity remained under discussion, becoming even more debatable after the events of 2014. This issue is directly related to the phenomenon of the national cultural code – the mental information dimension that forms the nation. The purpose of the article is to characterize the image of Taras Bulba from Lysenko’s opera of the same name, revealing its belonging to the national cultural code and the relevance that this image still has. The following scientific methods were used: a culturological approach to identify the place of the image of Taras in the phenomenon of the “national-cultural code”, a historical method to trace the origin of this phenomenon components and a comparative analysis to determine the features of the image of Taras implemented in vocal interpretations. Despite the fact that a significant number of the scientific works are devoted to Lysenko’s work, in fact there is no interpretive analysis of the image of Taras Bulba in the context of its belonging to the nationalcultural code, which is the scientific novelty of the research. Results and conclusions. The selected definitions of “cultural code” (Habermas, 2001; Klymenkova, 2012; Andreichuk, 2009) indicate the scope of its functioning and its relation to the subject under consideration – the image of Taras Bulba as interpreted by the leading Ukrainian singers T. Shtonda, S. Mahera, V. Dutchak. The opera’s culminating scene contains an extremely important semantic moment for understanding its idea, which is key in the musical characterization of Taras – his song “Hey, the eagle flies”. Its generalizing function is to create a symbolic image of a Cossack – brave, free, cheerful, personifying the character of Taras himself and the entire Ukrainian people. This task is brilliantly accomplished by the singers T. Shtonda and S. Mahera, not only through the soulful intonation and masterful agogics, but also through the use of minimalistic but expressive stage gestures, which become an additional means of articulation and communication. Therefore, the image of Taras, created by V. Dutchak with great artistic skills, is less convincing, since the singer lacks stage mobility and plasticity. Thus, we can confidently say that largely due to the thoughtful interpretive work of the singers, the image of the Zaporizkyi Cossack has become the holder of a freedom-loving idea vital for all people. Proclaimed by the main character, the leader of the Cossacks, the idea of liberation from the invaders gains a powerful and meaningful rotation on the mental level. The opera character itself has become a symbolic sign that embodies this idea, and thus an integral and relevant part of the national cultural code.

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23

Lastovskyi, Valerii, and Dmytro Kushtan. "«Chapel» by Taras Shevchenko (1845): attribution of a historical prototype." Text and Image: Essential Problems in Art History, no. 2 (2020): 72–84. http://dx.doi.org/10.17721/2519-4801.2020.2.04.

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he article deals with the attribution of the famous drawing by Taras Shevchenko the "Chapel", created in 1845. The original name of the artwork is unknown as well as circumstances of how exactly Taras Shevchenko created this picture. It is also unknown if Taras Shevchenko visited Cherkasy in 1845. It is widely accepted that the poet stayed in Cherkasy only in the 1850s. Nevertheless, the drawing of the Chapel makes it possible to claim that Taras Shevchenko visited Cherkasy in 1845 and could create this drawing during his stay there. This is evidenced by the drawing itself. The landscape itself reminds rather the view of the Castle Mountain in Cherkasy than any other place in the region. Some researchers claim that Shevchenko created this picture in the village of Medvedivka. This opinion is based on several reasons, includind the artwork’s placement in the album, which contains many drawings from Chyhyryshchyna, as well as the existence of a similar chapel in the village Medvedivka, painted by the Polish artist Kazimir Pzyszychowski. However, a comparison of the drawings by Shevchenko and Pzyshikhovsky respectively shows that these were two different structures. Therefore, the authors conclude that Taras Shevchenko could draw his chapel only in Cherkasy. An analysis of the local routes that were in use by the mid-nineteenth century shows that Taras Shevchenko had to pass through Cherkasy once in 1845.

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24

Zlotnyk-Shagina, О. O., and O. M. Slipushko. "LESIA UKRAINKA AND TARAS SHEVCHENKO: PROMETHEISM OF THINKING." Literary Studies, no. 61 (2021): 52–61. http://dx.doi.org/10.17721/2520-6346.2(61).52-61.

