Journal articles on the topic 'Ukrainian Parables'
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1
Levchenko, Nataliia, Olena Liamprekht, Maryna Povar, and Olena Chukhno. "Adoption of Western Four-Sense Biblical Hermeneutics by Ukrainian Baroque Literature." Revista Amazonia Investiga 9, no. 31 (August 7, 2020): 178–84. http://dx.doi.org/10.34069/ai/2020.31.07.16.
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The study outlines general principles of biblical hermeneutics influence on the poetics of Ukrainian baroque prose. The Bible perceived by ancient writers as a collection of sacred books written by the Holy Spirit through the mediation of hagiographers is full of metaphors, comparisons, allegories and parables that needed clarification. Biblical hermeneutics developed rules for the Bible exegesis in order to avoid false variants of interpreting the Scripture. The four-sense method of biblical hermeneutics borrowed from Western Catholic tradition helped to avoid controversial interpretation of the Holy Scripture. The immersion of Ukrainian baroque literature into the biblical domain caused its paraphrasing nature and created conditions for the development of the four-sense hermeneutics as the structure of the poetics of Ukrainian baroque prose. Principles of biblical hermeneutics, having become a monolithic core of the form and content of authors’ texts, eventually began to go beyond the actual theological literature into the field of secular arts.
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Pavlovska, Solomiia Y. "Reinterpretation of Ukrainian apocryphal literature in chronotope." COMPASS 3, no. 1 (September 29, 2023): 89–102. http://dx.doi.org/10.29173/comp65.
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This article is devoted to the linguistic and cultural analysis of the regional peculiarities of Ukrainian apocryphal literature in the context of modern socio-cultural paradigms. Through the concepts of cultural code and intertextuality, the hypotheses that formed the paradigmatic basis of the study are substantiated: first, the apocryphon is a form of cultural code with an immanent semantic field that contains a system of code units (symbolism, allegory, parables, miracles, and apocalyptic images); and second, the apocrypha are open signs and symbolic systems in which texts with different cultural codes coexist. The intertextual relations within this system can then be interpreted as a dialogue of cultures. In this paper, based on criteria such as historical context, confessional affiliation, language, and themes, the regional specificity of the apocrypha of Ukraine's western and eastern regions is determined. Within the framework of the cultural communication theory, the regional peculiarities of transcoding the apocrypha text into a visual work (icons, frescoes) are revealed. The specifics of the spiritual and socio-cultural life of Ukraine's western and eastern regions are explained. The study results show that each regional culture in Ukraine (whether western or eastern) is distinctive and valuable and has its own periods of progress and regression. This argument gives grounds for recognizing the multiplicity of independent but interconnected models of cultural development in Ukraine.
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Sukharieva, Svitlana. ""If you knew how important the word is": the latest trends In biblical hermeneutics study in the ukrainian polish-language prose of the baroque period." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, no. 2 (July 10, 2020): 345–59. http://dx.doi.org/10.36770/bp.487.
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The article deals with the main trends of modern biblical studies of ancient literature, in particular the Ukrainian Polish-language prose of the Baroque period. Attention is focused on the universal and individual factors of sacral images and motifs interpretation derived from the Scriptures and designed on the background of fiction. Accordingly, the polycultural character of Polish-language works created on the borders of Ukrainian and Polish literatures is underlined. The author analyzes the creative work of baroque writers such as Meletii Smotryckyi, Ipatii Potii, Andrii Muzhylovskyi, Lazar Baranovych, Petro Mohyla, Ioanykii Galiatovskyi, Teofil Rutka, Pahomii Woina Oranskyi, etc. In the context of their bible interpretation a special place is dedicated to the quotation of the Holy Scriptures, as well as concord series of biblical images for which numerous references have been given, biblical paraphrases and repositions of evangelical parables, liturgical symbols, and metaphorical constructions derived from the Bible mentioned by ancient authors as works possessing individual and typological characteristics.
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Danylevych, Alisa. "Ukrainian Paremia in the Ethnographic Works of Stepan Nos." Ethnic History of European Nations, no. 70 (2023): 7–14. http://dx.doi.org/10.17721/2518-1270.2023.70.01.
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The article, based on the study of the updated works of S. D. Nos and archival documents, analyzes the scientific work of the scientist in the field of ethnography and folkloristics on the example of the study and use in his works of Ukrainian folk proverbs, which are systematized according to genre: proverbs and sayings, beliefs and omens, riddles, fairy tales. It is noted that proverbs and sayings, which the scientist used when preparing his scientific works, were the most used in the work of the ethnographer. It is emphasized that numerous proverbs and sayings are used in works on traditional calendar and family rites, ethnology, ethnomedicine, national cuisine, in particular in his works such as «About diseases and how to prevent them», «To the ploughman», «In every nation own nature» etc. It has been established that the largest number of proverbs, sayings, parables, superstitions and fairy tales are available in the handwritten researches of S. D. Nos, which are stored in archival institutions and library departments, as well as on the pages of the journal «Osnova» and «Chernihiv provincial gazettes». Prose and poetic paremies, which reflect the everyday life and traditions of the Ukrainian people, song creativity, ritual art, which testify to the ethnographer’s deep knowledge of Ukrainian society, its history and culture, are considered.
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Pylypchuk, S. "FOLKLORE AND LITERARY SOURCES OF FRANKO’S "PARABLE ON FRIENDSHIP"." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 3(101) (September 29, 2023): 48–60. http://dx.doi.org/10.35433/philology.3(101).2023.48-60.
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The article analyzes the literary and folklore sources of Franko’s "Parable on Friendship". It has been ascertained that this poetic piece from "My Emerald" collection is obviously rooted in the exemplum "On Semifriendship" from "the book of true to life maxims, parables and novellas" "Disciplina clericalis" (1106) by Medieval writer Petrus Alfonsi. The long-lasting literary journey of the key motif (a friend in need) has been traced through a story from "Gesta romаnorum" collection (early 14th c.), a tale from Don Juan Manuel’s book "Tales of Count Lucanor" (1335) and a novella from Boccaccio’s "The Decameron" (1353). It is remarked that each of the listed sources was subject of Ivan Franko’s considerable academic interest. The researcher offered numerous insights on Petrus Alfonsi’s book, the collection of an unknown author under the title “Gesta Romanorum”, tales by Juan Manuel and novella collection by Giovanni Boccaccio, remarking their essential influence on the literary and folklore tradition of the European people. The texts from the mentioned books were scrupulously analyzed by the Ukrainian scholar in the national literary contexts. Special emphasis is placed on the folklore spin-off in the popular plot development. A folk tale on putting the friendship to test has been identified in the collected records by Polish folklorist Zofia Rokossovska "Bajki (skazki) zo wsi Jurkowszczyzny (powiatu Zwiahelskiego, gubernii Wołyńskiej)" (1897 р.), which was brought out shortly before Franko started working on "My Emerald" and may have given him an additional and final inspiration to apply "own patterns" to "a foreign foundation" or in other words to come up with an original reception of a popular topic. The article also offers a comparative analysis of certain matching motifs and establishes a degree of their closeness to Franko’s parable.
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Шабат-Савка, Світлана. "Питальне висловлення як компонент народнопісенного дискурсу: лінгвокульторологічний аспект." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 6, no. 3 (2022): 35–44. http://dx.doi.org/10.15804/ppusn.2022.03.04.
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The linguo-cultural approach in the poly-paradigmatic scope of modern linguistics determines the appearance of scientific studies on multilevel language units as ethnomarked resources that express national culture and mentality in the folk literary texts, folklore, parables. In this aspect, Ukrainian folk songs stand out due to the high poeticism, expressiveness, imagery and lyricism created by syntactic constructions. This article, in particular, analyzes interrogative constructions as meaningful components of folk song discourse that affect mental spheres of the language personality and mark the national-linguistic worldview of the Ukrainian speaker. Drawing upon the research material the author defined communicative-intentional content of interrogative statements, characterized the models-realization of query intentions, which, as evidenced by the created source data, verbalize, on the one hand, multidirectional interrogative components (pronouns and adverbs) that embody explanatory intentions aimed at cognitive process-search, and on the other hand, interrogative particles that actualize emotional and evaluative semantics (doubts, assumptions, surprise, reproach, laughter, resentment, etc.) in the folk song discourse. By using the relevant linguistic methodology, it became possible to present the addresser-addressee continuum of song communication (mother – son, father – daughter, husband – wife, brother – sister, etc.), which emphasizes the important role of interrogative constructions in dialogic speech, in creating naturalness and dynamics of the song, as well as in the expression of primary and secondary interrogative functions. A detailed study of various genres of songs (Christmas carols, spring songs, bathing songs, baptismal songs, lullabies, family-household songs, social-household songs, etc.) enabled us to determine the functional potential of interrogative constructions aimed at expressiveness, emotionality and evaluation. It is also focused on the major and minor key of the song, highlighting deep sensuality and poeticism of man as a representative of Ukrainian culture and linguo-mentality.
