Journal articles on the topic 'Ukrainian Epic poetry'

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.

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).

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.

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.

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.

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.

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.

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.

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.

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.

Among the epic genres of Ukrainian folklore, duma occupies a special place. Genetically connected with such traditional genres as bylina (epic story), lamentation, spell and other earlier varieties of folk oral poetry, it spreads mainly in the 17th and 18th centuries. However, later, it continues to exist in folklore and actively influences the literary process that can be vividly observed in the works by Taras Shevchenko and other writers of the 19th century. Contemporary authors productively employ and develop characters, motifs and style profoundness of this ancient genre. Genesis of duma to our time remains an actual problem. Its persistence in the tradition of Kievan Rus culture has been pointed out by M. Maksymovych, M. Hrushevsky and other researchers. The poetics of dumas, particularly their artistic structure, has been explored quite substantially, although this research is far from exhaustive. What strikes one’s eye right from the first acquaintance with dumas is the non-strophic composition. This uninhibited verse flow, as if not limited by anything, distinctively echoes an unceasing flow of life. Resembling the dynamics of recreated highly dramatic events, it contributes to emotional expressiveness, as well as to meditative reflections of their poetic comprehension. At the same time, F. Kolessa, followed by other researchers, noticed more or less detached periods (tirades, fragments) of this generally free non-strophic flow. These periods clearly represent a specific structure of such verse. They principally have quite an appreciable prosodic tint in a musical text, and also their own specifics in a verbal text. This specificity — primarily by the example of concrete works — is expected to become the subject matter of thorough research. A subtle combination of long and shorter lines, alternation between diverse regular rhythms and no less diverse rhythms of a free, often queer nature — all this gives a particular vividness to the texts of dumas. These are the evidence of that uniqueness, which was discussed by T. Shevchenko in regard to Ukrainian duma, and to which many researchers drew our attention. However, this unquestionable uniqueness doesn’t contradict the genetic and typological bond of Ukrainian folk dumas and world epic tradition.

The author analyzes a long and complex panegyric poem dedicated to Yoasaf Krokovskyi, a key figure in Ukrainian cultural life and Orthodox Church of the late 17th — early 18th centuries (he was elevated to the three prominent Orthodox ecclesiastical posts in the Hetmanate: rector of the Kyiv Mohyla Collegium, archimandrite of the Kyivan Cave Monastery, and metropolitan). The poem was written in 1699 when Krokovskyi held the post of the Kyivan Cave Monastery archimandrite. Since the main goal of poetry at the time was contributing to the education of pious men and loyal subjects, panegyric poetry was one of the principal genres of Mohylanian poetics. Indeed, the best way to achieve this goal was to represent exemplary human actions that would constitute models worthy of emulation. The didactic function of praise was all the more effective when the characters being praised were familiar to the students. The analyzed poem is found in the 1699 manual of poetics “Hymettus extra Atticam”, whose author was Yosyf Turoboiskyi, a Mohylanian professor who steadily entered the history of Russian culture due to his celebratory works in honor of Peter I, while in Ukrainian literature he is almost unknown. The central theme of the analyzed poem, written on the occasion of Krokovskyi’s birthday, is a virtue of the addressee and wisdom that inspires him. These themes reveal, on one side, the author’s intention to insert the personality of archimandrite and future metropolitan into what N. Pylypiuk saw as a project, initiated in the 1690s, of portraying Mazepa and Yasynskyi with visual and textual means as protectors and benefactors of Wisdom’s abode, that is the Collegium and St. Sophia. On the other, they reflect the idea of wisdom as it was characterized by the Renaissance; it is mirrored in the Erasmian definition of wisdom as “virtus cum eruditione liberali conjuncta”. This fact, expanding the topic of epic poetry to all activities related to the intellect, reflects the Renaissance approach to the ‘heroicum carmen’ and testifies to the influence of Humanism and Renaissance on the Ukrainian literature.

The article presents the history of Ukrainian translations of ancient Greek literature and describes the translation work of Ukrainian classical philologists, poets and prose writers. The reception of literary works of antiquity is represented by texts of different styles, poetic schools and Ukrainian language of different periods, which demonstrate the glorious tradition of domestic translation studies. It is noted that Ukrainian translations have a long history (from the first translation in 1788 and the first textbook in 1809); they were published in separate periodicals, collections, almanacs, as well as complete books and in textbooks and anthologies. Ukrainian translations of literature in the ancient Greek language of the аrchaic, сlassical and Hellenistic periods are analyzed. Translations of poetry (epic, elegy, iambic, monodic and choral lyrics, tragedy, comedy, folk lyrics, mimiyamb, epilium, bucolic, idyll, epigram) and prose (fable, historiography, philosophy, rhetoric, fiction, ancient novel, New Testament and Septuagint, early Christian patristic) are described. Significant in the history of translations are the achievements of the brilliant connoisseur of antiquity I. Franko. The high level of linguistic and stylistic assimilation of ancient Greek prose and poetic texts is demonstrated by the creative style of such outstanding translators as Borys Ten, V.Svidzinsky, M. Bilyk, G. Kochur, A. Smotrych, V. Derzhavуn, V. Samonenko, P. Striltsiv, A. Tsisyk, Y.Mushak, A. Biletsky, V. Maslyuk, J. Kobiv, Y. Tsymbalyuk, L. Pavlenko.The glorious traditions are continued by well-known antiquaries, writers and poets, among whom A. Sodomora has a prominent place. At the level of world biblical studies there are four translations of the Holy Scripture in Ukrainian (P. Kulish, I. Pulyuy, I. Nechuy-Levytsky, I. Ogienko, I. Khomenko, R. Turkonyuk). Іt is summarized that despite numerous Ukrainian translations of various genres of ancient Greek literature there is a need to create a corpus of translations of ancient Greek historiography, rhetoric, philosophy, natural science texts, Greek patristic.

