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Academic literature on the topic 'Ukrainian Epic poetry'
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Journal articles on the topic "Ukrainian Epic poetry"
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Shevchuk, Svitlana, and Iurii Mosenkis. "Languages of the Kyivan Rus’ as an object of information war and linguistic reconstruction." Ukrainian Linguistics, no. 53 (2023): 186–96. http://dx.doi.org/10.17721/um/53(2023).186-196.
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The article is devoted to the problem of the Kyivan Rus’ language situation (e.g., oral and literary languages) and the ideological struggle over this heritage. The oral epic and cultic languages were reconstructed for the first time. Not only now, but during several centuries brutal moscovite agressors attempt to took, to deform, to destroy all signs of Ukrainian identity: language, literature, folklore, history, church, other manifestations of culture. The Kyivan Rus’ is among many objects of linguistic, historical, and other falsifications. Intentionally, the russian language has no distinctions between “of Rus’” and “of russia”: both these terms have one designations – to underline the falsified “transition” from the Kyivan Rus’ (true Ukraine) to moscovia (politically renamed as “russia”, from the Byzantine name of Ukraine Rosia). The origin of the Ukrainian language is a key problem of Ukrainian linguistics, but it is also a historical, political, and defensive question. However, only several Ukrainian linguists focuse their attention on this important and difficult interdisciplinary problem. One aspects of it is prehistory and history of the Ukrainian poetic (especially epic) language, partially reflected in the medieval chronicles and the Tale of Ihor’s Campaign. The proposed model of the linguistic situation in the Kyivan Rus’ is a close contact between the Ukrainian version of the Church Slavonic language (only literary initially) and the native Ukrainian epic language (folklore, interdialectal, only oral initially). Also, the linguistic reconstructions of rhymed epic poetry in the chronicles are proposed. The Tale of Ihor’s Campaign is reconstructed as a series of related songs. Every song has common rhyme (monorhyme), whereas many lines of the poem in general represent holorhyme (pantorhyme), known in contemporary European (e.g., German) poetry. Therefore, the language(s) of the Kyivan Rus’ reflect(s) very high level of development, manifested by the rhymed epic languafe of the folklore origin. Now the history and pre-history of the Ukrainian language need a re-interpretation to defend from the moscovite falsifications, spread in the information space.
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Karatsuba, Myroslava. "Typological Comparisons of Folk Poetry of the Ukrainians and Southern Slavs at the Figurative-Lexical Level." Slov'ânsʹkij svìt, no. 21 (December 30, 2022): 23–38. http://dx.doi.org/10.15407/slavicworld2022.21.023.
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The focus of the study proposed below is on important issues related to the identification of the common features of folk poetry of separate southern Slavs, in particular, Serbian, Croatian and Bosnian, and Ukrainian folk poetry, as well as individual works of art with a folklore component (for instance, Vila-Posestra by Lesya Ukrainka). It is, in particular, about the characteristic features of folk-poetic works at the level of imagery, poetics, and indicative lexical patterns. Common to folk poetry of the Southern Slavs and Ukrainians, especially when it comes to works of love or social nature, is the use of not only permanent epithets, but also indicative metaphors, comparisons and characteristic figurative expressions. In stages and separately considered are poetic tropes, separately their content and formal load, as well as functions when used in folk poetry of Ukrainians and South Slavs. Considerable attention is paid to lexical characteristics when creating the image of a beautiful girl in Ukrainian folk poetry and in folk-poetic South Slavonic samples, as well as to additional attributes of clothes and outfits of a young man and a girl in the folklore of the mentioned peoples. Figurative characteristics of animals, plants and natural phenomena (flowers, herbs, trees), as well as their functional purpose and place in the palette of folk-poetic works, characteristic lexical features of their reproduction in texts of epic and lyric songs, and folk ballads, do not remain without attention as well. The article compares dumas and songs and ballads about the escape from captivity, where there is also a distinct similarity in vocabulary when characterizing heroes and their actions. By collating folk poetry of Southern Slavs and Ukrainian folk songs, extraordinary factual material is revealed at the figurative-lexical level, eloquently testifying to the similarity of the texts. It is about certain clear general regularities of the overall plan, which can be traced both at the level of plot imagery in the thematic-genre dimension, and in the aspect of metaphors (constant epithets).