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Tsolyk, Nataliia. "UKRAINIAN TRANSLATION OF STANISLAV VINCENZ “NA VYSOKII POLONYNI”(ON HIGH POLONINE)." Polish Studies of Kyiv, no. 35 (2019): 397–401. http://dx.doi.org/10.17721/psk.2019.35.397-401.
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Creativity of the prose writer and essayist Stanislav Vincenza ranks one of the first places in the Ukrainian-Polish literature. The author started the work on the epopee in 1930. In 1936 the first chapter was published in Warsaw. The next part of the work was completed and published at the end of the 70s and at the beginning of the 80s in XX century. The work originally designed and deep-felt in Hutsul ideas was written in Polish. The language and the theme of the epopee continue the best traditions of the so-called “Ukrainian School” in Polish romanticism. A reader mistakes the meaning of some lexemes such as homonyms, toponyms, dialecticisms and they should be interpreted. That’s why the author explains the Hutsul words at the end of the book. The vocabulary lists above two hundred language units. Besides the main narrator the characters who are often the real historical people tell the story. The use of the following elements creates the entire idealized model of the region as well as its citizens. The topic of the article is to analyze the Ukrainian translation of Stanislav Vincenz “Na Vysokii Polonyni”(On High Polonine) as a collection of multicultural and many-sided variety of folk characters. In 1997 the Lviv publishing house “Chervona Calyna” published the Ukrainian translation of “Na Vysokii Polonyni”(On High Polonine) printed by Warsaw publishing house in 1936 (by the translators Bogdan Senezhak and Roman Gnativ). In 2011 the “Lileya-NV” publishing house printed the book “Na Vysokii Polonyni”(On High Polonine) the translation from Polish by Taras Prokhaska with the participation of the Republic of Poland Embassy and the Polish Institute in Kiev. The separate volumes deal with the stories, songs, beliefs, both original and legendary characters, parables and Hutsul region ethnological sketches. A book series has become a literature sample relating to definite region but also it encompasses the universal values common to humankind as well as to history, present and past, nature and culture. The author is looking for values undisturbed by civilization in the shepherds’ ordinary life. The book has become of interest to the Ukrainian reader so in 2018 the publishing house “Lileia-NW” reprinted the book “Na Vysokii Polonyni”(On High Polonine) the translation from Polish by Taras Prokhaska. The graphic design of the book is changed but all texts are unchanged. The translator’s comment relating to the date of the “Na Vysokii Polonyni”(On High Polonine) first edition in 1938 remains unclear. Ukrainian translations of the epopee give the Ukrainian reader the opportunity to know reality through the prism of Stanislav Vincenz.
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Severyn, N., and V. Severyn. "Pedagogical system and moral and ethical teachings of Hryhoriy Skovoroda through the prism of three centuries." New Collegium 4, no. 109 (November 14, 2022): 30–37. http://dx.doi.org/10.30837/nc.2022.4.30.
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The article is devoted to the study of the unique pedagogical and moral and ethical views of the Ukrainian philosopher and teacher Hryhoriy Skovoroda. The source of these views was the traditions of folk pedagogy, folk wisdom, folk views on education and upbringing. His pedagogical views are based on ethical problems relevant to Europe in the 18th century and on Socratic dialogues. They reflected the main features of progressive pedagogy: humanism, patriotism, high morality, nationalism, "conformity with nature". Skovoroda developed one of the leading problems of philosophical and anthropological discourse – the problem of self-actualization and self-realization of the individual, based on the concepts of Socrates, Plato, Democritus, Aristotle, Cicero, and Augustine Aurelius. He reflected his pedagogical views in parables, poems, fables and the epistolary genre. Skovoroda believed that the teacher should develop children's natural talents, be able to feel their desire for "related" work, ridiculed the blind copying of Western traditions and manners, distant and alien to the nature of Ukrainian children. These principles of humanism and "kinship" were aimed at achieving a noble goal – the upbringing and education of students, taking into account their capabilities and inclinations. Education and upbringing of a person who has work in accordance with natural gifts, inclinations and abilities permeates the pedagogical system of Hryhoriy Skovoroda.
Skovoroda's poetry and prose, philosophical works have a highly ethical and moral direction and are based on the worldview of the Ukrainian people. The thinker considered the doctrine of man and his happiness to be the most important, it became the content of H. Skovoroda's philosophical and life searches. He considers happiness as a state of independence and peace of mind, which is achieved by freeing oneself from the pressure of the surrounding world and overcoming boundless passions, evil will within a person. Skovoroda emphasized the importance for a teacher to have a high moral and spiritual culture. Only a teacher with a high moral and spiritual qualities is able to ensure the correct upbringing of the young generation.
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Melnyk, I. O. "THE PECULIARITIES OF THE INTERPRETATION OF THE CONCEPT OF WILL IN THE SERMONS OF A. RADIVILOVSKY." Linguistic and Conceptual Views of the World, no. 66 (2) (2019): 85–91. http://dx.doi.org/10.17721/2520-6397.2019.2.11.
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The article provides the concept of the will, its interpretation in the selected dictionaries and the sermon of A. Radivilovsky since it is an important notion in the linguistic world image of Ukrainians. The visions of the concept of A. Radivilovsky and other writers of that time are compared. The inter- est for the interpretation and understanding of this concept appeared in Ukrainian culture in the 17th century. The reason for this was the penetration of Latin-Polish literature into the territory of Ukraine. The interpretations of the will were quite different, even within one century. So-called «evolution» of the concept can be traced back to the dictionaries that record the vocabulary of the researched period («Lexicon» by Pamba Berynda., «Materials» to the dictionary by E. Timchenko and «Dictionary of the Ukrainian language of the 16th – the first half of the 17th century»). The change of the conceptual world image of Ukrainians, specifically in the ratio of such concepts as God and Man, is observed in the second half of the 17th century. A. Radivilovsky is an innovator in this regard. For him as well as for I. Gisel, freedom is defined as the path to the Salvation. An important thing is that A. Radilovsky appeals to the will not in a specific sense. The main point for him is freedom of the will which he defines as a special gift from God that is given to a man in order to live for good and increase the glory of the Lord. In the sermon he refers to the work of Blessed Augustine. The preacher believes that a person who chose a righteous path with his own will can reach the Salvation. God gives everyone freedom to choose, and therefore nobody makes a person do what he does not want to do. In order to confirm his ideas, A. Radilovsky presents the biblical parables, legends or histories of ancient gods or rulers. So, A. Radilovsky refers to the problem of freedom of the will because the society of that time required a different interpretation of some religious concepts through rationalistic worldview. Accord- ing to the preacher, the will is the path to the Highest Blessed Peace, a special gift from God. Such an interpretation differs from the ideas of philosophers of the first half of the 20th century. A. Radilovsky emphasizes that even doing it unconsciously a person still has to make a choice in favor of God. That is, having noted that everyone has a right to make their own choice, the preacher unknowingly denies this fact. The concept of the will plays an important role in the sermon since it gives us an idea of the contemporary understanding of the notion and its place in the religious texts.
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Добролюбська, Ю. А., and O. М. Присяжнюк. "Obscure philosophical heritage of Christian FÜrchtegott Gellert: An Experience of ConceptualizationObscure philosophical heritage of Christian FÜrchtegott Gellert: An Experience of Conceptualization." Grani 22, no. 4 (June 26, 2019): 36–44. http://dx.doi.org/10.15421/171941.