The article notes that critics of the Ukrainian diaspora emphasized the significance of the works of the „Lanka”-MARS authors, considered the main strategies of their work, and determined the connection of the works with the world literary tradition. Lavrinenko's anthology „The Executed Renaissance” allows us to understand the specifics of the history of Ukrainian literature of the 1920s and 1930s. Yu. Lavrinenko represented articles about the works of B. Antonenko-Davydovych, G. Kosynka, T. Osmachka, E. Pluzhnyk, V. Pidmohylny, and D. Falkivsky, which testify to the specifics of Yu. Lavrinenko's reception. The critic called love the main characteristic of T. Osmachka's poems. Yu. Lavrineno emphasized that D. Falkivsky's poetry is characterized by simplicity and naturalness. The article defines that the critic, characterizing the poetic texts of E. Pluzhnyk, emphasizes the principles of his poetics that represent acmeistic traditions. Yu. Lavrinenko focuses on determining the main principles of V. Pidmohylny's works. The article states that Yu. Lavrinenko calls G. Kosynka a talented author of his time, in his skill the writer stands next to M. Khvylov and V. Pidmohylny, his epic works reveal a synthesis of lyricism and brutal metaphor. B. Antonenko-Davidovych's story „Death” is represented by the critic of the Ukrainian diaspora as a confrontation between man, personality and the Communist Party. The article considers the reception of Yu. Sherekh by V. Pidmohylny and T. Osmachka. The critic reveals the deep meaning of V. Pidmohylny's novel „City”, which allows the modern reader to read the work from a different angle, to see new aspects of the artistic world of the text. The article examines the strategies of interpretation of the works of T. Osmachka. Yu. Sherekh called the Ukrainian poet one of the best modern authors, saw his connection with the world tradition, with the works of D. Byron and O. Pushkin.

The article presents an attempt to analyze the legend by Natalena Koroleva "Kyrylo Kozhumiaka" in terms of determining the specifics of the author's reinterpretation of the folklore plot, traditional motives and images. The material for generalizations is the texts of the Ukrainian folk tale "Kyrylo Kozhumiaka", published by Panteleimon Kulish in "Notes on Southern Rus" and the legend by Natalena Koroleva (collection "Ancient Kyivan Legends") under the same title. The study observes that Natalena Koroleva revealed a steady interest in folklore and literary legends throughout her creative life, masterfully weaving the legend material into almost every artistic text. The article notes that the legend "Kyrylo Kozhumiaka" was written in ancient traditions: this is expressed in the active use of the means of epic recitative songs, in the depiction of popular folklore characters, in the stylization of oral folk poetry. The variety of stylistic devices typical of domestic folklore envokes the reader’s sense of authenticity and highlights the truthfulness of the depicted image of a distant epoch. The article reveals that in the collection "Ancient Kyivan Legends" the author continued and creatively reinterpreted the ancient traditions of Ukrainian and European legends. The comparative analysis of the folk tale "Kyrylo Kozhumiaka" and the legend by Natalena Koroleva under the same title, on the one hand, evinced the writer's admiration for the Ukrainian oral folk poetic heritage and a deep understanding of folk poetics; on the other hand, it demonstrated her ability and talent to fill a well-known plot with new ideas and collisions, to create full-blooded and bright heroes, to decorate the text with brilliant means and techniques of artistic expression. Natalena Koroleva convincingly proved that the legend as a literary genre can harmoniously exist in the modern literary process.

The Subject of the study is personal resistance, which occupies an important place among the objects of philosophical understanding. Therefore, its implementation in fiction, especially in the Ukrainian drama of the last decade, is quite relevant. The Revolution of Dignity has made its adjustments in understanding the motives of resistance, compared to previous revolutions and coups, because that experience took place with completely different information and technical capabilities, and they are important for the organization of people. In addition, the motive of resistance has its own tradition in Ukrainian literature, consisting of works by Taras Shevchenko, poets of “Visnyk”, sixtiers, and dissidents. However, it is mainly journalism and poetry. A new wave of Ukrainian resistance poured into literature. But it is especially important to study the motive of resistance in the dramatic sense, because it is a somewhat new experience. Any resistance movement has a number of organizational and psychological conditions under which it takes place. These conditions are reflected, if not differently, then with shifted accents in the texts of the plays. The article considers dramatic works written before, during and after the Revolution of Dignity. The aim of the article is to trace how the artistic understanding of the social causes and identity of the participant of the resistance movement has changed in the plays dedicated to the Maidan in 2013–2014 and the events taking place in Ukraine as a result of the Revolution. Special attention is paid to the formation of the image of a hero, fighter, patriot. The development of personal resistance in accordance with the described events and the time of their action are considered. Methods of plot and textual analysis, conflict studies and intertextual methods have been used to achieve the set tasks. The study is based on two anthologies of modern Ukrainian drama “Maidan. Before and after” and “Labyrinth of ice and fire”. Due to their structure, these collections allow us to consider personal resistance as a dream, as a real acting image and as a heroic, patriotic feat. Also, the article traces the literary means of creating such an image, and how these means change depending on the development of the image in the texts. All dramas create a generalized image of a Ukrainian, who has all the best qualities, impulses and views, he has high patriotism, willpower, courage, etc., and is thus the image of the Ukrainian who “lacks” the country. This is a dream hero. However, in different sections of the collections, this image changes, transforms and improves. And at the same time the motive of the participant's resistance changes. For the first time, it is traced how Ukrainian playwrights felt and understood the reasons and the course of social, including personal, resistance that led to the Revolution of Dignity. Particular attention is paid to differences in the artistic interpretation of the same motive of social and personal resistance. Also, for the first time, the connection of the resistance motive with the artistic conflicts of the plays of the collections “Maidan. Before and after” and “Labyrinth of ice and fire” is retraced. The material can be used for further in-depth research on this topic, such as the study of texts of epic genres about the Maidan and even poetry collections.

