Статті в журналах: "Ihor"

1

Lansdorp, Peter. "Ihor Lemischka (1953-2017)." Stem Cell Reports 10, no. 2 (February 2018): 329–30. http://dx.doi.org/10.1016/j.stemcr.2018.01.035.

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2

Duch, Ołeh. "Profesor Ihor Skoczylas (1967-2020)." Archiwa, Biblioteki i Muzea Kościelne 115 (June 30, 2021): 587–90. http://dx.doi.org/10.31743/abmk.12642.

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3

Freericks, Holovatch, Ivankiv, Mryglod, Patsahan, and Shvaika. "In memory of Ihor Stasyuk." Condensed Matter Physics 22, no. 3 (September 2019): 37001. http://dx.doi.org/10.5488/cmp.22.37001.

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4

Ivanova, Natalia, Carlos-Filipe Pereira, and Dung-Fang Lee. "Ihor R. Lemischka (1953–2017)." Developmental Cell 44, no. 1 (January 2018): 10–11. http://dx.doi.org/10.1016/j.devcel.2017.12.019.

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5

Ivanova, Natalia, Carlos-Filipe Pereira, and Dung-Fang Lee. "Ihor R. Lemischka (1953–2017)." Cell 172, no. 1-2 (January 2018): 1–2. http://dx.doi.org/10.1016/j.cell.2017.12.028.

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6

Ivanova, Natalia, Carlos-Filipe Pereira, and Dung-Fang Lee. "Ihor R. Lemischka (1953–2017)." Cell Stem Cell 22, no. 1 (January 2018): 16–17. http://dx.doi.org/10.1016/j.stem.2017.12.015.

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7

Oleksandr, Kravchuk, and Kravchuk Liudmyla. "Ukrainian idea of Ihor Hubarzhevskyi." Scientific Papers of the Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University. Series: History. 116, no. 30 (2019): 79–85. http://dx.doi.org/10.31652/2411-2143-2019-30-79-85.

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8

Kreisel, Jens, and Krystian Roleder. "In memory of Ihor Stasyuk." Phase Transitions 93, no. 10-11 (October 19, 2020): 945. http://dx.doi.org/10.1080/01411594.2020.1834682.

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9

Vasylenko, Vadym. "THE PROSE OF IHOR KOSTETSKYI." Слово і Час, no. 4 (August 30, 2023): 29–46. http://dx.doi.org/10.33608/0236-1477.2023.04.29-46.

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The paper examines the literary technique of Ihor Kostetskyi and the innovative forms and content of his prose from the late 1940s. It focuses on the author’s attempts to update the genre nature of a short story. The analysis covers the principles of creating a figurative system, the structure of a prose narrative, the use of cinematic constructions, the ‘stream of consciousness’ technique, the situation of a lacuna, ‘text within a text’, etc. The research involved the works included in the collection “Stories about the Winners”, as well as the short stories “You Own the Whole World”, “Before the Upcoming Day”, “Divine Lies”, and samples of their critical reception (in particular, the studies by Victor Petrov, Volodymyr Derzhavyn, Yurii Sherekh, and others). Kostetskyi’s collection of short prose “The Story of the Winners” is regarded as a kind of laboratory in which the writer explored the possibilities of language and literary techniques, experimenting with the concepts of genre and image. It is argued that the writer sought to create a technical picture of the world that has nothing to do with the physical world, and the images he created are signs and symbols that need to be deciphered. In the short story “You Own the Whole World”, which is perceived as a “telegraphic mini-version of a psychological novel” or a “mini-novel with a mini-prologue”, one can find the ‘stream of consciousness’ technique and the situation of a gap, that is, a gap between the story of traumatic event and reality when the reader does not receive an unambiguous answer to the question of where the event occurs and whether it occurs at all. The compositional technique of ‘text within a text’, tested by Kostetskyi in the short story “Before the Upcoming Day”, performs the function of a hidden ‘message’ and allows inserting ‘internal’ actions and dialogues into ‘external’ ones. In general, Kostetskyi’s works appeal to the subconscious, enhanced associativity and imagination, and the play factor is important in them as one of the elements of the author’s poetics.

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10

Chynczewska-Hennel, Teresa. "Profesor Ihor Skoczylas (5 IV 1967 – 20 XII 2020)." Studia Polsko-Ukraińskie 8 (April 16, 2021): 293–97. http://dx.doi.org/10.31338/2451-2958spu.8.22.