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In the department of Rare Books at the Library of the South Ukrainian National Pedagogical University named after K. D. Ushinsky two distinctive works by Christian Fürchtegott Gellert published in 1790 were found. The current level of the use of early publications as sources for historical research is largely dependent on the accounting and scientific level of describing the sights of print within the institution. This fact is specifically important for the early printed books and rare editions as the study of those allow restoration of historical memory and the eliminate white spots in the history. Almost forgotten by descendants, the work of C. F. Gellert represents a holistic philosophical, historical and pedagogical system whose specificity is determined by the personality of the writer: his spirituality, worldview, life, and experience. Gellert’s theoretical treatises represent not only a collection of his didactic ideas and concepts, but they are also the philosophical and aesthetic foundation of the literary work of the author. All works created by Gellert, whether fables and parables, moving comedies and romance, spiritual wings and songs, have a theoretical justification. At the same time, it is important for the author to translate their ideas and views into life. Also, to visualize the artistic material to show the reader the possibility of solving educational problems with a help of artistic creativity.
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Kordonets, Oleksandr, and Viktor Shetelia. "Жанр анімалістичного оповідання у малій прозіБогданаЛепкого." Acta Academiae Beregsasiensis, Philologica III, no. 1 (June 19, 2024): 152–65. http://dx.doi.org/10.58423/2786-6726/2024-1-152-165.
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The article analyzes the development of the genre of the animalistic story in the work of one of the most famous representatives of early Ukrainian modernism - Bohdan Lepkyi. It was found that the end of the 19th - the beginning of the 20th centuries was an era of radical renewal of European, including Ukrainian literature, a time of changes in artistic thinking and perception of the world, when there was an active expansion of the themes and problems of short prose, and artists paid attention not only on the inner world of a person, but also made attempts to penetrate into the soul of "our little brothers". It has been observed that two main types of prose samples can be conventionally distinguished in the world animalistic literature: 1) works where completely realistic animals are depicted, their way of life, behavior and thinking are presented believably; 2) works where animals embody various forces of nature or qualities and character traits of people are mainly conventional figures and perform a certain symbolic or allegorical role (such works are close to the genre of fairy tales, legends, parables, etc.). It has been analyzed that works about animals are also found in Ukrainian literature at the turn of the century (I. Franko, Lesia Ukrainka, as well as Bohdan Lepkyi). In the short stories of Bohdan Lepkyi, two works were found where animals are the protagonists: the story "Barefoot", written in the early years of the 20th century, and "The Mouse", created during the First World War. In the analyzed stories, B. Lepkyi depicts animals from the "home" space common in the fairy-tale tradition: a dog and a mouse. It was found that in the story "Barefoot" the author tried to convey the lifestyle, behavior and preferences of the dog as accurately as possible, to reveal his way of thinking. At the same time, the finale of the work testifies to the allegorical nature of both the image of the owner of the dog, which is the personification of human cruelty in the treatment of animals, and the image of the central character (the dog), which embodies the inability of an individual who has spent his whole life in captivity, to take advantage of freedom, to find his place in the unknown and often to a hostile world. It is concluded that in the fairy tale "The Mouse" B. Lepkyi resorts to fairy tales as a feature of the poetics of the work. The manner of presentation is condensed and allegorical, built on contrast. If in "Barefoot" the reader gets to know the character of the dog through numerous small episodes, then in "The Mouse" the novelist brings one event into the spotlight. The work expresses the opinion that war is a terrible tragedy that brings pain, grief and suffering to people. The main animal character of the work has a conventional character and is the embodiment of good, which must necessarily defeat evil, punish or teach it. It was concluded that B. Lepkyi's work contains animalistic stories of various types, which indicates the development of Ukrainian prose of the modernist era in the context of world literature, where works about animals gained more and more popularity. The first type of animalistic story by B. Lepkyi (the work "Barefoot") is characterized by a reliable depiction of an animal's lifestyle, an attempt to realistically convey its behavior and way of thinking, in particular in interaction with people. The second type (the work "Mouse") is characterized by the use of fairy tales as an aesthetic code and the depiction of animals as allegorical figures. Their behavior is conditional and reflects certain qualities and traits of a person.
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Virchenko, Tetiana, and Roman Kozlov. "Ukrainian Intellectual Drama of the 2000s." Revista Amazonia Investiga 10, no. 38 (April 12, 2021): 39–50. http://dx.doi.org/10.34069/ai/2021.38.02.4.
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In spite of the presence in contemporary scientific works, the terms ‘intellectual drama’ and ‘intellectual theater’ have blurred boundaries. The aim of the article is to identify productive genres and methods of intellectualization in Ukrainian drama of the 2000s. The category of genre was taken as the basis for material structuring. Genre analysis is combined with a poetics analysis of a literary work and an analysis of theatrical techniques that promote intellectualization. Regardless of the genre determined by a writer for a work, no matter what generation an author identifies himself with, the play-writers are common in the importance of keeping eye on the today’s world. But this does not condition the realism of the content of scripts or when performed on the stage. The study confirms that parable drama, intellectual and philosophical drama, biographical drama, drama of the absurd belong to the actual genres of intellectual drama. The synthesis of styles, arts, and acting provocations is dominated on the Ukrainian stage of the 2000s. Escalation of conflict is emphasized by means of special stage features (a moving platform, specific color or sound, etc.). The conflict of self-identification is among the variety of inner conflicts presented in plays.
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Nikoriak, Nataliia. "From “Parability” to a film parable: Specifics of the Cinematic Novella by I. Drach “A Spring for the Thirsty”." Pitannâ lìteraturoznavstva, no. 109 (June 28, 2024): 117–39. http://dx.doi.org/10.31861/pytlit2024.109.117.
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Over the past decades, Ukrainian literary studies have been actively dealing with the interdisciplinary analysis of literary texts that are functioning on the verge of different artistic systems. This phenomenon may be explained by the tendency of art to the cross-genre transgression, which results in the complexity of text bounding principles, whereby the texts themselves are not only borrowed from other types of art or interpreted, but have also their codes creatively deformed. Today, however, the issue of genre continuity in the discourse of the poetics of intermediality is getting especially significant, and in particular, the issue of the specifics of the reception and transformation of literary genres in cinematography. The cinematic novella “A Spring for the Thirsty” (1964) by I. Drach is a text that is close in its parameters to the peculiarities of parable poetics, which has been fully implemented in the film by Y. Ilyenko (1965). Direct instruction and unambiguous didacticism (characteristic of the parable genre) are reinforced by philosophical reflection (from prologue to epilogue). The key character is portrayed primarily through the psychological motivation of his actions, with features of a certain idealization of the image in the dichotomous tandem of “parents and children”. In terms of parable specifics, particular emphasis has been laid on the tendency to special generalization, which is marked with the highest degree of conventionality, the principle of abstraction of the idea, and the universality of the chronotope. I. Drach actively uses dreams or visions (metaphorical or symbolic) that are montaged with the main events of the text, thus relaying old Levko’s inner experiences, sub-consciousness, fears, or hopes, while blurring the line between reality and unreality. The use of such duality in the narrative of the text, reinforced by the active insertion of intertextual and intermedial codes, offers a deep philosophical subtext inherent in the parable.
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Tkachenko, Tetiana. "The Reinterpretation of Biblical Images in Katrya Grynevycheva’s “On the Way to Sykhem” and Other Stories." Perspektywy Kultury 28, no. 1 (March 1, 2020): 25–36. http://dx.doi.org/10.35765/pk.2020.2801.05.
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Paper deals with the peculiarities of the small prose by Katrya Grynevycheva. It clarifies the symbolic dominants, means of character creation, and the author’s world outlook. The article identifies biblical images in her book “Po dorozi v Syxem” ta inshi opovidannya [“On the way to Sykhem” and Other Stories]. The writer uses paraphrases for citation of the Biblical text. She adds new meanings and extends the semantics of religious images. The images include: Heroes, Characters, Flora and Fauna, and the Elements. Katrya Grynevycheva correlates such concepts as ground, terra, earth and Homeland. Thus, Ukraine is spiritual substance. The investigation reveals the main features of the author’s individual style. The book represents a variety of genres (legend, fairytale, parable, storytelling). The Christian intertext pervades all stories. Katrya Grynevycheva builds the artistic God’s world and insists on basic truths (love, faith and peace). The paper proves the uniqueness and significance of the writer’s heritage in the development of Ukrainian literature.
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Vaskiv, Mykola. "Journalistic publications features of columnist Viacheslav Medvid." Synopsis: Text Context Media 26, no. 4 (2020): 159–71. http://dx.doi.org/10.28925/2311-259x.2020.4.7.