The article carries out a comparative and typological study of the scientifi c and creative understanding of an outstanding monument of ancient Ukrainian literature «The Tale of Igor’s Campaign» by professors Ivan Ohiienkо and Mykhailo Hetmanets. The approaches of two scientists are largely similar, but they diff er in many aspects re-garding the actual scientifi c strategies of the study of «The Tale». Both Ivan Ohiienko and Mykhailo Hetmanets agree that this outstanding medieval epic poem is a land-mark of ancient Ukrainian literature. Both scientists gravitate towards the cultural-historical method of studying «The Tale», but at the same time, Ivan Ohiienko puts its “literature”, linguistic and poetic wealth in the fi rst place, directing his scientifi c eff orts accordingly. In the analysis of «The Tale» he acts mainly as a philologist, successfully combining literary and linguistic approaches. Emphasizing the authen-ticity of the epic poem, the author of the «literary monograph» about «The Tale» underlines fi rst of all its closeness to folk poetry, both in terms of rhythm and verse, and at the level of vocabulary and phraseology. The scientist carefully records the structural components of the spelling of «The Tale», fi nds in it «signs of antiquity», «Bulgarianisms» and «signs of a living language». Mykhailo Hetmanets always highly appreciated the artistic qualities of «The Tale», paid considerable attention to the study of the poetics of the poem, however, he mostly worked with the text as a cultural expert, historian and local researcher. In addition, the scientist consistently implemented the so-called «real commentary» in his «practical» studies, carefully verifying every word, description, reality, event from the text of the work using both proper philological methods and extra-artistic ways. Similar systemic and multi-vector work is brilliantly presented in the mon-ograph «Kayala» (2013). His contribution to the study of the artistic and aesthetic aspects of the masterpiece through the prism of the poetics of its meaningful depth and multifacetedness is also signifi cant. M. Hetmanets gave an extremely high rating to I. Ohiienko’s «The Tale» studies. He responded to his monograph with a lengthy article in which, debating with the author about certain problems, in general he com-pletely supported Ohiienkov’s vision of the signifi cance of «The Tale» in the history of not only East Slavic, but also the entire world literature

This article investigates the wartime poetry and prose by Borys Humenіuk dedicated to the current war in Eastern Ukraine started in 2014. Being of different genres, his works are marked by common through associative and figurative lines. Emphasis is placed on the ways of verbalization of the philosophy of war as an author’s interpretation of concrete sensory images provided by the artist as a direct participant in hostilities. There are two main associative and figurative lines, i.e., war — man — nature and life — death. The actualization of the military lexicon in the Ukrainian writing style is emphasized. Emphasis is also placed on the stylistic functions of a national and general cultural set of symbols (words) which reveal archetypal semantics in the structure of metaphorical and epithetical images. This article discusses such individual features of Humeniuk’s language creativity as an actualization of stylistics of a numeral, number, and digital code. Humeniuk’s poetic and prose language contains lyric-epic characteristic features. The epithets and metaphors of end-to-end associative image lines have been imprinted by the sublingual stylistic category of subjectivization. Linguosophy of man and war actualizes archetypal associative and figurative components, sacred, folklore, and surrealist (mythogenic) semantics of real phe nomena. The epithets and metaphors of Humeniuk’s Poems from the War and 100 Short Stories about the War created and united the military, socio-political, and intimately lyrical segments of the Ukrainian language picture of the world. These verbal and figurative mechanisms actualized the concrete sensory content, semantic, conversational casual and ironic, filling of certain cross-cutting lines. Humeniuk’s language attracts attention by expressive individual worldviews, the characteristic structural diversity of epithetics, intellectualized metaphors, which interact comprehensively and create deeply psychologized pictures of life during the war. Keywords: language of fiction, through associative-figurative lines, metaphor, epithet, numeral, wordsymbol, archetype.