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Kharchuk, Roxana. "Тарас Шевченко і Тадеуш Лада Заблоцький: типологічні збіги у біографії і творчості поетів-романтиків у Російській імперії пер. пол. ХІХ ст." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 57, no. 4 (April 3, 2023): 243–57. http://dx.doi.org/10.36770/bp.752.
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According to the author, Tsar Nicholas I’s punishment of Taras Shevchenko and Tadeusz Łada-Zabłocki for their poems with exile to Orenburg and the Caucasus in the rank of privates, respectively, is evidence of the Russian Tsar’s phobia of literature and freedom of thought. The article concludes that in the context of possible familiarity between the fates of the two authors, the typological similarities in their works are not significant. The main concern is the influence of Ukrainian folklore on the imagery in Shevchenko’s poetry, and Ukrainian and Belarusian folklore on the imagery in Łada-Zabłocki’s. Although both poets are Romantics, their poetic self-creation is diametrically opposed. In Łada-Zabłocki’s it is autobiographical imagery, marked by the experience of the defeat of the Polish nation in the struggle for freedom after the November Uprising, while in Shevchenko’s the poet always appears as a defender of the most wronged part of the nation. While the element of Shevchenko’s poetry is not only lyricism but his poetry is characterized by epic breath, Łada-Zabłocki belongs to the group of autobiographical poets.
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Salyha, Taras. "MUNICH CONFESSION OF VOLODYMYR YANIV (dedicated to 110th anniversary of birth)." Polish Studies of Kyiv, no. 35 (2019): 321–33. http://dx.doi.org/10.17721/psk.2019.35.321-333.
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Three major aspects of Volodymyr Yaniv’s life-creativity are described in the article: 1. biographical (his forma- tion as a creative person); 2. literary and art studies; 3. essayistic (author’s stories about the meetings with the perennial rec- tor of UFU). In parallel, there are “plots” about Volodymyr Yaniv as s historian of the church and Christianity, as a religious scholar, about his contacts with the Vatican, and in particular with His Beatitude Josyf Slipyj in the study. We can trace the “odyssey” of a young ascetic of the Galician revolutionary movement for the statehood and the unity of Ukrainian lands. A separate vision in the life of V. Yaniv is the magazine “Student’s Way”. He was fond of modern processes that took place in the cultural and artistic sphere. Studying poetry of European poets, poetry of Ukrainian creative youth, in particular B.-I. Antonych, V. Havrylyuk, O. Olzhych, poets of the Right-Bank Ukraine, Yaniv developed for himself the criteria for evaluating a literary work. The Lviv weekly “Towards” and the month “Dazhbog” and, of course, the poetry of the “Prague School” were played a special role for Yaniv as a poet. The famous Polish writers, supporters of the so-called “Ukrainian school”, Severin Goshchin- sky, Alexander Fredro, Leopold Staff, Jan Kasprovich, Maria Konopnitskaya whose creativity, undoubtedly, also influenced Volodymyr Yaniv lived and worked in Lviv. The ideological and thematic space of the poetry of Yaniv, in particular the collections “The Sun and the Lattices” and “The Foliage Fragments”, his prison poems, poetry about the Kruty heroes, are analyzed in the article. Lyro-epic creativity of V. Ya- niv in this thematic direction in her own way is biographical. The collection “Ways,” based on the scientific observations of the German, Polish and Czech theorists of psychoanalysis, is based on the ethno-psychoanalysis of the Ukrainian political prisoner. V. Yaniv is a scientist, psychologist, ethnic psychologist of the Ukrainian “soul”, sociologist and literary critic, art critic, organizer of Ukrainian science and church-religious life, public figure, professor of the Ukrainian Catholic University named after St Clemens, the Pope in Rome. The sacred motives are an organic page in poetry, literary criticism and, in general, in the works of Volodymyr Yaniv. The author used the bibliographic literature about the life and work of Volodymyr Yaniv, which, however, doesn’t allevi- ate his individual views.
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Kopanytsia, Liubov, and Alla Pavlova. "THE SYSTEM OF MORAL-ETHIC VALUES IN UKRAINIAN NON-RITUAL LYRIC-EPIC FOLKLORE: THE RESPONSIBILITY CATEGORY." Scientific Journal of Polonia University 58, no. 3 (September 1, 2023): 118–26. http://dx.doi.org/10.23856/5816.