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The subject of the inquiry is the peculiarity of Ukrainian literary columnistics. The main problem of the paper was to find out the reasons for the flourishing of Ukrainian columnistics at the intersection of fiction and journalism, to outline the main range of its themes, motives, images as exemplified by V. Medvid’s publications. Only ever some theoretical aspects of author’s columns in national magazines were the object of research of Ukrainian scholars, without a thorough analysis of particular journalistic works, so a detailed description of the writer’s columnist output has determined the scientific novelty of the paper. The objective of the paper is a comprehensive study of the individual uniqueness of the content in author’s columns by V. Medvid against the backdrop of the development of national columnistics and journalism in the 1990s and 2000s. For this purpose, a cultural-historical method was used to determine the reasons for writing and the context of specific publications of the columnist, their place and role in the work of the writer and in the intellectual life of Ukrainian society; a philological method was used for the analysis of texts of these publications and a comparative method was used to determine the commonalities and differences in the materials of the author’s columns by V. Medvid and other Ukrainian writers of this period. The results of the study are: 1) Among various definitions of the author’s column for Ukrainian columnistics, the most acceptable is its understanding as a rubric, which contains works of different genres, but in a specific column — works of one genre and one style, as evidenced by the output by V. Medvid. In the rubrics “Literary Pages” and “Librarian-review” V. Medvid finds himself as a literary critic, publishing reviews of anthologies of modern literature in the former and short literary portraits of contemporaries in the latter. Publications in the columns “From the Heights and Lowlands” and “Light and Shadow” are descriptive, essayistic. 2) V. Medvid’s columnistics emerges as a synthesis of public attention to key social, moral and ethical problems, an unbiased author’s worldview and a unique parable style of a writer-publicist. 3) It is stated that publications with clear, mostly simplified, conclusions, as well as clear accents in the division into positive and negative, are popular with readers of magazines, so V. Medvid’s columnistics was not very successful in general. His writing requires of the readers a high intellectual level, intended for a narrow elite audience. The application of the paper lies in the possibility of using its results in works on journalistic genre, the history of Ukrainian journalism and literature of the XX–XXI centuries, in the study of V. Medvid’s work.
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Levchenko, Natalia, Yuliia Вozhko, Iryna Hontarenko, Liudmyla Baibekova, and Victor Chetveryk. "Professor Leonid Ushkalov’s Skovorodiana." Revista Amazonia Investiga 10, no. 43 (August 31, 2021): 105–11. http://dx.doi.org/10.34069/ai/2021.43.07.10.
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The article analyzes the contribution of Professor Leonid Ushkalov’s scientific works to the intellectual matrix of Kharkiv Philological School and Skovoroda studies. He outlined in his researches such complex problems of literary and philosophical reasonings by H. Skovoroda as the source of his works; genre-artistic features of his poetry versification; a fable definition by Skovoroda as an independent literary genre of philosophical style, and a parable as a model of a fable and philosophical dialogue peculiar fusion; vivid mythological and biblical imagery and the original structure of treatises; deployment in magnificent Baroque forms and in biblical, mythological, emblematic images in the plane of Christian Neoplatonism of philosophical and theological thoughts in the theologian’s «Socratic» dialogues; Skovoroda’s Biblical noematics and heuristics as a text comprehensive allegory of the Holy Bible; the influence of works by Skovoroda on the new, modern and contemporary Ukrainian literature and a great number of other issues, each of which has the prospect of deploying into a separate Skovoroda studies discourse. In particular, it is stated that L. Ushkalov offered more than three hundred themes for further works about H. Skovoroda’s creative activity.
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Зелененька, Ірина. "Притчевість у поезії дисидентів і герметистів (на прикладі лірики Тараса Мельничука та Василя Герасим’юка)." Українська література: історичний досвід і перспективи, no. 2 (November 15, 2023): 39–48. http://dx.doi.org/10.31652/3041-1084-2023-2-39-48.
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In modern Ukrainian literary studies, the problems of generational dialogues and conflicts, the heredity and discontinuity of the literary process in Soviet and independent Ukraine, as well as the restoration of the authenticity and originality of lyrical writing, the peculiarities of generational experiences, are actualized. Scientists are interested in designing the encoding of images and symbols in the lyrics of resistance members, in particular, dissidents and hermeticists, representatives of two forms of dissent — open and hidden. The modelling of history and reality in the work of Taras Melnychuk and Vasyl Herasymiuk, two poets from the Hutsul Region, still seems exotic, as it does not declare any phenomenon, but retells it as a strange phenomenon, as a fate, as a molfarism, as hereditary, as exceptional and usual at the same time. The core of the resistance literature was the imagery of the poetry of several generations, in particular dissidents and hermetists, which stood out from the mass of poetry of the second half of the 20th century with its fairy-tale and parable imagery. This literature of the resistance movement is well characterized, but not qualified by modern sources. Very interesting in this sense is the design of symbols and codes based on the metaphorical processing of ethnicity (partially relict). The lyrics of dissidents and hermeticists are, in fact, a demonstration of open (extroverted) and hidden (introverted) forms of resistance to the regime — through a parable, a fairy tale, a myth. The national culture revealed by the two poets in the poems is a contemplative part of their Europeanness, and therefore embodied both in dominant images and in explanations somewhat similar to exegesis, creating a completely underground allegory. Taras Melnychuk and Vasyl Herasymiuk are two Hutsul poets who not only offered readers to model reality based on its exoticization, but also to implement ethnocodes, oddities and molfarism as a tool to fight against totalitarianism. This is a manifestation of the form of the authors’ stoic positions, and is not only perceived as an expression of the beauty of the Carpathians and the Hutsul region.
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Башкирова, Ольга. "LITERARY REFLECTION OF THE WAR IN THE WINNING WORKS OF THE CONTEST “HEROIC NATION CREATES HEROES” : GENRE AND STYLE FEATURES." Слово і Час, no. 1 (February 28, 2024): 39–55. http://dx.doi.org/10.33608/0236-1477.2024.01.39-55.
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The paper deals with the genre features and stylistic trends of short prose texts presented at the Open Patriotic Festival-Contest in Kyiv Borys Hrinchenko University (June 2022). The aim is to understand the artistic features of the works by young Ukrainian authors written after February 24, 2022. The dominance of short genres is determined by the fragmentation of the world picture and the awareness of the gap between the past and the present. At the same time, the paper pays due attention to the actualization of mythological thinking based on the understanding of the metaphysical nature of war.
The genre of the literary diary is undergoing a process of hybridization. The factual nature of diary entries often interacts with the genre forms of interviews, reports, and various structural modifications of the short story. The stylistic, topical, and compositional variability of the short story is examined within the context of the significant literary tradition established by Ukrainian modernism, while noticeable neo-realist and neo-populist tendencies shape the authors' pictures of the world as well. For modern authors, the relevance of populism and realism as literary systems is explained by the need for a trustworthy representation of the war events and the development of plot models that are familiar and understandable to a wide range of readers. The paper also explores ways of updating the genres of parable and vision, with which the short story actively interacts. The fantasy genre is interpreted from the perspective of postcolonial criticism. The world of fantasy, based on neo-mythological thinking, actualizes important existential problems of memory, national identity, and resentment in the modern context. Resentment as a natural reaction to the actions of the enslaver reveals its constructive nature, awakening the will to fight and win.
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Boron, Oleksandr. "Reminiscence from Essay by Leo Tolstoy in Taras Shevchenko’s Story." Академічний журнал "Слово і Час", no. 3 (March 30, 2019): 27–33. http://dx.doi.org/10.33608/0236-1477.2019.03.27-33.
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The paper attempts to prove that Shevchenko’s remark in the story “A Walk with Pleasure and Not Without Some Moral” about the fourth bastion during the defense of Sevastopol in the Crimean War derives from the essay by Leo Tolstoy “Sevastopol in December”, as it has been already supposed earlier. The author of the paper focuses on Shevchenko’s awareness of the works by Tolstoy investigating if the Russian magazines in which the works of the Russian prose writer were printed belonged to the reading scope of the Ukrainian writer.
As L. Khinkulov’s version saying that the publication of “The Tale of the Sorrow-Evil” in the journal “Sovremennik” (1856, No. 3) served as the source of Shevchenko’s series “Parable of the Prodigal Son” has been reasonably rejected, the Ukrainian poet’s awareness of the story by Tolstoy “Snowstorm” printed in the same issue may be considered only as hypothetical. Bolshakov's statement that Shevchenko, while writing the story, drew the material from the direct participants of the Crimean War is denied: when he met them in Astrakhan in 1857, the first version of the work had been already written. The publication of the essay by Tolstoy in the newspaper “Russkiy invalid” also could not be the source of the reminiscence, as it contained only the first part where the bastion was not discussed.