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The article deals with the Prometheism thinking of both Taras Shevchenko and Lesya Ukrainka, as well as defines its character and features. The comparative analysis of Prometheism of Taras Shevchenko and Lesya Ukrainka is carried out, their common and distinctive features are emphasized. In the image of Prometheus, Taras Shevchenko embodies the idea of serving people, anthropocentrism, the native Ukrainian people and himself. Created by Lesya Ukrainka, the image of Prometheus is inspired by the romantic ideas and trends of contemporary Europe, the understanding of ancient myth and his own author’s vision of Prometheus’ mission in Ukraine. Prometheism is presented as an ancient and renaissance idea, the essence of which was determined by self-sacrifice and service to the individual and the people. Specifics of the perception of the Christian tradition by both artists are characterized, the emphasis is on the purely authorial approaches of Taras Shevchenko and Lesya Ukrainka to the figure of Jesus, which correlates with the figure of Prometheus as somewhat opposite given the realization of personality in society and vocation. An artistic interpretation of the idea of imperialism by Taras Shevchenko and Lesya Ukrainka is given. It is emphasized that both artists have dedicated their lives to serving Ukraine, its culture and language, and the images of Prometheus created by them are deeply autobiographical. Not being followers of traditional Christianity, they created their images in accordance with the traditions of antiquity, the Renaissance and national worldviews. They testified to the formation and establishment in the Ukrainian social and ideological traditions of the idea of the struggle for nationalism and confrontation with Russian imperialism.

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25

SHEVTSIV, Halyna. "About the autobiographical sketch of Taras Shevchenko." Humanities science current issues 6, no. 35 (2021): 134–39. http://dx.doi.org/10.24919/2308-4863/35-6-20.

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26

Stepanenko, Mykola. "Christian theonyms in Taras Shevchenko’s poetic discourse." Ukrainska mova, no. 1 (2022): 65–85. http://dx.doi.org/10.15407/ukrmova2022.01.065.

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This study explores the use of the Christian theonym Boh ‘God’ in the poetic discourse of Taras Shevchenko. This lexical unit forms the center of sacredness in Shevchenko’s poetic discourse, with all the other linguistic means of religious mini-texts being directly or indirectly related to it. The careful examination of Shevchenko’s linguistic practice, especially its sacred content, shows that the author was a believer who verbalized knowledge about God from the Holy Scripture in his texts in the form of quotations or plot biblicisms. The research focuses primarily on the typology of the names of different parts of God, e.g., the Divine Trinity, God the Father, and God the Son. To this end, a paradigmatic approach is engaged: the paper compiles the corpus of God’snames, reveals specific features of each actualizing name which performs an important concretizing function from semasiological and stylistic perspective, and determines a set of lexical-semantic representatives of these names. The article establishes syntagmatic and phraseological correlations between the onyms Boh ‘God’ and Hospodʹ ‘Lord’. In his magnum opus Kobzar, Shevchenko uses the lexeme Boh most frequently, and it performs the functions of a subject, object, and addressee demonstrating widesyntagmatic connections and phraseological potential. The paper discusses lexical-semanticcombinability of this lexeme with the attributive modifiers (adjectives, pronoun adjectives) at the level of a word combination and with the semantically multifunctional verbal predicates at the level of a sentence and singles out the semantic types of the phraseological units with the component Boh. The derivatives of the theonym Boh analysed permit inferences about the secondary adjective Božyj ‘God’s’ (from Boh) which functions as a semantic center of both syntactically free phrases and phraseological units represented by the whole range of semantic types. Keywords: Taras Shevchenko’s poetic discourse, theonym Boh, God’s names, secondary adjective Božyj formed from a noun, nominative paradigm

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27

Elfimova, Mariia. "Rhythmic Organization of N. Gogol’s “Taras Bulba”." Stephanos. Peer reviewed multilanguage scientific journal 26, no. 6 (November 30, 2017): 189–96. http://dx.doi.org/10.24249/2309-9917-2017-26-6-189-196.

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28

Плясун, О. М. "PRECEDENT NAMES IN UKRAINE’S IMAGE: TARAS SHEVCHENKO." Opera in linguistica ukrainiana 1, no. 26 (October 21, 2019): 257–67. http://dx.doi.org/10.18524/2414-0627.2019.26.181328.

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29

Pliasun, Olga. "Taras Shevchenko in foreign media: lingvoimage discourse." Current issues of Ukrainian linguistics theory and practice, no. 42 (2021): 104–20. http://dx.doi.org/10.17721/apultp.2021.42.104-120.