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This article is written in memoriam of Ihor Skochylas, a historian and outstanding researcher. In 1993 he graduated from the Ivan Franko National University of Lviv. He worked at the Academy of Sciences of Ukraine and then at the Ukrainian Catholic University in Lviv. He was visiting professor at the Ukrainische Freie Universität in Munich. He is the author of 250 scientific publications on the history of the Ternopil region and, above all, the history of the Church in Ukraine in the broader perspective of the history of the First Republic and in connection with the universal Church. Innovative research by Ihor Skoczylas is related to the search for a “mental map”. The book by Ihor Skoczylas, co-authored with A. Gil, entitled “Eastern Churches in the Polish-Lithuanian state”

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11

Stukan, H. O., and L. M. Hlushok. "THE LANGUAGE WORLD OF IHOR KACHUROVSKYI." Тrаnscarpathian Philological Studies 12 (2019): 35–38. http://dx.doi.org/10.32782/tps2663-4880/2019.12.6.

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12

SAVCHUK, S., P. SHEVCHUK, K. TRETJAK, and B. CHETVERIKOV. "THE 80th ANNIVERSARY OF IHOR TREVOHO." Modern achievements of geodesic science and industry I, no. 37 (2019): 43–45. http://dx.doi.org/10.33841/1819-1339-2019-1-37-43-45.

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13

KRAVCHENKO, Oksana, and Andrei YEREMENKO. "Ihor Haydenko: artist and human being." Humanities science current issues 1, no. 44 (2021): 100–103. http://dx.doi.org/10.24919/2308-4863/44-1-15.

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14

Tsaruk, Antonina. "COORDINATES OF IHOR PAVLYUK ARTISTIC WORLD." Bulletin of Lviv Polytechnic National University. Series: Journalistic sciences 2020, no. 4 (June 2020): 176–82. http://dx.doi.org/10.23939/sjs2020.01.176.

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15

Migliaccio, Anna Rita, and Ronald Hoffman. "Remembering Ihor Lemischka—The scientist's scientist." Experimental Hematology 58 (February 2018): 1–4. http://dx.doi.org/10.1016/j.exphem.2017.12.011.

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16

KINR, KINR. "80-th anniversary of Ihor Mykolayovych Gudkov." Nuclear Physics and Atomic Energy 21, no. 3 (September 25, 2020): 285–86. http://dx.doi.org/10.15407/jnpae2020.03.285.

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17

Savchuk, Hryhoriy. "TWO VARIATIONS ON THE TOPIC OF ST. YUR’S CATHEDRAL IN LVIV (O. NOVAKIVSKYI – I. KALYNETS – M. SOSENKO)." Fìlologìčnì traktati 16, no. 1 (2024): 178–85. http://dx.doi.org/10.21272/ftrk.2024.16(1)-17.

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The purpose of the article is to analyse Ihor Kalynets’s reception of paintings by Lviv artists Oleksa Novakivskyi ‘Yur. The Poem of the World War’ and Modest Sosenko’s ‘St. Yur’s (George’s) Church in Lviv’. The paintings of both artists and their perception by Ihor Kalynets (poems «‘Yur’ by O. Novakivskyi» and «’Yur’ by M. Sosenko») have a lot in common. The painters’ gaze is directed from the bottom up, into the distance, into the future, which is due to the location of the buildings and the angle of observation. However, summarising the observations on Ihor Kalynets’s variations on the topic of the most famous church in Lviv, we should note the prevalence of the distinctive over the common. Oleksa Novakivskyi’s painting provoked the poet’s reflections, which are dominated by the motifs of purity, aspiration and steadfastness, struggle and victory, while Modest Sosenko’s painting evoked a sense of sadness, melancholy and autumnal transparency. The canvas of Lviv artists depict the same object from the same angle, but in different moods. Considering the multivariate artistic perception of the artists, in his works Ihor Kalynets conveys the ‘impression of impressions’ that the artists had while contemplating the majestic building, so these poems contain the features of impressionism. On the other hand, in his ekphrase poems, the poet accumulates the ideological and artistic achievements of three types of art at once: painting (in particular, iconography), literature and architecture. The interaction of these art forms can be summarized on the basis of receptive ‘heredity’, so to speak, the passing of a receptive ‘baton’: the icon of St. Yuriy (George) the Serpent and the architectural masterpiece St. Yur’s Cathedral in Lviv → reception of the cathedral by Oleksa Novakivskyi and Modest Sosenko → the paintings by Oleksa Novakivskyi and Modest Sosenko → reception of those paintings by Ihor Kalynets → the poems «‘Yur’ by O. Novakivskyi» and «’Yur’ by M. Sosenko» → the reader’s reception of the poems. If we take into account that the first mentioning of the cathedral dates back to the thirteenth century (though since then the church has been destroyed and rebuilt), and the reception of the analysed poems continues in the twenty-first century, we have a receptive history of eight centuries.

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18

Gao, Chiling. "Genre context of Ihor Shamo’s choral creativity." Culture of Ukraine, no. 75 (March 21, 2022): 109–14. http://dx.doi.org/10.31516/2410-5325.075.14.