The article analyses the content of the notebook of the famous Ukrainian writer Vyacheslav Medvid (born in 1951), in which the author made notes during 1973–1975, while in the army service and working in the Transcarpathian Children’s Library. The desire to obtain alternative information, to assimilate the achievements of different cultures was manifested in the recordings of multilingual fragments that the writer tried to study (Hungarian, Georgian, Armenian). In the notebook, in addition to a small share of household records, there are individual lyrical works, fragments of poems and prose literary texts. Vyacheslav Medvid records the names of the authors and their works, which must be read, highlighting the “Americans” W. Faulkner, E. Hemingway, J. D. Salinger, H. D. Thoreau. Attention is drawn to fragments in which the writer formulates his own psychoanalytic feelings, experiences, generalizes them, combining subconscious aspirations, sexual life with artistic creativity as their sublimation. Lyrical and epic texts show that the main motifs, images, and narrative features of Vyacheslav Medvid’s works were formed during his stay in Uzhhorod and the army ranks, long before the official publication of the first collection. Likewise, during these years, the writer, after hesitation, finally chooses the path of a professional writer. Using the example of different versions of texts in poetry, prose and essays, it is possible to trace how the skill of narration, the ability to reproduce indirectly and in detail the inner world of the character, is honed.

In the article is analyzed the Mykola Hnatyshak`s publicistic works, which are concentrated in the publications of the author’s column «From the Literary Life» in the newspaper «Meta» (Lviv, 1931—1939). This Catholic critic led this column during 1935—1939 and published there his own articles, notes, reviews and polemical materials. M. Hnatyshak founded a column to persuade those representatives of the intellectuals who believed that literature and art were social phenomena that did not bring a material benefit that these intellectuals were not wright. He also defined the conception of «Catholic literature» and «Catholic criticism». Catholic literature was in the process of formation not only in the Ukrainian literary environment of Galicia, but also in the more developed countries of the Western Europe. Hnatyshak drew attention to the fact that the Catholic literature is not limited to poetic and prose works of religious subjects, and it is possible to include in it those literary works that do not contradict the ideals of a truth, kindness and beauty. He also thought it was necessary to develop literature on a national basis, but opposed journalistic rhetoric and didacticism. A number of publications in the column «From the Literary Life» were debatable. M. Hnatyshak argued with the representative of liberal critic Mykhailo Rudnytskyi: in a public debate on topic «Should a writer have a worldview?» (14th April 1935). At the same time, M. Hnatyshak opposed M. Rudnytskyi at the same time, M. Hnatyshak opposed M. Rudnytskyi in question of evaluation criteria during awarding writers in the 1935 literary awards. M. Hnatyshak emphasized the need to know the origins in the context of the history of Ukrainian literature — works of folk poetry, chronicles, Cossack epic. «The Tale of Igor’s Campaign» is a unique monument of the XI century, which presents the mythological, Christian and knight’s spirit of knyazes times. The critic drew special attention to the inheritance of Markian Shashkevych, Taras Shevchenko and Ivan Franko. M. Hnatyshak’s other publications were reviews of new poetic and prose works, researches and periodicals. Key words: Mykola Hnatyshak, Catholic criticism, publicism, newspaper «Meta», column «From the Literary Life».

Was there a goddess Slava in Slavic pagan antiquity? Though there have been voices that it was possible, the analysis of Slavic folklore texts proved the issue to be more complex. The present paper shows that Ukrainian folklore as well as the folklore of other Slavic peoples may have preserved stable compositional clichés that can be traced back to Indo-European prototypes. In their turn, these clichés may be explained as the verbal reflections of ritual practices and sacred etiquette. It is stated that the final parts of Ukrainian dumas, Russian bylinas, and Serbian heroic songs that contain praise (slava) of natural forces can be regarded as remnants of pagan beliefs with strongly proved Indo-European background. The common motives of slava in different Slavic epic traditions give us important insights into the Slavic pagan religion. At the end of dumas, bylinas, and South Slavic heroic songs, there is a distinct part in which the singer, apart from the main story, blesses the audience and the universe. This part had preserved the composition scheme comparable to that of Old Indian stuti hymns, Pindaric, and Vedic poetry: 1) an invocation to the deity or a person with higher social rank; 2) a recounting of the previous (semi)mythological precedent; 3) a request. The obligatory lexical element of the final part of Slavic eposes is slava. As it is mentioned in the context of mourning over the dead or calming the natural forces, it is very likely that the concept was connected to the cult of ancestors and natural forces - one of the most archaic forms of religion. It is proved by two non-neighbouring cognate folklore sources. In Hutsul funerals up to the beginning of the 20th century, slava used to serve as a taboo name of the soul of the deceased. Meanwhile, at least up to 19th century, the Serbs preserved the holiday of slava that is interwoven with the cult of the dead (e.g., kolyvo was eaten during the rite). Thus, though we cannot claim the existence of the personified goddess named Slava, we have strong evidence about the notion of slava (praise, fame) that could have been current in Common Slavic religion. It is even more likely due to the underlying Indo-European tradition, in which the notion of fame was not personified though crucial for the ideology of warring elites (like in Pindar's lyric). Such evasive notion of slava that was not always personified though praised comforts very well to the picture of ancient Slavic religion handed down to us by Procopius of Caesarea. He claimed that ancient Slavs praised natural forces, rivers, and forests. Likewise, in the fragments preserved in some of Ukrainian dumas and songs from Kirsha Danilov's collection, the praise (slava) was sung not only to the heroes but also to rivers and fields.