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The article considers the linguistic specifics of modeling the image of Taras Shevchenko in foreign media. The author's attention is focused on the great image-forming potential of this iconic, precedent for Ukrainian culture personality and the importance of its correct presentation in the modern media space. It is determined that Ukrainians themselves are the main creators of image texts about Kobzar in the world media. Thus, three main channels of image information about Shevchenko abroad are analyzed: (1) cultural diplomacy as a part of the "soft power" policy; (2) the Ukrainian diaspora, which addresses the figure of Kobzar in the media; (3) information resources of world encyclopedic publications dedicated to the poet. Thus, the study of the linguistic and image specifics of the representation of Shevchenko in the foreign media proves that a great deal of image-making work in this aspect is carried out by cultural diplomacy, which represents Ukraine and its national cultural products in the world information space. Thanks to the efforts of cultural diplomacy, Shevchenko is known and appreciated abroad, as evidenced by the activities of Ukrainian embassies. In the context of linguistic imageology, the information presented by Ukrainian embassies is unambiguously of image nature, which confirms the use of effective linguistic means of image modeling: metaphors, personifications, emotionally-evaluative lexemes, epithet forms of the word, which verbalize positive author's assessment of the covered information. An equally important linguistic tool for modeling the poet's image is the use of creolized media texts that have great suggestive properties and significant image potential. In addition, Shevchenko's positive image abroad is successfully constructed by the media resources of the Ukrainian diaspora. The author's attention in this research context is attracted by the leading Canadian and Australian media. From the standpoint of linguistic imageology, effective means of forming the image of Kobzar in the considered foreign media are emotional and evaluative lexemes with elements of hyperbole, paraphrase with a positive semantics, the use of oxymoron etc. The article emphasizes that Shevchenko's positive image abroad is created not only at the textual level, but also at the extralinguistic level, which is realized in the annual holding of numerous mass events related to the celebration of Shevchenko's days. In turn, a high assessment of the poet's work and his role in Ukrainian cultural life is found in world encyclopedic publications: Encyclopædia Britannica, Oxford World Encyclopedia, bibliographic fund of The Library of Congress etc. Thus, the study convinces that Taras Shevchenko is a bright image figure of modern foreign media space, which forms not only internal but also external image of Ukraine. That is why its correct presentation in world media should be one of the priorities of the national image strategy.

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30

Volosianko, I. V., I. V. Varvaruk, V. M. Kachmar, and V. M. Finiv. "CONTRASTING POETICS OF ARTISTIC SPEECH TARAS MELNICHUK." Тrаnscarpathian Philological Studies, no. 18 (2021): 260–64. http://dx.doi.org/10.32782/tps2663-4880/2021.18.46.

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31

Lange, Anja. "Taras Shevchenko at the Maidan in Kyiv." Kyiv-Mohyla Humanities Journal, no. 1 (July 8, 2014): 251. http://dx.doi.org/10.18523/kmhj25726.2014-1.251-263.

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32

Finnin, Rory. "Mountains, Masks, Metre, Meaning: Taras Shevchenko's 'Kavkaz'." Slavonic and East European Review 83, no. 3 (July 2005): 396–439. http://dx.doi.org/10.1353/see.2005.0154.

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Kovalyova, T. P. "TARAS SHEVCHENKO’S “ZAPOVIT” (“TESTAMENT”) IN GERMAN TRANSLATIONS." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 1, no. 2 (2023): 193–201. http://dx.doi.org/10.32782/2710-4656/2023.2.1/34.

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Nikoriak, Natalia, and Aliona Matiychak. "Socialist Realism Markers in Biopics "Taras Shevchenko"." Contemporary Issues of Literary Studies - International Symposium Proceedings 16 (December 11, 2023): 226–32. http://dx.doi.org/10.62119/cils.16.2023.7549.

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The dynamics of the interpretation of Kobzar image in the film biographies "Taras Shevchenko" (1926) and "Taras Shevchenko" (1951) is quite demonstrative in the realm of the general formation specificity of the "pantheon of heroes" of the Soviet regime. Still in the 1926 biopic by P. Chardynin the first attempts to adapt Shevchenko's biography and creative heritage to the needs of Soviet ideology were made. Architectonically the film consists of a series of novellas chronicling the writer's life from childhood to hisdeath. However, the biographical canvas is filled with socialist realism codes, creating a "convenient" image for the Soviet authorities. Traditional Soviet ideologemes appear in the 1926 bi opic: "a prophet kobzar", "an autodidact artist serf", "a rebel", "a fighter for the liberation of the oppressed and dejected". This film is believed to start the creation of a new image of Kobzar as "a forerunner of modern communist ideas." The 1951 film by I. Savchenko, shot on the eve of 90th anniversary of Kobzar's death, was a confirmation of the paradigm shift. Here, the attention is focused on the period of Shevchenko's exile, on his sufferings in thecaptivity. The film creates a heroic image of She vchenko as "a symbol of the proletarian struggle" and "a fighter for socialist ideals". Soviet mythologemes actively appear in the 1951 biopic "a poet fighter", "a ‘petrel’ of the revolution", "a peasant poet", "a younger brother of the Russian social de mocrats". The film became a demonstrative example of the embodiment of the ideological socialist realism narrative and cinematographic Shevchenkiana had to be guided by it in the following decades.