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The purpose of this paper. The purpose of the study involves a thorough study on the genre system of choral heritage I. Shamo, as understanding the genre essence of choral work is an essential component of performing interpretation. The methodology. Methodological principles are the principle of historicism, historical-contextual method, genre-style analysis and acmeological method in musicology, used to understand the top achievements of I. Shamo in the context of the evolution of artistic thinking of the artist. The results. The genre system of I. Shamo’s choral heritage consists of the genres of choral song, suite, choral cycle, cantata, cantata-poem, cantata-oratorio, choral opera a cappella, oratorio (concert-performance). The directions of the composer’s creative search in the genre of choral song are connected with the usage of different choral compositions, appeal to the genres of lyrical song, stylization of ritual songs, romanticization of patriotic song. It is determined that the semantics of the first cycle of choirs a cappella by I. Shamo in the poem by I. Franko reveals the theme of the cycle of the seasons, drawing a parallel with the stages of human life. For the choral cycle “Flying Cranes”, the name of which is a symbol of unattainable happiness and, at the same time hope, the composer improves the techniques of sound recording, creates expansive melodic lines based on a synthesis of folk and romantic intonations. The third cycle of I. Shamo “10 choirs on the poems of Ukrainian poets” demonstrates the latest achievements of the artist in choral writing, timbre drama, the implementation of the principles of working with folk poetic sources, characteristic of the “second wave of folklore”. It is substantiated that the unity of the “Carpathian Suite” of the composer is promoted by: tonal plan, contrasting tempo drama and artistic sound images, intonational unity based on the theme of Ukrainian folk models. Based on the author’s genre definitions of the “Yatran Games”, it is determined that in I. Shamo’s choral opera a cappella there is a synthesis of genres: suite, choral scenes originated from folk life and ceremonial action under the auspices of the opera genre. It was found that among the genres of orchestral and choral compositions of the artist — cantata, cantata-poem, cantata-oratorio, which is dominated by civic themes. Innovative is the work of I. Shamo “Skomoroshyny”, which synthesizes the genres of oratorio and concert, with theatricalization of these genres. The choral opuses showed such features of the artist’s style as the synthesis of genres, the tendency to cyclicality, reliance on national roots, the creation of author’s melodies, where deep folklore manifestations, sprechstimme, sonorism, aleatorics. The scientific creativity lies in the analysis of the components of the genre system of I. Shamo’s choral heritage, in the awareness of the genre phenomenon of each choral work and in the identification of the evolution of the artist’s style. The practical significance of the obtained results is due to the need to determine the genre of choral work to create a performing interpretation.

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19

Trygub, Oleksandr. "Discovering the Sites of the Past (to Ihor Sapozhnykov’s 70th Anniversary)." Eminak, no. 1(45) (May 1, 2024): 9–22. http://dx.doi.org/10.33782/eminak2024.1(45).689.

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20

Stephaniuk, Jeffrey D. "Review of Bohdan Ihor Antonych. The Grand Harmony." East/West: Journal of Ukrainian Studies 6, no. 1 (April 2, 2019): 205–7. http://dx.doi.org/10.21226/ewjus489.

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21

Ingarden, Roman. "Critical Remarks on Positivistic Logic." Humanitarian vision 8, no. 2 (November 16, 2022): 34–41. http://dx.doi.org/10.23939/shv2022.02.034.

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22

Ingarden, Roman. "Critical Remarks on Positivistic Logic. (Trans. by Ihor Karivets)." Humanitarian vision 8, no. 1 (May 2, 2022): 42–48. http://dx.doi.org/10.23939/shv2022.01.042.

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23

Monolatii, Ivan. "Opening of the Fredro-Sheptytskyi Family Saga: at the Crossroads of History, Culture, Religion and Patronage." Mediaforum : Analytics, Forecasts, Information Management, no. 12 (July 21, 2024): 271–78. http://dx.doi.org/10.31861/mediaforum.2023.12.271-278.

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24

Kozłowski, Michał. "Ihor Ševčenko (10 II 1922 - 26 XII 2009)." Vox Patrum 56 (December 15, 2011): 983–89. http://dx.doi.org/10.31743/vp.4304.

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25

DMA, SE. "Professor Ihor Serhiyovych Maschenko (to his 80th birthday)." Medicni perspektivi (Medical perspectives) 24, no. 2 (June 18, 2019): 87–89. http://dx.doi.org/10.26641/2307-0404.2019.2.170161.

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26

Magalhães, Catarina. "A Cobertura Mediática da Morte de Ihor Homenyuk." Interações: Sociedade e as novas modernidades, no. 44 (June 30, 2023): 92–117. http://dx.doi.org/10.31211/interacoes.n44.2023.a4.