There is a number of articles on theoretical and practical issues of Folkloristics and Ethnology in the scientific heritage of the topics of M. Rylskyi. The author has paid particular attention to terminology especially in them. He has believed that the use of the folk poetry concept concerning the object of research does not include some narrative folklore genres, resuscitates the term literature, however, it also emphasizes the syncretism of folklore. The researcher has considered an issue of the nature of the main features of folklore, questioning some constant fixed views on collective creation, anonymity, orality, etc. M. Rylskyi has advocated the necessity to attract an experience of Literary Science, Linguistics, Art Studies, and other humanities in the study of people’s lifestyle and culture (article Issues of Ethnography and others). The opinions voiced by him concerning the interdisciplinary approach in the study of the phenomena of folk culture have been embodied and developed by scientists of the subsequent generations. Rylskyi is rather skeptical to the views existing in his time regarding the revival of the epos and the prosperity of folklore, but has emphasized the perspective of collecting and researching urban and, especially, workers’ folklore. His scientific interests have been focused on song genres. He has paid peculiar attention to the heroic epos – Ukrainian and Serbian one. He has insisted on the availability of the comparative study of epic works. The scholar has drawn parallels in the works of epos studying not only from the folklore of the Slavs but also from the eposes of the other peoples of the world, from ancient sources. Rylskyi has contributed actively to the revival of Slavic Studies in Ukraine and the training of relevant scientific personnel. The scientist has created a group of Slavic Folkloristics (1955) at the Institute of Art Studies, Folklore and Ethnography managed by him (now it is M. Rylskyi Institute of Art Studies, Folkloristics and Ethnology of the National Academy of Sciences of Ukraine). He has been engaged in the organization of collecting work. The scholar has done a lot to establish contacts and cooperation of IASFE with the other organizations and institutions, in particular, foreign ones. He has taken part in the international scientific forums himself. His solid project – the publication of the multi-volume series Ukrainian Folk Art – has been carried out by Oleksii Dei and the employees of the IASFE.

This paper is based on the political, philosophical, and journalistic poetry of the Ukrainian writer, thinker, and public and political figure Ivan Franko (1856–1916), on top of the evolution of his views on the problems of national unity of eastern and western Ukrainians, the achievement of Ukrainian statehood, and the ways and means of the liberation struggle is highlighted. The poet and thinker expressed these views in poems of various genres (sonnet, epistle, manifesto, duma, dedication – posviata, apostrophe, “fairy tale,” obituary, pomennyk, “prologue,” “march,” etc.) and lyrical epics. In Franko’s early poetry, the future social and national liberation of Ukraine is linked to a universal and socialist perspectives, while the Ukrainian people play a messianic role in liberating peoples from the yoke of Russian tsarism. In the mature Franko, the messianic emphasis changes from universal to national. It is noteworthy that in Franko’s poetry of 1875–1905 the image of the national (native/our/our own) home appears regularly. At the beginning of the twentieth century, his poetry shows an awakening neo-romantic current. Franko’s state-building poetic discourse is characterized by prophesying freedom, relentless therapeutic exposure and scourging of the inert slave mentality of the oppressed nation. In his state-building pathos, Franko refers to the historical duchies, resorts to poetic allegory, and originally processes biblical (Old Testament) plots, images, and motifs, actualizing them and projecting them onto his contemporary Ukraine; he weighs the priorities between humanism and militant nationalism, and reflects on the rationale of numerous Ukrainian sacrifices in the bloody liberation struggle. Reflecting on the problem of power in history, the poet came to the conclusion that national will is measured by the degree of struggle to gain it (and the degree of its defense).

In the poetry of the prominent Ukrainian writer Lina Kostenko, the category of “historical memory” is conceptualized in ontological and philosophical dimensions: her philosophical discourses on history and the nation are built on this foundation. By “trying on” eternity (with the manifest: “I am floating into life from eternity”), she comes to philosophical self-awareness and artistic reflection of history, with vivid and convincing motifs / collisions / concepts / plots / images. In her epic poems, she measures human existence throughout epochs through the triad of the dominants of humanity / nation / family, giving each of them nation-building meanings. Her time is always anthropological, with an expressive psychological “face”, heavy with tragedy and endowed with a potential for the future. Her lyrical pieces have the same temporal tint. Through an inte- gral conceptual sphere, in which the category of time remains fundamental (dramatic poems and ballads Skifska Odisseia [Scythian Odyssey], Marusia Churai, Berestechko, Duma pro brativ neazovskykh [A duma on brothers other than the Azov ones], Snih u Florentsii [Snow in Florence], and a number of poems), Lina Kostenko tries to embrace the temporal and anthropological paradigm of man-history-man with her artistic imagination, where the problems of individual and national identity are given primary importance. In this context of the historically conditioned formation of national and national-cultural identity, she unfolds her own idea of a person’s home within history, especially national history, while professing the principle of “simultaneity of non-simultaneities” (R. Kozellek) of a series of past events. The author examines certain “semantic circles” of the writer’s narrative, discovering new semantic historio- sophical projections that in Kostenko’s works eventually form a coherent, verified anthropocentric conceptual model of the decisive role of the individual in the historical progress of the nation, showing, with the help of artistic and figurative means, how she creates the historical and psychological canvas of past events / collisions / interpretations that set the direction for the future. At the same time, the author emphasizes that the poet always upholds the position of the artist’s ultimate accountability in the face of national history.