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The article is devoted to the problem of responsibility in non-ritual lyric-epic folklore. The poetic macrosphere of lyric-epic folklore reflects the multifaceted spiritual universe of the Ukrainian ethnic group, mental peculiarities, features of the national character, historical aspects of social development, and various transformational processes. Forms of rational and irrational understanding of the world were revealed in the folklore text, which influenced the formation of a special sociocultural paradigm. In traditional non-ritual poetry, the world itself, in all its inexhaustibility of interpretations, appears as the center of an axiological system, an unchanging value in man's understanding of all that exists. The broad information content present in the texts of traditional culture contributes to the realization of communicative efficiency, which helps to socialize and differentiate between essential and non-essential. The poetic system of the lyric-epic song represents the features of the structuring of a complex anthropological model. In the collective memory, exceptional events were imprinted, which reveal the actualization in the folk consciousness of precisely the moments of the destructive nature of an individual's irresponsibility for the consequences of his own actions. The article highlights the concept of "attachment of responsibility": everyone must be responsible for their actions. Through the multifaceted artistic macrosphere of the song, a number of important interpretations of the essence of moral responsibility in the axiological sense are revealed. An irresponsible act causes a corresponding reaction on the part of individual individuals, merging into a general moral and ethical assessment by the entire community. Thus, through the folklore image of the traditional lyric-epic song, the folklore idea of the uniqueness and uniqueness of human life, which is included in the living memory of other people, their experience and the spiritual world, is transmitted.
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Pohrebennyk, V. F. "THE ORIGINALITY OF THE FOLKLORISM OF P. KULISH’S POETY 70–90-th XIX CENTURIES." Literary Studies, no. 59 (2020): 140–53. http://dx.doi.org/10.17721/2520-6346.1(59).140-153.
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This article is the attempt to study combined the variety of connections between Panteleymon Kulish’s poetic creativity and the folklore, mithology and folklore heritage of the Ukrainian and other nations. This study is to identify the ideological and aestetic features of the writer’s processing of motives, images, symbols, etc. of folk-art, the directions and the specificity of processing of these sources; to illuminate the levels and the impact of the assimilation of folk-art and mythical sources in last periods of literary activity of the writer. This article presents a comparative analysis of an array of folk-song poetry, mythical plots of P. Kulish and the poetics of his lyrical and lyric-epic works. The significance of the contribution to the culture of Ukrainian literary folklorism of the second half 19-th century is also characterized there. The nature of inter-system communication of the literature, mythology and folklore, the specific of “folklore writing” of the artist, who rose on the reception of folk poetry and based his own creative manifestations on it; the representation of national and folk world was literary mediated by P. Kulish; changes features of the individually distinctive author’s folklorism and mythologism are investigated.
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Slipchuk, Daryna. "PETRO SAHAYDACHNYI AND BOHDAN RÓŻYŃSKI: INTERTEXTUAL CONNECTIONS OF THE POEM «CZAJKI» AND THE EPIC POEM «ZŁOTA DUMA» BY BOHDAN JOSEF ZALESKI." Polish Studies of Kyiv, no. 38 (2022): 310–25. http://dx.doi.org/10.17721/psk.2022.38.310-325.