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Fan, Rui. "ARTISTIC MODEL OF THINKING IN TARAS SHEVCHENKO'S NOVEL "THE UNFORTUNATE"." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 32 (2022): 90–95. http://dx.doi.org/10.17721/1728-2659.2022.32.17.

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The article examines the features of the artistic model of thinking in Taras Shevchenko's novel "The Unfortunate". It is emphasized that Taras Shevchenko's Russian-language works represent the evolution of Taras Shevchenko's artistic thinking. The specificity of the artistic model of thinking and its Ukrainian national character is revealed in the Russian-language stories of the author. The thesis is substantiated that using Russian language T. Shevchenko represents his multifaceted model of Ukrainian thinking inherent in his artistic worldview and the way of artistic interpretation of the world. An important factor in presenting the specifics of the artistic model of thinking in Taras Shevchenko's novels is the image of the author, his perception and interpretation of the world as a reflection of the author's view. Also, the factors of representation of the artistic model of thinking in the stories of T. Shevchenko, in particular in the work "Unfortunate", are manifestations of Ukrainian variants of romanticism and sentimentalism; the narrator's appeal to the epistolary, in which purely Ukrainian issues are comprehended; the image of the narrator thinking in national categories; travel notes with descriptions of paintings of Ukrainian cities, villages, nature, landscapes of Ukraine. It is noted that Taras Shevchenko's syncretic stories combine different styles and genres. We can see a number of autobiographical characters according to romantic traditions in them and in the story "The Unfortunate". Basically, the artistic model of Taras Shevchenko's thinking, which was Ukrainian and national in character and manifestation, first created in poetic texts, was transferred and integrated into his prose heritage. In prose works, it is synthesized the characteristics of sentimentalism, enlightenment, romanticism, naturalism.'The Unfortunate' is based on the use of a retrospective method. The text has such features as the presence of a number of main and secondary characters with a pronounced Ukrainian content and essence. All the heroes of the work are a manifestation and result of the national environment. The vocation of the heroes of the story "Unhappy" is to present the Ukrainian model of thinking and worldview. The work has a clear structure, its characteristics are logical, meaningful, often autobiographical (primarily the image of the narrator) and are of major importance in the formation of the Ukrainian national narrative of the story.

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Sholokhova, Anna S. "“Taras Bulba” by N.V. Gogol in the English context." Literary Fact, no. 4 (30) (2023): 238–52. http://dx.doi.org/10.22455/2541-8297-2023-30-238-252.

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The article provides an overview of significant translations of the novella “Taras Bulba,” implemented from the time of its writing to the present day. A comparative analysis of translations that differed in time made it possible to trace the specifics of translators’ approaches to the original text and the nature of those gains and losses that accompanied the translations. The peculiarities of Gogol’s style and related difficulties have been in many ways a stumbling block for its perception in England and in other countries. George Tolstoy became the first translator of “Taras Bulba” into English in 1859. That and other latest translations of the novella were made according to its second edition (1842). Among them are the translation carried out in 1886 by the American writer Isabel Hapgood, the translation by the American literary historian John Kurnos (1918), the translation included in the collected works by Constance Garnett (1929), as well as a translation made by the Soviet intelligence officer Ovid Gorchakov (1955). In 2003 American writer and translator Peter Constantine undertook the newest “Taras Bulba” translation into English. It has a particular interest from the point of evolution of the novella reception within specific political and historical circumstances.

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Grabowicz, George G. "Taras Shevchenko: The Making of the National Poet." Revue des études slaves 85, no. 3 (December 30, 2014): 421–39. http://dx.doi.org/10.4000/res.398.

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Alwart, Jenny. "Taras Ševčenko et la culture mémorielle de l’Ukraine." Revue des études slaves 85, no. 3 (December 30, 2014): 489–500. http://dx.doi.org/10.4000/res.483.