The article highlights the creative heritage of Neo-Latin poets who belonged to Ukrainian, Polish, Belarusan (Litvin) and Lithuanian literature, in particular the works of a priest, secretary of the Grand Duchy Chancellery and Bishop of Polotsk, public notary of the Apostolic Chancellery for the Grand Duchy of Lithuania, representative of the Renaissance Mykola Husovskyi (Latin – Nicolaus Hussovianus about 1470 –– after 1533) — Master of Rhetoric, later Doctor of Philosophy at the University of Bologna, primarily his epic poem «The Song of the Bison» or «The Song of the Appearance, Fury of the Bison and the Hunt for It» («Carmen de statura feritate ac venatione bisontis») commissioned by the Pope of the Roman Leo X Medici, traces the history of its writing in the context of contemporary literature, the appearance of a Latin-language monument in St. Petersburg (1853) and Krakow (1894; with a foreword and comments by J. Pelchar) and later receptions and translations (V. Maslyuk, A. Sodomora etc.). The subject of analysis was the re-singing of this work by A. Kychynskyi, the motives that motivated the poet to such a work, the history of the writing of this re-singing. He used a modernized modernized elegiac couplet with a dactylic foot (a type of hexameter with a pentamnet), which in European poetry changed its structure to a five-six-foot dactyl with alternating stressed and unstressed syllables while preserving ascending and descending melody, intonation and syntactic completeness. In the interpretation of Mykola Husovskyi, the bull appeared as the embodiment of courage, a symbol of hard work and a powerful welcoming force, conveyed in a monumental portrait of a proud animal, in his innate character, which corresponds to the mentality of the Polish pike: «The bison, although a beast, is a warrior in his zeal, / Because he recognizes only a fair victory». A. Kychynskyi in his retelling of «The Song of the Bison» preserved the compositional and semantic features of the arbitrary author’s version of the sample while preserving the Renaissance flavor, the principles of the natural (forest) man, the heroic rank and the state beliefs of the time of Prince Vytautas (1392–1430), who represented a charismatic statesman , the defender of Christianity, capable of resisting the Horde and Muscovy. The author of the re-singing achieved the semantic adequacy of Mykola Husovskyi’s work.