The author of the paper comes to the conclusion that the epithet ‘strashnyi’ (‘terrible’), used twice in Shevchenko’s story (the second time – in the comparative degree) and at least 4 times in different forms in the essay by Tolstoy, is the key to connecting Shevchenko's phrase with the essay “Sevastopol in December”. According to the researcher, this word came into the poet’s mind while reading the essay in “Sovremennik” and association emerged when he mentioned the fourth bastion in his story. Shevchenko thus enriched his own narration with additional associations and semantic overtones, freeing himself from the need of using detailed descriptions and explanations.
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Shevelova, Olexandra. "Director's Interpretation of Biblical Subjects in Myroslav Skoryk Opera "Moses"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(60) (September 27, 2023): 124–36. http://dx.doi.org/10.31318/2414-052x.3(60).2023.296806.
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The author of the article examines the appeal of numerous composers to biblical subjects when writing musical and theatrical works. This analysis made it possible to reveal the connection between the use of the specified theme and the social and cultural processes that took place in the epoch when the artist created his work. The research was held on the basis of source studies and comparative analysis of musicological, theatrical knowledge and interpretive (performance) aspects, which allowed to systematize and process this thematic material. The purpose of the research is substantiated, which is related to the examination of the peculiarities of directorial approaches in the implementation of a musical and theatrical work on a biblical theme in accordance with social and cultural processes at the turn of the second and third millennia. The ideological basis of the work, the circle of problems and the historical background of the creation of a modern Ukrainian opera based on a biblical plot are highlighted. Characteristic features of M. Skoryk's work "Moses", details of opera-oratorio and opera-parable are outlined. The three-dimensionality of the world of the plot basis, embodied in musical drama, has been formed. A comparative analysis of the performance of the work in the opera houses of Lviv and Kyiv was conducted. The specificity of the directors' approaches to the implementation of the performance in accordance with the genre characteristics of the work was revealed. The scenographic solution of the opera "Moses" according to the Lviv and Kyiv versions is characterized. Attention is focused on the concept of the light score as an important factor in the construction of the stage action. The necessity of selecting directorial techniques in the process of creating a performance of a parable direction with features of an oratorio opera is proven. Variability of approaches in working with the choir with differentiation of performance tasks was revealed. The interpretative aspects of the stage solution of the opera are analyzed, with an emphasis on key staging episodes. A description of the images of the main characters with an outline of their executive solution is provided. It is predicted that artists will turn to the realization of performances on biblical themes in the conditions of the development of world theatrical practice with the possibility of diversifying directorial decisions
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Annichev, Oleksandr. "Method, techniques and stylistic features of S. Pasichnyk’s stage direction (based on the performances of 2010–2020)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 66, no. 66 (April 9, 2023): 176–90. http://dx.doi.org/10.34064/khnum1-66.11.
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Statement of the problem. The article examines the performances of the chief director of the Kharkiv Taras Shevchenko State Academic Ukrainian Drama Theater, Honored Artist of Ukraine Stepan Volodymyrovych Pasichnyk (born in 1965). Stepan Pasichnyk is an actor, a director with a philosophical mindset, a theater teacher, a poet, a playwright, who has an unparalleled multifaceted talent, a unique worldview, tireless creative energy, and his performances arouse the interest not only of theater critics and theater historians, but also of a large audience, including youth. At the same time, there is currently only one scientific article that examines the creative method of the artist on the earlier material of 1990–2000 (Kovalenko, 2012b), also the articles of same author in periodicals (Kovalenko, 2012a, Shchukina-Kovalenko, 2021). Another scientific article is devoted to the musical component of one of the director’s performances (Liubchenko, 2021); there are also reviews of selected S. Pasichnyk’s performances (Lohvynova, 2016; Chepalov, 2018; Shvets, 2013; Poliakova, 2016). Therefore, the question remains almost unsolved. Objectives and methods of the research. The purpose of this study is to reveal the peculiarities of S. Pasichnyk’s stage techniques, his method and style of work on the play, which are characteristic of his staging culture. The methods of systematization and generalization of scattered information are applied, in particular, from our own theater-critical experience of analyzing S. Pasichnyk’s plays, as well as biographical, historical-chronological, comparative and interpretive approaches with elements of the reconstructing the performances. Results and conclusion. S. Pasichnyk’s directing has undergone a significant evolution, from the “demonstration” type (1990–2000) to deeply realistic and, at the same time, theatrically imaginative performances, in which the director seeks to reveal and present the personality of the actor. As a director, S. Pasichnyk gravitates towards the genre of tragicomedy, however, due to the individualization of the techniques used, the form of his dramatic performances is always changing, and his philosophical views correspond to the existential directing in the art of dramatic theater. In a triumvirate with the painter Tetiana Medvid and the composer Hennadii Frolov, the director aims to recreate an ambivalent environment and a variable musical and intonation sphere on the stage, which help the viewer to perceive not only the plot, but also the parable behind it. The director uses music as a component of the dramatic plan of his performances, widely applying the leitmotiv principle. Musical accompaniment often appears in his performances as a “counterpoint” to the action, revealing the director’s subtext of the verbal text. Over the years, S. Pasichnik developed his own unique method of text analysis. The actor in his performance is not only a character, but also a personality. The director skillfully uses, in particular, such a technique as “activated character”. Over the last decade, S. Pasichnyk’s repertoire includes world and Ukrainian classics, as well as the best modern European dramas. At the same time, in his performances, he acts not only as their director, but as a thoughtful interpreter, subjecting to revision both the genre and the style of the author’s work. In the context of modern theatrical searches, Stepan Pasichnyk’s directing is a reflection of the essence of the period when (in the 1930s) the natural path of Ukrainian theater development was interrupted or artificially suspended. In his opinion, in order to move forward, it is necessary to restore an important link that was roughly torn from the chain of Ukrainian culture. The director brings back the modernist means of theatrical expressiveness developed on the basis of national ethical and aesthetic traditions, and conveys them from the stage in a unique creative manner. So, the activity of the Kharkiv artist undoubtedly deserves further fundamental research.
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Saienko, Valentyna. "Late prose by Borys Necherda: the novel “Quadro”." Synopsis: Text Context Media 28, no. 4 (2022): 196–210. http://dx.doi.org/10.28925/2311-259x.2022.4.4.
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The relevance of the article is determined by the need to investigate the novel-epiphany, the novel-prediction “Quadro” by the laureate of the Shevchenko Prize Borys Necherda. The purpose of the research is to analyse the late prose of the writer in the context of the Odessa literary school. The subject of the research is the genre and style parameters of the works, in particular, the novel “Quadro”, the observations of which constitute the novelty of the research. As a result of the research, using the hermeneutic method, the quantitative and qualitative significance of the artist’s prose was proven on the basis of a comprehensive study of the novel “Quadro” as the pinnacle of the writer’s creativity. The conducted research gives reasons to define “Quadro” as a philosophical postmodern novel, embodied in a plot form. The novel has the qualities of a parable, such as an appeal to the timeless nature of eternal problems, the philosophical nature of their justification, the wide use of biblical intertext, moral guidance, aphoristic language, generalization, and metaphorical aesthetic thinking. At the same time, the work contains characteristic features of the adventure and detective genre, although it does not contain a detective plot. The synthetic nature of the genre allows the author to include lyrical miniatures, essays, and pamphlet elements in the text. These genre features encourage the author to consider the novel in the context of the postmodern manner of writing, which in the work of Borys Necherda manifests itself through intertextuality, archetypal images, and presentation of the work as a kind of artistic code that needs to be deciphered through the polysemy of symbols and the syncretism of metaphors and associations. The perspectives of the research are the analysis of the reception of the late works of Borys Necherda in modern times. With his formula “Order a golden word for me”, expressed in the “Last Book” of the late period, the author indicated one of the ways of studying his place in Ukrainian culture. After all, many works have been dedicated to Necherda, his image is reflected in the canvases of artists, in particular the famous Yuriy Kovalenko, who was the prototype of the heroes of Necherda‘s prose.