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Лавренюк, Віолетта. "THE IDEOLOGICAL ORIENTATION OF POEMS BY TARAS SHEVCHENKO." Problems of Contemporary Literary Studies, no. 26 (April 26, 2018): 59–68. http://dx.doi.org/10.18524/2312-6809.2018.26.129464.

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SLYVKA, Oksana, and Yuriy HULYANYCH. "Taras Baran: musician, teacher-scientist and master-inventor." Humanities science current issues 3, no. 44 (2021): 37–43. http://dx.doi.org/10.24919/2308-4863/44-3-6.

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Ryabykh, Svitlana. "Idyllic Chronotope in Taras Prohasko’s Novel “The UnSimple”." Path of Science 7, no. 5 (May 31, 2021): 3001–5. http://dx.doi.org/10.22178/pos.70-8.

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The article focuses on the standard features of different idyllic chronotope associated with the unity of the folklore period. Emphasis is placed on the inseparability of human life from a particular place where ancestors lived and where descendants will live. In Taras Prohasko’s novel “The UnSimple”, great importance is attached to family traditions, according to which children at the age of fifteen were shown places related to family history. M. Bakhtin calls this feature the unity of place. This feature unites generations, blurs the time boundaries between the individual life of each person and different periods of the same life. The rhythmic cycle of time is demonstrated in the novel “The UnSimple” on the example of Sebastian and his Anna, who was the only possible woman in his life. In Taras Prokhasko’s novel, the opinion is affirmed that the home for most people is an idyllic place, the basis of biography and the result of existence. It is a place where a person feels protected and confident. The relationship between man and nature in work is shown idealized. Through an exaggerated image of floriculture, the author offers an alternative world in which a responsible, caring, careful attitude to the world around us prevails. It is proved that in Taras Prohasko’s novel “The UnSimple”, the landscape is both a necessary and sufficient condition for a complete human life. It was found that the most important place in T. Prokhasko’s prose is given to the epic of family places, which are the basis of the idyllic chronotope.

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Ringstrom, Philip A. "Essential Enactments: Commentary on Paper by Taras Babiak." Studies in Gender and Sexuality 6, no. 2 (April 8, 2005): 155–63. http://dx.doi.org/10.1080/15240650609349271.

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Gomyreva, Olena. "Artistic features of Taras Shevchenko’s sepias of 1856." Ethnology Notebooks 143, no. 5 (October 21, 2018): 1290–97. http://dx.doi.org/10.15407/nz2018.05.1290.

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Slipushko, O. M., and A. O. Katyuzhynska. "THE SCIENTIFIC INTERPRETATION OF TARAS SHEVCHENKO’S POETRY BY V. SHEVCHUK ACCORDING TO THE BAROQUE EPOCH." Shevchenko Studies, no. 1(24) (2021): 76–93. http://dx.doi.org/10.17721/2410-4094.2021.1(24).76-93.

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The purpose of the research is to analyze the influence of the Baroque epoch on the Taras Shevchenko’s poetry, to investigate the peculiarities of V. Shevchuk’s interpretation of the Baroque tradition, in particular the Baroque historiography, symbols and allegories, in the poetic heritage of the artist. The features of the scientific interpretation of Taras Shevchenko’s poetry by V. Shevchuk are analyzed. Particular attention is paid to the influences of the outlook and characteristic features of the Baroque epoch in the poetic heritage of the artist. The scientific views of the scientist on the existence of the Baroque traditions in the creativity of Taras Shevchenko are analyzed, Baroque ideas, motives and images are determined. The role and peculiarities of using Baroque historiography, biblical motives, symbols, allegories, represented in according to Baroque outlook, are substantiated. It was proved, that poet’s creativity is characterized by complexity and versatility, as evidenced by his active usage of meaningful symbols and allegories. In addition, it is determined, that in the poems of the period of exile such baroque motives, as insurmountable oppression, despair, tragedy of the author’s «I», appealed to the topic of death, pessimism, are represented. V. Shevchuk is sure, that the crisis of the spirit, the pessimistic motives, embodied by Taras Shevchenko in poetry, are caused by the deprivation of the living connection with Ukraine. Besides, Taras Shevchenko often refers to historical topics in his poems, in particular Ukrainian Baroque historiography. Therefore, Taras Shevchenko’s creativity is based on biblical motives and an appeal to God. V. Shevchuk thinks, that Taras Shevchenko’s poetry deals with the highest theme in the creation of a universal picture of the world: God and person, while God is a generalized concept and father of people. In conclusion, the literary achievements of the Baroque epoch have become one of the sources of Taras Shevchenko's creativity, influenced the formation of his outlook, and also found its own interpretation in the poet's heritage.