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The article describes the phenomenon of auto-intertext in the poetry of the second period of famous Polish romanticism poet Bohdan Zaleski. In particular, the role and nature of the mentions of Petro Konashevych-Sahaidachnyi and representatives of the Różyński family in the epic poem «Złota Duma» (or its excerpt «Monaster Trechtymirowski») and the poem «Czajki» are considered. The study of the poem « Czajki « reveals new examples of mythologizing hetman Sahaidachnyi, such as the concentration of several historical facts from different times into one event, the selection of episodes of history in accordance with ideology, and the glorification of a person. The poet suggested the recognition of Sahaidachnyi’s authority in Poland as well. The image of Sahaidachnyi developed later in the «Złota Duma», which is discussed in the previous study. The repetition of the ideas of the Ukrainian-Polish alliance in the poem confirmed the theory about the rational, and not the artistic, nature of the use of figures of Ukrainian history in the so-called «golden era» of relations between the two nations. The introduction of the Różyński family as an influential representative of the Ukrainian-Polish nobility, probably familiar to Sahaidachnyi, served as a justification for the idea of successful Ukrainian-Polish cooperation, an argument in favor of finding positive aspects of the neighborhood instead of focusing on tragedies. The attempt to build a positive image of a Ukrainian-Cossack-noble for the mutually beneficial salvation of his state, which was to grow into an inter-Slavic union, guided Zaleski in a greater extent than the desire to find an explanation for the failures that led to Poland’s loss of statehood. In the work on both poems, Zaleski worked on the same characters – Sahaidachnyi and two generations of Różyński’s – which, however, did not indicate that the poet’s horizons were limited. The phenomenon of auto-intertextuality emerging from this comes from Zalesky’s focus on the times of the most favorable climate of relations between the Ukrainian and Polish peoples. We assume that the technique was applied deliberately not only within the framework of the developed micro-theme, but also out of a desire to develop a fictional microuniverse based on historicism, to pour out a vision of a successful future for Ukrainians and Poles in an epic poem, wanting to match the genius of the greatest figure of Polish romanticism – A. Mickiewicz.
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Levchyk, Nadiia. "Borys Grinchenko: poet, lyrical subject, and epoch." LITERARY PROCESS: methodology, names, trends, no. 23 (2024): 59–68. http://dx.doi.org/10.28925/2412-2475.2024.23.6.
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The focus of the paper is on the complicated process of including Borys Grinchenko’s poetic heritage in the cultural history of the Ukrainian people as a nation. Attention is drawn to the erroneous statements in the studies of the 1930s to 1950s and the restoration of a fair assessment later. The paper traces the evolution of Borys Grinchenko’s poetry based on the analysis of particular details in his works and materials of discussion on the recognition of the literary value of his “poetic word”. The texts of his works are analysed as the case study the 1903 lifetime edition “Writings. Volume 1”, which was wrongly underestimated at the time.The innovative tendencies of his poetic thinking can be traced from the beginning of his literary activity to the last years of his life. Attention is drawn to the genres, themes, figurative language, and stylistic features of Grinchenko’s poetry in their evolutionary development (the 1880s through the 1900s). Particularly noteworthy is the rhythmic and melodic structure of the author’s poetry and its gradual changes. His works may be associated with such stylistic systems of Ukrainian poetry as Enlightenment romanticism, neo-romanticism, and symbolism. The edition of Borys Grinchenko’s poetry “Writings. Volume 1”, highly appreciated by Lesia Ukrainka at the time, may serve a code for understanding the peculiarities of his creative style as a poet. In addition to the epic mastery that distinguished the writer, his poetry demonstrated the expressive lyricism of the “poetic word”. One of the peculiarities of Grinchenko’s poetic pieces was cyclization, especially evident in the collection “Minutes”, which was included in the mentioned edition. In the author’s lyrical and confessional preface, he clearly outlines the image of the lyrical hero of his works. The lyrical character and his individual existence are extremely important for Grinchenko as the poet. The final part of the paper formulates the fundamental values of Borys Grinchenko’s life credo. His poetry has been and continues to be a significant and valuable cultural phenomenon, contributing effectively to the establishment of Ukraine as a nation.
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Zelenenka, Iryna, Alla Vinnichuk, Viktor Krupka, Viktoriia Tkachenko, and Viktor Iaruchyk. "Ecological and Aesthetic Potential of Works about Chornobyl: Technogenic Disaster as a Literary Problem." Interdisciplinary Literary Studies 26, no. 2 (May 2024): 237–59. http://dx.doi.org/10.5325/intelitestud.26.2.0237.
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ABSTRACT This article is aimed at revealing the theme of the Chornobyl disaster as an apocalypse in the lyrical works of Ukrainian poets. The prerequisites for the development of the phenomenon of the “post-Chornobyl library” are revealed, the works of outstanding sixtiers (Ivan Drach, Lina Kostenko, Borys Oliynyk, and Dmytro Pavlychko) are considered, the elements that are called to the accident at the Chornobyl nuclear power plant are highlighted, and an imagery analysis of the selected works is carried out. Discourses about the catastrophe, apocalypse, and postapocalypse are highlighted to demonstrate Chornobyl, in lyrics and lyrical epic, as the largest man-made environmental and humanitarian tragedy. The connection between the Chornobyl discourse in literature and criticism of the Soviet regime as a manifestation of inhumanity and totalitarianism is revealed. An array of ecological poetry of lesser-known authors is processed and their contribution to the poetry of the paradigm is indicated, and a detailed analysis of the ecological lyrics of the late twentieth and early twenty-first centuries by authors Nina Hnatiuk, Tetiana Yakovenko, and Valentyna Storozhuk is carried out.