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Andreichykova, Olena A. "THE MOTIVE OF CATASTROPHISM IN THE DYSTOPIAN GENRE POETICS: KAZUO ISHIGURO AND YAROSLAV MELNIK." Alfred Nobel University Journal of Philology 2, no. 24 (December 20, 2022): 29–37. http://dx.doi.org/10.32342/2523-4463-2022-2-24-3.
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The article examines the concept of catastrophe as an art theme, which is extremely relevant in our time and is also marked by the entropy features. We can confirm that this phenomenon grows and affects many spheres of human life, both external (global, social) and internal (psychological). The author of the article focuses on how modern dystopia reflects an awareness of a catastrophe, which is happening or has already happened. We have analyzed two novels from this point of view: “Masha, or the Fourth Reich” by the French writer of Ukrainian origin Yaroslav Melnyk and “Never Let me Go” by the English writer of Japanese origin Kazuo Ishiguro. The article emphasizes that the dystopias of our time correct classical dystopia attitudes, because they tend to the diffusion of new genres, acquiring the features of a parable novel, a myth novel, an alternative history fiction, and a philosophical novel. We have also noted the controversial nature of new formations, which combine signs of utopia and dystopia. Regarding the ideological and thematic component, the author of the article states that Ya. Melnyk and K. Ishiguro focus on the traditional problems of humanism and the relationship between “man and society” and on individual’s catastrophic depopulation issues in the conditions of nowadays turbulent challenges. The purpose of the article is to study the specificity of catastrophism artistic embodiment in the novels “Masha, or the Fourth Reich” by Yaroslav Melnyk and “ Never Let me Go ” by Kazuo Ishiguro and its functions in the structure of the dystopia genre. To achieve this goal we used historical-literary, cultural-historical and hermeneutic research methods. It was determined that the catastrophism motif realization in the dystopia genre contributes to searching for new experimental forms, activates the processes of transformation and diffusion in the genre creation field, paradoxically and organically combines classic and modern elements of dystopia, renewing the poetics of the genre. Conclusion. Kazuo Ishiguro’s novel “Never Let me Go” demonstrates a powerful example of genre synthesis: “stream of consciousness” coexists with the classic English estate novel, which is emphasized by confessional and allegorical intonations and does not prevent the writer from resorting to some possibilities of a detective story. Features of the traditional parable form and mythological genre are also observed. Fantastic elements are interspersed with realistic ones. But allegorical, mythological, fantastic, and realistic features organically coexist in the novel, reinforcing the author’s main ideas. Yaroslav Melnyk in his novel “Masha, or the Fourth Reich” successfully synthesizes an alternative history novel, an adventure novel and a classic philosophical novel. Here conflicting utopia and dystopia also organically coexist, reinforcing each other. A dystopia genre structure becomes open and acquires unlimited hybridization, losing its classical features and even postmodern boundaries. Thus, the catastrophic reality of the 21st century promotes the search for new experimental forms, activates unpredictable processes in the genre creation field, and paradoxically and organically combines classical and modern elements of literary art. Once again, modern dystopian literature shows that “common issue” as a social slogan cannot satisfy individual human needs. The problem of egocentrism with the insufficient development of the political machine is becoming more and more acute. As a general phenomenon, consumer society does not justify itself and makes the lives of its sons doomed. Unfortunately, the heroes of modern dystopias less and less often choose to fight and more often to humble themselves or flee, which is the main difference from their classical predecessors. The prospects of further work are to deepen the understanding of the causes of stylistic and substantive differences in dystopias, the influence of socio-cultural reality on modern dystopias genre synthesis, the differences in the methods of utopian representation and artistic means of enhancing catastrophization within stories framework.
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Isichenko, Archbishop Ihor. "MILLSTONE OF HEART: FROM OBSERVATIONS ON HRYHORII SKOVORODA’S METAPHORS." Слово і Час, no. 5 (October 28, 2022): 3–16. http://dx.doi.org/10.33608/0236-1477.2022.05.03-16.
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Hryhoriy Skovoroda’s poems are the optimal form of discursive embodiment of ethical-religious and artistic concepts due to the capacity and ambiguity of their figurative language. The connotative space of the image of the stone in the collection “The Garden of Divine Songs” testifies to this. The stone is usually an attribute of death, despair, and hopelessness in the traditional Ukrainian culture. Several invariants of this image are found in Skovoroda’s poems. These are mountains, rock (petra, cephas), diamond (‘adamant’), and flint. The rocky peaks of the mountains are involved in Skovoroda’s literary world as the foundation of spiritual ascent. The motive of escape from dangers that await the traveler on the sea of life is associated with the pier invincible to the destructive action of waves. In the semiotic system of “The Garden” the stone symbolizes the manifestation of transcendent values in the world of human relationships, which can be a reliable basis for protection from life’s cataclysms and the creation of new values. The steadfastness of the stone as a reliable foundation of life does not prevent the motives of movement and change to be included in the connotational paradigm. The author’s semiotics expands through allusions to stories about the dream of King Nebuchadnezzar, interpreted by the prophet Daniel, about giving Jonah’s son Simon of Bethsaida a new name — Peter, being the evangelist’s translation of the Aramaic kēp̄ā ‘stone’, ‘rock’; the Gospel parable of a house built on stone; the use of the opening verse of the second chapter of the Book of Habakkuk for the epigraph to song 14. Finally, Christ himself is revealed in the image of a stone. Brought together in the antinomic world of Baroque metaphors and allegories of the “The Garden”, stone and fire stimulate the expansion of the associative boundaries of the receptive strategy of the reader, open to artistic search. The chain of invariants of the image of stone is introduced into the connotative orbit of the heart as a meeting place of man and God, transient and transcendent. The coming of God into the inner world of man, his heart, is metaphorically described as striking fire with a flint and a stone or grinding grain into flour by a millstone. Thus, the image of the stone becomes one of the most capacious elements of the literary code of the collection and its structural factors.
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PIKHTOVNIKOVA, Lidiya. "THE STYLE OF THE MODERN GERMAN FABLE ON THE EXAMPLE OF THE FABLE TEXTS AND THE FABLE CONCEPT BY V. LIEBHEN (IN THE LINGUISTIC SYNERGETIC ASPECT)." 8, no. 8 (December 28, 2023): 105–26. http://dx.doi.org/10.26565/2521-6481-2023-8-07.
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The article carries out a systematic analysis of the fable texts and the theoretical concepts of the fable, which belong to the famous German fabulist and theoretician of the fable, parable, and joke, Wilfried Liebchen. It was been proven that his fables and concepts are included in the general evolutionary-synergistic model of the development of the fiction genre, which was developed by the Ukrainian school of linguistic synergetics. The article presents and explains the main principles that, according to V. Liebhen, determine the existence and productivity of the fable genre. These are the principles of cognition, purpose and goal. The specifics of the components of the cognition principle are described in the fable, although, of course, every other literary genre is formed according to this principle in its own way. It is also noted that the principle of purpose in the specifics of the fable genre is the requirement of a visual illustration of a complex social phenomenon, a sociocultural factor that is easily generalizable. V. Liebhen opposes the limitations of the stylistic possibilities of the fable. Contrary to Lessing, V. Liebhen recognizes the productivity of not only the Aesopian (rhetorical) fable, but also the epic one. An analysis and evaluation of V. Liebhen fables and their role in the fable evolution of the 20th and early 21st centuries is provided. The stylistics and composition of fables of this period and ways of expressing meaning are analyzed; at the same time, it is noted that the modern fable achieves the fulfillment of the principles of its existence by other means than the fables of previous eras. In particular, in the fables of the 20th and 21st centuries, an unfinished image-symbol, a hierarchical plot appears. This creates prerequisites for a comprehensive perception of the idea of a fable by the reader. According to our observations, the modern fable reflects the realities due to its deep synergetic nature. Namely, it contains deep contradictions in its structure and meaning, which it creatively resolves, and also depends during its formation on attractors, which can be classified into separate groups (social, thematic, stylistic). So, the modern fable is a synergetic system. The conducted research is a contribution to the general synergetic theory of fiction style and to stylistic synergetics.
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Breslavets, G. "Artistic reconstruction of the folklore text in the works of Yu. Illienko (on the example of a film-apologue “A well for the thirsty ones”)." Culture of Ukraine, no. 72 (June 23, 2021): 71–75. http://dx.doi.org/10.31516/2410-5325.072.10.