Formulation of the problem, analysis of the publications on the topic. The opera by Lev Kolodub “Poet” is one of the recognized examples of modern “Shevchenkian music” and the outstanding achievement of the composer. From the very premiere at the Kharkiv Opera and Ballet Theater named after M. Lysenko (2001) to this day, this work has been preserved in the theater’s repertoire, and the 2011 Kharkiv performance has become a world event: in the recording of Ukrainian Radio, it was broadcast to 78 countries of the world by the European Broadcasting Union. L. Kolodub’s creativity attracts considerable attention of researchers and was covered in various sources, including monographic essays (Zahaikevych, M., 1973), scientific, encyclopedic, journalistic articles (Bielik Zolotariova, N., 2009; Sulim, R., 2010; Paukov, S., 2007), where the opera “Poet” is mentioned in different contexts. The reviews of premiere performances of this opera were given: in scenic version at Kharkiv (Velychko, Yu., 2002) and in philharmonic variant in Kyiv (Sikorska, I., 2004); in his interviews, the composer also recalled this work. Nevertheless, the holistic analysis of the concept of the opera and the image of its leading hero, as well as its vocal-stage interpretation by the Kharkiv Opera’s artistic collective, has not been carried out yet. The objective of this article is to formulate the concept of the stage embodiment of the Poet’s image in the opera of the same name by L. Kolodub, on the basis of its interpretation at the Kharkiv National Opera and Ballet Theatre and self-own scenic experience of the author of these words, which is currently the only performer of the protagonist’s part. Summary of the main material. The composer has many times emphasized the outstanding importance of Taras Shevchenko’s work for every Ukrainian. “I consider Shevchenko to be a personality who has arisen on the basis of Ukrainian folklore. She is understandable to everyone, everyone cares - this is a very social poet. Many perceive him naturally, since the problems of his works excite and affect people. Shevchenko is incredibly interesting! I constantly re-read him and every time I find a new one. The main thing is that he himself suffered, all this is transmitted in his poetry. At the same time, he is a very big optimist, a warm-hearted person” (from the interview, as cited by Koskin, V., 2008b). The composer noted that the scenic life of his opera was not easy: at first the work arose interest both in Dnipropetrovsk and Kyiv (Children’s Music Theater on Podol, National Opera Theater). In 1988, when the opera was created, S. Turchak, who was supposed to be the conductor, suddenly passed away, and the new management of National Opera deleted it from their plans. Nevertheless, the opera was staged at Kyiv in the philharmonic performance in the arrangement for soloists, choir and brass band (2004). In I. Sikorska’s (2004) opinion, the composer “broke the stereotypes”, having redrafted the score in such a way that the brass orchestra’s timbre palette rivals the symphonic one. The opera is written on the basis of drama “Path” by O. Biletskyi and Z. Sagalov. The librettists’ idea was that the events of poet’s life intervene with the plot collisions of his works. For example, execution of Jun Hus symbolically coincides with the moment of death of Shevchenko himself. Moreover, the poet’s image is identified with heroes of his works. So, Colodub’s opera is the authors’ interpretation of Shevchenko-Kobzar’s fate from the XX century human’s point of view. Therefore, both, phantasmagoria and cinematographic methods are justified. The composer thought that “modern opera requires novel forms of delivering the material. The art of cinema and drama theater are developing fast, and opera esthetics is sort of frozen in the 19th century, she is not seeing even the heels of the far-ahead walking dramaturgy of the modern theater” (from the interview, Koskin, V., 2008a). The principle of introspection became the main dramaturgical principle of opera libretto’s construction. Avoiding the symphonic introduction, the first scene instantly transfers the viewer to the last March night of the Poet’s life. Being on the edge of eternity, the heavily ill Shevchenko is diving in memories. The Poet in the opera acts simultaneously as the event’s participant and its commenter, revealing gradually through different scenic roles: as a naïve creative person (scene 10), as a poet-citizen, who points out social injustices (scenes 3, 4, 15, 16), as a loving and beloved person (scenes 6, 7, 14, 20), or a thinker (scenes 11, 13, 1, 22). Over time, these roles are summing up, turning Shevchenko’s image into polyphonic and lifting the latter to the epic generalization. The image of the Poet become the symbol of the nation’s self-consciousness lost in the conditions of imperial Russia’s brutal reality (scene 29, “The burning of Jan Hus” – the Czech thinker is the hero of the Shevchenko’s poem of the same name). The opera’s authors do not separate the title hero from the storm of events and kaleidoscope of others scenic personages, which stipulates the specificity of vocal dramaturgy of Shevchenko’s opera character. The Poet’s vocal party does not include the developed solo or duet episodes, but it consists of concise replicas-phrases written by the recitative (Dargomyzhsky-Mussorgsky’s tradition) and several solo statements of arioso type. Conclusions. So, “Poet” by L. Kolodub, continuing the line of psychological opera-drama, vividly presented in the twentieth century by the works of D. Shostakovich, A. Berg, B. Britten and their followers, at the same time appeals to symbolism as to one of the main means of artistic expression. The image of Taras Shevchenko is interpreted as polysemantic: the fate of the Poet coincides in the perception of the audience with the fate of the Ukrainian people in their desire for liberty in a situation of opposition to the autocratic regime. And the freedom of expression of poetic and civic thought appears as a conscious necessity in the struggle for personal freedom, honor and human dignity. The logical culmination of the development of the image is the final scene of the auto-da-fé, where the burning of Jan Hus, the hero of Shevchenko’s poem, acts as a symbol of cruelty to the Poet himself, and to the people, of whose part he is. The musical language of the Poet’s vocal party, on the one hand, is quite naturally approaches to the style of Ukrainian kobzars folk lyrics; on the other hand, it inherits the recitative type of melodicism, which is a characteristic feature of psychological musical theater. Such a synthesis helps to reveal the image of the Poet as the outstanding representative and spiritual leader of the Ukrainian people, and, at the same time, to emphasize the rich content of his work, and the beauty of the inspirited poetic Word. Theopera provides rich artistic material for the study of innovative type of dramatic thinking in the context of the development of the national tradition of the genre and is promising for further study.

The essay surveys the works written by C. Irod, one of the leading contemporary Ukrainian writers of Romania. The main attention is paid to his trilogy of novels “The Feast” and stories that vary in thematic features and stylistics, some of them belonging to a particular type of short prose works – allegoric pieces called “blunder stories”. Considering main themes and ideas of C. Irod’s works and focusing on peculiarities of their literary interpretation, the researcher intends to represent the originality of the writer’s prose heritage, to determine his role in developing the genre of the modern novel and renovating flash fiction in Ukrainian literature of Romania. To achieve this aim, the researcher adds a comparative aspect and refers to the major development patterns of the world novel of the 1960s–1980s, in particular, focusing on such a remarkable feature as ‘new epics’. The themes and issues of the works by C. Irod have been compared to those in the works by Romanian writers, in particular D. R. Popescu. It is noted that C. Irode’s stories have the inherent connection with the flash fiction of the Ukrainian masters – H. Tiutiunnyk and Ye. Hutsalo. The essay follows correspondences in themes and literary technique that relate the Romanian writer to the mentioned Ukrainian authors. The essay also informs about C. Irod’s achievements in the Цeld of literary translation. In particular, he worked over translation of T. Shevchenko’s “Diary”, as well as the book “Taras Shevchenko’s life” by P. Zaitsev. The researcher also gives some details concerning C. Irod’s translations of the tales “When the animals could talk” and “Mykyta the Fox” by I. Franko, the stories written by H. Tiutiunnyk and some pieces in poetry and prose by junior Ukrainian authors.