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Koloshuk, Nadiia. "IVAN HNATIUK’S POETIC TRILOGY IN THE EARLY 1990S: WHY DIDN’T UKRAINE HEAR THE PROPHET OF THE ‘NEW CHRONOLOGY’?" Слово і Час, no. 2 (March 25, 2021): 68–82. http://dx.doi.org/10.33608/0236-1477.2021.02.68-82.
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The poetry books by I. Hnatiuk, edited in independent Ukraine, are especially valuable due to the first publication of his poems written in prison. He appeared in front of the reader in his true poetic self, without distortion of censorship, only in the 1990s — in a kind of poetical trilogy beginning with the collection “New calculus of time” (Kyiv, 1990). Three poetry books from the early 1990s — “New calculus of time”, “Via Dolorosa” and “True Revenge” — contain the restored early lyrics and poems of the author prisoner. I. Hnatiuk introduced into Ukrainian poetry the topics and issues related to the crimes of Stalin’s tyranny, the national resistance movement, and the threats of imperial aggression from Moscow in the time of Ukrainian independence. Hnatiuk never announced any prophecies of the expected ‘happy future’ in the new Ukraine, although the collections had a distinct prophetic orientation. The poems of the 1980s and 1990s were also presented, including the cycles brought to life by the Chornobyl disaster. The poet perceived the man-made environmental catastrophe as the last ‘wrath of God’, ‘the deadly tornado’ of the atomic Apocalypse. The evident journalistic component of the three-volume collection requires deeper reading and study in the context of the post-Soviet literature. Based on the classical poetic means and great verse epic forms, the poet created a new expressive type of the lyrical character — the persistent and uncompromising martyr of the Soviet concentration camp. According to the author of the paper, the unsubstantiated evaluations of Hnatiuk’s works as graphomania can be easily refuted by examples of his unique mastery and free command of the word.
Books on the topic "Ukrainian Epic poetry"
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Shevchuk, V. O. Marsove pole: [heroïchna poezii︠a︡ v Ukraïni X--pochatok XIX stolitʹ]. 2nd ed. Kyïv: Molodʹ, 2004.
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Instytut mystet͡stvoznavstva, folʹklorystyky ta etnolohiï im. M.T. Rylʹsʹkoho, ed. Ukraïnsʹki narodni dumy u pʹi͡aty tomakh. Kyïv: IMFE NAN Ukraïny, 2009.
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Malynsʹka, Natalii͡a. Ukraïnsʹki heroïchni dumy: Praktykum : navchalʹno-metodychnyĭ posibnyk. Kyïv: VPT︠S︡ Kyïvsʹkyĭ universytet, 2005.
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Pliset︠s︡kiĭ, M. M. Ukraïnsʹki narodni dumy: Si︠u︡z︠h︡ety i obrazy. Kyïv: UKSP "Kobza", 1994.
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I͡Armolenko, Natalii͡a. Ukraĭnsʹkyĭ usnyĭ heroïchnyĭ epos: Dynamika tradyt︠s︡iï : monohrafiia. Kyïv: Chabanenko I︠U︡.A., 2010.
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Kozak, Stefan. Ukraïnsʹkyĭ preromantyzm: Dz︠h︡erela, zumovlenni︠a︡, konteksty, vytoky. Varshava: Katedra Filologii Ukrainskiej Uniwersytetu Warszawskiego, 2003.
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Sodomora, Pavlo. Filosofii︠a︡ movy: Ukraïnsʹka perekladna literatura : na materiali perekladiv "Odisseï" Homera : monografii︠a︡. Lʹviv: SPOLOM, 2012.
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Homer. The triumph of Odysseus: Homer's Odyssey books 21-22 : introduction, text, and running vocabulary. Cambridge: Cambridge University Press, 1996.
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