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The topicality. The factors that influence the disclosure nature of the director’s and composer’s creative concept are the leading artistic polystylistic tendencies — stylistic layers and trailblazing experiments in the formation of sound-timbre and visualized combinations, where ancient intonations together with modern sound formation and video performance create new sound and performance realities.
The purpose. To determine the role of artistic reconstruction of the folklore text and the specifics of their artistic embodiment in the film parable “A well for the thirsty ones” by the popular Ukrainian film director Yu. Illienko; to determine the specifics of the embodiment of the signs of cultural codes in the musical-sound score of the film by composer L. Hrabovskyi.
The methodology. The culturological approach applied in revealing the issues of the article made it possible to consider the peculiarities of the drama and musical-sound score of Yu. Illienko’s film “A well for the thirsty ones” in a broad cultural context. The interpretive approach helped to highlight the importance of cultural codes of the folklore text, the specifics of their embodiment in the director’s idea through the artistic reconstruction of the folklore text.
The results. Yu. Illienko and L. Hrabovskyi, addressing the folk song tradition, create a new intonation world, embodied in separate “emergings” of female solo singing (verses of the ballad one by one are strung like beads throughout the picture), in lamentations, in incantations, in children’s amusements when playing on pots, that intersperse with a general, very concise and minimalist sound score of the film. The characteristic and figural semantics of the musical-sound background of the film is saturated with active rhythmics, complex sound palette of combination of electronic sounds with natural ones, which demonstrates the author’s (at the choice of director and composer) special sound complex. Folklore texts in the film create a single hypertext, which is manifested at the appropriate levels — auditory, visual and dramatic.
The novelty. The article considers for the first time the specifics of the embodiment of artistic reconstruction of a folklore text as the basis of the drama of Yu. Illienko’s film “A well for the thirsty ones” and defines sense forming and semantic role of the embodiment of the cultural codes signs in the musical-sound score of the film by composer L. Hrabovskyi.
The practical significance. The artistic reconstruction of the folklore text in the film is based on the introduction of polystylistic tendencies and features of sound (timbre) thinking into the cinematographic process. Prospects for further study of this issue is the study of modern manifestations of artistic reconstruction of the folklore text, the processes of formation of semiotic space both in cinema and in culture in general.
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Polianska, Ir M. "The image of Solveig in the ballet “Peer Gynt” on H. Ibsen’s dramatic poem (staged by the Kharkiv National Academic Opera and Ballet Theatre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 197–211. http://dx.doi.org/10.34064/khnum1-57.12.
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Introduction. The given article is devoted to study of the Ukrainian ballet continuing to produce new ways of implementation of the ideas and artistic images in the beginning of the XXI century. The production of the ballet “Peer Gynt” on the music by E. Grieg, done by People’s artist of Ukraine V. Pisarev for the troupe of Donetsk ‘A. Solovianenko’ Academic State Theatre of Opera and Ballet is a remarkable example of this process. The production’s premiere was on, 1997, May 17, in the framework of the international theatre project “Ukraine – Norway”. Twenty years later, in 2017, the new variant of the ballet has been created for Kharkiv National Opera and Ballet Theatre named after M. V. Lysenko. This “Kharkiv variant” was staged regarding specifics of Kharkiv theatre’s troupe, while retaining the choreographic text of the original; it is marked by scenography and decorations being more spectacular and modern. The work by H. Ibsen received harsh critique from literary scholars who gave plenty of negative reviews of it, and it was E.Grieg’s music that led this poetic drama to wide recognition and popularity it has today. H. Ibsen’s piece became a base for more than the ten of films, directed from 1915 until 2006. As well as E Grieg’s music, which mostly accompanies the theatrical and cinematic interpretations of the drama poem, there are homonymous opera by Werner Egk (1938) and the ballet by John Neumeier, created in a collaboration with A. Schnittke (1987). As a ballet, the “Peer Gynt” is being staged since 1922 up to present day. The object of this research is musically-plastique image of Solveig. The aim of the study is to reveal specifics of musically-plastique, choreographic means, which are used to portray Solveig’s image in V. Pisarev’s production of ballet “Peer Gynt” regarding literary source. The article uses such methods as: 1) historical, allowing to place selected work into the perspective of development of ballet theatre in XXI century; 2) genre approach conditioned by specifics of means of expression used in choreographic art; 3) stylistic, used to regard given ballet in the context of choreographic art. The research results. H. Ibsen elevated the story to the level of philosophical parable about man’s freedom to choose his own path and about the price this freedom comes with. A psychological portrait of the protagonist, wanderer Peer Gynt, combines traits of both humanist and insane. The playwright creates opposition between him and Solveig, majestic in her spiritual martyrdom. According to H. Ibsen’s conception, it is Solveig, being an incarnation of the very best feminine traits, such as chastity, fidelity and kindness, who saves the prodigal soul of the protagonist. In the end of his earthly path, Peer Gynt finally finds what he has been looking for his entire life – self-sacrificial Love, saving him from the eternal suffering near his death. The libretto is written by Yu. Stanishevsky, historian of ballet. The author significantly abridges the text of the dramatic poem, reducing the number of acts from five to two. The First act consists of 4 tableaus, the Second has only two; Yu. Stanishevsky omits several situations in order to make the spectacle more dynamic. The libretto features the image of Solveig only six times: thrice in the First act and thrice in the Second. But despite sporadicity and brevity of Solveig’s presence on the stage, this image plays a leading role in the dramaturgy of the ballet, no less significant than Peer Gynt. Today the poem “Peer Gynt” by H. Ibsen is hardly imaginable without E. Grieg’s music. Its score (op. 23) consisted of 28 numbers , and it included dance intermedia and introduction to every Act; dance fragments, genre scenes, portraits, fantastic episodes and landscape sceneries. Later, the composer compiled the most interesting and self-sufficient numbers into two Suites. Conspicuous Romantic style of the score might be compared to the image of blonde-haired maiden Solveig, who betokens pure femininity. The ballet of V. Pisarev consists of 8 tableaus and 3 numbers. In order to create this ballet spectacle, its author used several types of choreographic art to reveal its idea more profoundly. V. Pisarev embodied the plot of H. Ibsen’s poem using a fusion of classical and neo-classical dance as well as a reconstruction of the folklore-scenic Norwegian dance. Ballet master draws attention to the inner world of a protagonist, who is facing a dilemma: either to remain for fix the situation, or to run away once again. Significance of Solveig’s image is emphasized by the choreographic text of the ballet, as her role becomes a plastique leit-motiv of the whole work. Choreographic lexicon of Solveig is founded upon traditional Classical dance and occasional movements of contemporary dance. Conclusions. The image of Solveig is a demanding one, both technically and psychologically as the ballerina must demonstrate advanced technique and high artistry. Solveig’s dance is plastique, sculpture-like, filled with profound psychologism and elaborated expressiveness. Solveig is one of the most powerful and iconic examples of femininity and self-sacrificial love in romantic art keeping its actuality until today.
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Mizinkina, Olena, and Alina Kara. "FOLKLORE NARRATIVE IN THE CONTEXT OF THE NOVEL «MAVKA’S DIARY» BY DARA KORNIY TO THE PROBLEM OF THE TEXT IN THE TEXT." Young Scientist 11, no. 87 (2020). http://dx.doi.org/10.32839/2304-5809/2020-11-87-23.
Full textAbstract:
The formulation of the problem says about experimenting with content and form as a creative method of Dara Korniy. Artistic (14 books) and research (2 books) achievements of the Ukrainian writer gives the opportunity to learn about culture, ideology, ancient beliefs of our ancestors. However, the writer successfully combines mythology and modernity, eternal themes and problems of modern society in her novels. This result is achieved through the reception of the game – with characters, with plot, with traditions. Researchers of Dara Korniy’s creativity determine its belonging to the genre of fantasy relevant in the modern literary process. Analysis of publications and researches of the novel «Mavka’s Diary» showed that critics paid attention to the mosaic composition, mythopoetics, allusions and reminiscences, the image making in it. Therefore, among the previously unselected problems is the frequent inclusion of various texts in the context of the novel. Among the expressive intertextuality with echoes in domestic and foreign classics, we especially single out folklore narratives. To analyze this problem, a leading historical-comparative method is used, which helped to compare the content of folklore texts with their meanings and functions in the novel «Mavka’s Diary». It is emphasized that proverbs and sayings are most noticeable in the artistic world of the novel. They describe the characters, their way of life, inner world, mainly. It is observed that some paremias were used by the writer in their original sound and meaning, some were adapted and endowed with new meaning. Also in the context of the novel two lullabies «sound», which help to reveal the mental state of Magdalena-Mavka. Situations and their material content have been analyzed, where family and household lyric is arising and emphasizing the borderline state of the main character. The situation of choice in a woman's life is also complemented by Chumak songs. The philosophical issues in the novel are emphasized by parables. The parable of the woman and the parable of the seeds both emphasize the role of art in Olexiy-Mamay’s life. The protagonist of the novel is artist and parables demonstrate his path to the main vocation. The conclusions state that the novel «Mavka's Diary» continues the literary tradition – a close connection with folklore. Mostly folk narratives help to highlight the temper of the characters and more clearly convey complicated situations. Such texts are partly inserted to the dialogues of the characters, to the inner speech of the protagonists and nominate the chapter of the novel. Prospects of research problems of the text in the context of large prose are seen in the tracking of literary inclusions in the novel «Mavka’s Diary», which will demonstrate the stylistic manner of Dara Korniy.