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Melnyk, Yaroslav. "A Discourse Analysis of Destructive Sociomental and Ethnocultural Constants in Taras Shevchenko’s Works (Based on “Kobzar”)." Journal of Vasyl Stefanyk Precarpathian National University 7, no. 2 (November 18, 2020): 92–101. http://dx.doi.org/10.15330/jpnu.7.2.92-101.

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The article explores the constants in Taras Shevchenko’s poetry with a critical perspective on their functions in shaping a model of the world. The author attempts to give a systemic description of the constants and examines the poet’s interpretation of their characteristic features. In Taras Shevchenko’s poetic worldview, they gain systemic importance and are regarded as major obstacles to fostering national freedom, independence, and self-sufficiency. The approach allows for a somewhat different perspective not only on Taras Shevchenko’s oeuvre but also on Ukraine’s history and culture, as well as for new insights into the socio-cultural and political events of the last few decades. To date, linguists, literary critics, culturologists and other specialists have either regarded the categories under study as details of secondary importance or overlooked them altogether. This research project breaks some new ground in decoding Taras Shevchenko’s poetry

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Kovalenko, T., and O. Zaiets. "DEVELOPMENT OF LAND LAW SCIENCE IN TARAS SHEVCHENKO NATIONAL UNIVERSITY OF KYIV: THE AGE OF INDEPENDENT UKRAINE." Bulletin of Taras Shevchenko National University of Kyiv. Legal Studies, no. 118 (2021): 37–47. http://dx.doi.org/10.17721/1728-2195/2021/3.118-7.

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The purpose of writing this article is to provide a conceptual overview of the main ideas and doctrines in the field of land law, which were being researched and substantiated by employees of the Faculty of Law / Institute of Law of Taras Shevchenko National University of Kyiv during 30 years of independence, outlining the main achievements of land law and their practical implementation during this period. The main research method was the analysis and systematization of scientific research at the institutes of land law as a branch of law, science and academic discipline. The method of historical analysis helped to understand the historical and legal preconditions for the formation of a team of specialists who during the times of independent Ukraine were successfully working in land and related branches of law at Taras Shevchenko National University of Kyiv. In conclusion, it is noted that scientists of the Faculty of Law / Institute of Law of Taras Shevchenko National University of Kyiv worthily have represented and developed land law as a branch, science and academic discipline since the very beginning of Ukraine's independence. Within the limits of this article it is not possible to show in full the scientific achievements of the employees of the Faculty of Law / Institute of Law of Taras Shevchenko National University of Kyiv and their students during the time of independent Ukraine. But the described main scientific achievements emphasize the significant contribution of land law science of the Faculty of Law / Institute of Law of Taras Shevchenko National University of Kyiv to the development of the science of land law of independent Ukraine. Due to the active position of the teaching staff at the Faculty of Law / Institute of Law of Taras Shevchenko National University of Kyiv, there grew a worthy scientific constellation of researchers, teachers, practitioners and statesmen, whose main scientific interest was land law with its practical implementation and improvement. Keywords: independent Ukraine; land law; Taras Shevchenko National University of Kyiv; Faculty of Law; Institute of Law.

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Bednarczyk, Anna. "Cossack culture in Translation of Taras Bulba by Nikolai Gogol." Między Oryginałem a Przekładem 21, no. 27 (2015): 25–40. http://dx.doi.org/10.12797/moap.21.2015.27.03.

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Filatova, Nataliia. "Taras Shevchenko’s Personality in Communication Experience of Internet Users." Ukrainian Studies, no. 4(57) (December 17, 2015): 186–201. http://dx.doi.org/10.30840/2413-7065.4(57).2015.194469.

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Andrusyak, Iryna. "IDEA OF GENDER EQULITY IN WORKS OF TARAS SHEVCHENKO." Visnyk of the Lviv University. Series Law, no. 60 (September 4, 2014): 3–10. http://dx.doi.org/10.30970/vla.2014.60.263.

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Isaieva, N. S. "TARAS SHEVCHENKO’S POEM “TESTAMENT” IN CHINESE TRANSLATIONS: CONCEPTUAL ANALYSIS." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 4, no. 2 (2020): 89–99. http://dx.doi.org/10.32838/2663-6069/2020.2-4/14.

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