The article analyses Lesia Ukrainka’s poetic discourse from the standpoint of syntactic expressemes functioning within it. Expressemes are viewed as figurative-rhetorical constructions that express aesthetic, emotional-evaluative and expressive potential, effectively influence the human cognitive-mental complex, consciousness, spiritual worldview, emotional perception, in contrast to conventional syntactic units. Based on the relevant linguistic methodology, a significant amount of empirical data has been studied, which testifies to the artistic perfection of Lesia Ukrainka’s poetic idiolect. The use of a rich data source enabled systematization of syntactic expressemes and investigation of syntactic means of rhetoric speech, such as rhetorical questions, exclamations, dialogues. It is noted that rhetorical questions, in particular, realize emotionalexpressive statement or objection, creating figurative, semantic-aesthetic effect of communication, accentuate important information, representing a high style speech, and emphasize its sophistication and imagery. Drawing on empirical data the author also outlines functional potential of interrogative and exclamatory statements, focusing on the intentional potential of antiphrasis constructions and repetitions, and study period as a complex figurative-rhetorical construction, characterized by aphorism, dynamic nature and special syntactic structure. In the context of the poetic idiolect, vocative communication and addressing are analysed, which not only verbalize direct appeal but also serve as a source of aesthetic pleasure. Syntactic expressemes as a means of verbalizing the intentions of aesthetics in Lesia Ukrainka’s poetic discourse correspond to the author’s idea, create aesthetics and expressiveness, represent the writer’s linguistic creativity, testifying to the inalienable relevance of her work through the prism of time, history and personalities. The prospect of the research is seen in a more detailed study of the functional capabilities of syntactic expressemes in Lesia Ukrainka’s lyrical-epic discourse.

The article is devoted to the study of Panteleimon Kulish's search for a productive model of development of the new Ukrainian literary language and ways of its enrichment, in particular at the expense of the language of folklore as an inexhaustible source. A linguistic and poetic analysis of Panteleimon Kulish's large-scale work "Ukraine: From the Beginning of Ukraine to Khmelnytsky's Father" and its comparison with some elements of the linguopoetics of folk dumas of the classical repertoire are presented. The real problems that arise in P. Kulish’s creative work when he tries to achieve a harmonious combination of authentic folk thought words and expressions and stylized author's innovations are demonstrated. The article shows the difficulties in the artist's selection of colored ethnographically linguistic material needed to create a folklore duma's color. The shortcomings of combining the author's elements with fragments of real dumas within one work of art are revealed. This technique is compared with the approach of Taras Shevchenko, who turned to "stylization" or "improvisation" in the folk spirit (M. Kotsyubynska) and isolated the resulting structures structurally, putting in the mouths of certain characters - the Blind or the Witch. The fundamental difference in the approaches to verbal creativity is differentiated on the one hand by the bearer of the oral-poetic tradition, which is only within the possibilities of Ukrainian folklore, and on the other - by the artist of the XIX century - its user, who perceives the folklore tradition not "from within" but "from outside" and addresses the entire literary heritage - domestic and world, as well as folklore - his own and other peoples. The counterproductiveness of some authorial experiments of P. Kulish on dumas samples is illustrated. Their results cannot be considered satisfactory due to illogicality, low intellectual saturation or from an aesthetic point of view. A somewhat excessive exoticism of the author's innovations has been recorded, which attracts the reader's undue attention to them and distorts his perception of the artistic fabric of the poetic work. The question of the specifics of the experimental text of P. Kulish is formulated. What prevails here is the scientific reconstruction of lost fragments of true dumas, the restoration of time-destroyed parts of the national epic, or the demonstration of the author's creative ability to practice folklore improvisation in a work of art. Depending on the answers, a comprehensive assessment can be made.

Statement of the problem. K. Gorsky’s creativity has not been studied enough. Relatively recently, articles by R. Aladova (2005), G. Serochinsky (2010), V. Luniakyna (2009), T. Bakhmet (2009) and other authors have been published due to the growing public interest in his creative figure. However, the vocal works by K. Gorsky have not yet been studied in their multi-level connections with national, historical and genre stylistics, as well as the predominant genre of solo singing, on the basis of which the composer formed the intonation specifics of his own chamber vocal style. Therefore, there is a need for further study of the vocal style of K. Gorsky, in particular, the inclusion of his works in a wide repertoire of concert and chamber singing. The purpose of the study is to identify the stylistic features of the key genre of K. Gorsky’s vocal works – the romance, which is most clearly represented in the cycle “12 Romances” based on the texts of the Polish poets – M. Konopnicka, W. Syrokomla, Z. Dembitsky (Dębicki). For the first time, an integrated approach is applied to the songs by K. Gorsky, as to original examples of this genre interpretation in the post-romantic era, with an emphasis on their style features – national and “personal”. The work on the research topic required the use of general scientific and special musicological methods, including historical-genetic, deductive approaches, genre-stylistic and performance analysis. Results and conclusions. The legacy of K. Gorsky (1859–1924), a virtuoso violinist, one of the founders of the musical culture of Kharkiv, includes vocal genres. In the mature period of his activity (1900s), the composer focused specifically on vocal genres, namely romances (he created about 100 pieces), arrangements of Ukrainian folk songs, cantatas on spiritual themes, choral concerts and operas. The main features of his romantic outlook, combined with the Polish musical mentality, are concentrated in “12 Songs” with Polish lyrics. Semantically, K. Gorsky’s romances gravitate toward lyrical contemplation, conveying its various states, from “objective” epics and sound imagery to emotional outbursts, which brings them closer to opera arioso. Within the framework of the cycle, there is an allocation and alternation of songs-romances of four semantic modes: folkpoetic, reflexive-lyrical, graceful-salon, free-declamatory reminiscent of “poetry with music”. Each of these groups is based on certain traditions and requires appropriate means of performance interpretation.