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Andrianova, Anastassiya. "Mavka as Willow. An Ecofeminist Analysis of Lesja Ukrajinka’s Forest Song." Studi Slavistici, February 2, 2022, 225–40. http://dx.doi.org/10.36253/studi_slavis-9047.
Full textAbstract:
Lesja Ukrajinka’s Lisova pisnja (1911) can be read as an eco-parable about Mavka, the forest nymph who transforms into a willow tree in danger of being felled. This paper provides a pioneering ecofeminist analysis of Lisova pisnja; it revises traditional approaches to the depiction of nature in the drama by combining them with an awareness of anthropogenic environmental degradation (the deforestation of the Volyn’ Polissja where it is set) and androcentrism, which is largely responsible for this degradation. After a brief review of key concepts in ecocriticism and ecofeminism, along with an overview of the state of eco-scholarship in Ukrainian studies and the scholarship on Lesja Ukrajinka within Ukrainian literary criticism, the paper analyzes the interrelated depiction of gender and nature, revealing Ukrajinka’s environmentalism and feminism and, at the same time, the ways in which she represents the world of the forest as mimicking and perniciously reinforcing human gender hierarchies.
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Orlov, Oleksii Petrovich. "Formation of Emotional Security of Students during the Period of Training in Conditions of Military Conflict." Rupkatha Journal on Interdisciplinary Studies in Humanities 14, no. 4 (December 26, 2022). http://dx.doi.org/10.21659/rupkatha.v14n4.10.
Full textAbstract:
Ukrainian teachers and students are now in an extreme situation of military conflict when the territory of the country is under constant air fire, and the line of hostilities stretches for 1500 kilometres. The purpose of the article is to analyze the extreme learning conditions of Ukrainian students and develop a strategy for optimal emotional relaxation by selecting fiction for reading and deepening artistic perception. Respondents’ data (120 students and 53 pupils) were collected, systematized, evaluated, and analyzed using systematic written surveys (Project Tuning methodology) and statistical analysis methods. Testing corresponded to three stages of conflict development: conflict deployment, escalation, and post-conflict phase. Pedagogical activity mirrors this parable but in the opposite direction. Fiction thematically and genre-wise at each stage plays the role of a protective shield, which draws the line between students’ own emotions and the feelings of literary heroes. Perception of artistic texts was aimed at 1) identifying visual, auditory, and tactile associations; 2) olfactory sensations; 3) the ability to build associative chains; 4) imagining literary heroes; 5) emotionally immersing yourself in the world of fiction. Comparison of one’s own emotional perceptions with those that caused anti-utopian works and fantasy literature prove the effectiveness of the chosen pedagogical hypothesis.
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Skoryna, Lyudmyla. "INTERTEXTUAL FIELD PARAMETERS IN THE NOVEL "ANDRII LAHOVSKYI" BY AHATANHEL KRYMSKYI." LITERARY PROCESS: methodology, names, trends, no. 20 (2022). http://dx.doi.org/10.28925/2412-2475.2022.20.9.
Full textAbstract:
The article outlines the intertextual field parameters in the novel "Andrii Lahovskyi" by Ahatanhel Krymskyi. In the process of research the active use of quotations and allusions by the writer was found out. Quotations are organically embedded in the speech of all characters, it is especially true of the main character (71 example found). The novel is dominated by quotations with partial attribution - indicating the author of the prototext (37 quotations) or the whole work (4 quotations). There are 6 quotations with full attribution, 4 quotations with “allusive” attribution and 10 quotations with unspecified attribution. Unattributed quotes are most taken from the reading-books. Ukrainian, Old Slavic, Russian, Ancient Greek, Latin, German, French, English, Italian, and Turkish languages appear in these intertextual inclusions. Allusions to works of Ukrainian and foreign authors, the Bible, myths, numerous historical and philosophical reminiscences (Ptolemy, Strabo, Xenophon, Plato, Max Stirner) are actively used in the novel. Other types and forms of intertextual relations in the novel include: 1) paratextuality (the title of the third part of the novel "Following St. Ephrem the Syrian" emphasizes the prototext, which played an important role in the spiritual evolution of the main character); 2) hyperintertextuality — paraphrases used to establish a dialogue with other literary works in terms of saving text space; 3) metatextuality (Lahovskyi's reflections on Ivan Franko's "Parable of Beauty", Volodymyr Shmidt's discourse of Heine's poetry "Der Asra"); 4) autointertextuality (citing the other poetic works of Ahatanhel Krymskyi in the novel). The novel also reveals examples of apocryphal intertextuality (a fictional "quote" from the biblical book of Jesus Sirach) and intermediality (references to the opera "Faust", "Siciliana" from "Cavalleria Rusticana", Rubinstein's music to Heine's "Der Asra", Ophelia's song, a Japanese song about a goldfish, Wagner’s operas). The list of key prototexts of the analysed novel includes: 1) the Bible; 2) ancient literature and mythology; 3) Ukrainian literature; 4) Russian literature; 5) German literature. Episodic references to English, French, Italian literature, Eastern poetry and folklore appear in the novel. Taking into account the variety of types and forms of intertextuality in the novel and the significant fleshing out of the intertextual field with textual inclusions from the works of Ukrainian and foreign writers, we can consider the novel "Andrii Lahovskyi" to be one of the first examples of an intellectual novel in Ukrainian literature.
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Fedorenko, Olha. "Image-creating features of an outstanding Cossack — the hero of the novel “Chase” by Y. Mushketyk." Synopsis: Text Context Media, no. 3 (2019). http://dx.doi.org/10.28925/2311-259x.2019.3.2.
Full textAbstract:
The subject of the study is the interpretation of the folklore image of an outstanding Cossack character in the historical novel at the turn of the XX–XXI centuries. The appeal of this genre at the present stage to fictional sources and techniques, including myth, parables, fairy tales, fiction, games, compilations, violations of space-time linearity, etc., is a problematic field of wider research. The aim of the article is to determine functioning peculiarities of outstanding Cossack’s image in the artistic world of novel “Chase” by Y. Mushketyk. Results of the Study allowed to claim that in his novel “Chase” (1997) Y. Mushketyk modelled history in accordance to the modern tradition. The artist took the historical era of the Ruins as the basis of his story and led further narration on the principle of road, no wonder that at first sight the novel can be taken as an adventure novel. Pointing out the heredity of generations of outstanding Cossacks, the author prepares readers for perception of the hero, whose unusual abilities he reveals diversely throughout the work. Depicting a colorful portrait of Cossack Semen Belokobylka like a chimerical appearance of Cossack Mamai, Y. Mushketyk gives the novel “Chase” signs of a chimerical genre. According to the genre of road novel Y. Mushketyk reveals unusual abilities of the Cossack in lots of episodes of his journey. With the help of first person singular narration (“I-narration”), the artist transfers his feelings and emotions in extremely difficult conditions. Y. Mushketik gives the Cossack a good sense of humor as a part of his lifestyle. Liveliness gives the Cossack the power to continue the journey and complete the mission to rescue his brethren. In the reflections of outstanding Cossack, the author expresses the idea of the unity of Ukraine and Ukrainians, touches the problem of sense of living, giving the novel features of philosophical genre, significance and relevance of the present. The practical significance of the research results is the ability to form a model for the transformation of the folklore image into a literary one, extending the material of the study to other works of this genre and period.