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A morte de Ihor Homenyuk não invadiu as manchetes dos jornais portugueses. A pandemia era o tema central do espaço público, que tornava a agenda mediática praticamente monotemática (Lopes et al., 2021). Desta forma, o presente estudo pretende debruçar-se sobre a cobertura que dois dos principais jornais de referência nacionais, Expresso e Público, fizeram do caso em dois períodos fulcrais: 28 de março a 11 de abril de 2020, coincidente com a divulgação do caso, e 26 de setembro a 10 de outubro de 2020, quando foi deduzida a acusação. A pesquisa guiou-se pelas seguintes questões: 1) Qual o principal foco nos agentes envolvidos no crime?; 2) Como foi representado o cidadão ucraniano? e 3) Como pode ser descrita a cobertura da imprensa de referência nacional do caso?. Através de uma análise quantitativa, a par de uma análise qualitativa de duas peças representativas do corpus, percebeu-se que houve uma diminuição da atenção mediática ao caso entre os dois períodos. Verificou-se uma tentativa de ir além de uma cobertura episódica, procurando saber quem era o cidadão ucraniano, morto nas instalações do aeroporto de Lisboa, em março de 2020.

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27

Savchenko, Ganna. "Orchestral composition multifigure as a principle of time and space organization of Ihor F. Stravinsky’s orchestral works (from early ballets to Symphony in C and Symphony in three movements)." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 242–58. http://dx.doi.org/10.34064/khnum2-16.14.

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Introduction. The early and the top works of the Russian period showed rapid evolution of Ihor F. Stravinsky’s musical thinking and style: there evolved the original musical language, the technique of composition, with the orchestral composition principles being changed. The ballets demonstrated a new sense of time and space, which is shaped by the complex of expressiveness means, with orchestrating being essential. The composer’s style evolution took place within a complex historical and cultural context, marked by a change in the cultural paradigm in the early twentieth century. The scientific and technological progress resulted into transformation of time and space perception in European cultural consciousness, with the music being not conceived as a form of art beyond their limits. (Herasimova-Persydska, 2012a). The means of space-temporal relations objectification is a system of interrelated parameters of a musical composition, covering form, theme, meter and rhythm, composition, music dramaturgy, orchestration with one of the leading functions. The twentieth century composers, who embodied new ideas about time and space while organizing musical composition, are C. Debussy, the New Vienna School composers and Ihor F. Stravinsky. Theoretical Background. Recent research and publications analysis. The problem of time and space is one of the key problems of Ihor F. Stravinsky’s work. The research of space at the micro level of the composer’s musical language is carried out in B. I. Rysin article. (Rysin, 2012: 164–165). I. Vershynina (1967) does not formulate the problem of time directly, but indirectly considers it, using the concept of “dynamic content”, which is inherent in the intonational structure of the composer’s music language. M. Druskin (1982) devotes separate sections to the problem of time and space: “Movement” (Druskin, 1982: 127–137) and “Space” (Druskin, 1982: 137–154). Summarizing, the researcher (1982) states: “… Stravinsky contrasted throughcomposed processual development to the ratio of planes and volumes, a single convergence place to the variety of relatively independent “horizon levels”, a single-center composition to a multi-center one” (149). Accurate observations of the monograph author lead to the aesthetic, artistic and general stylistic level, emerging, if at all, into music texts composition. Taking these ideas as a basis, we consider it appropriate to transfer them onto orchestral thinking and composer’s orchestral style. Let us add our own considerations about the nature of space. The Objective of the article is to consider the features of space-temporal organization of Ihor F. Stravinsky works at the level of orchestration. The objects of research are Symphony in C (1938–1940) and Symphony in Three Movements (1942–1945). The urgency of the work lies in poor research of the orchestral thinking and the composer’s orchestra style regarding the principles of the music composition space-temporal organization. Methods. To achieve the goal, the following research methods are applied: 1) historical one, which allows to comprehend the selected material in the perspective of the evolution of Ihor F. Stravinsky’s orchestral thinking; 2) theoretical one, which reveals the features of the composer’s ensemble style; 3) cultural one, which allows us to formulate an idea on the connection between culture as a type of thinking and composer’s artistic thinking, which is realized in the peculiarities of the space and temporal organization of the music composition. Results and Discussion. In his early ballets, Ihor F. Stravinsky developed various types of orchestral composition based on a key structural idea – the multifigure, which is realized horizontally and vertically within the orchestral composition, at the micro and macro syntactic levels of the music composition. We shall consider the figure in the orchestral composition as a characteristic, formula, distinguished through sound colour and register, which: 1) is repeated accurately (ostinato) or alternative-variationally, and in this case it may not have intonational characteristic, distinctness, bright expressiveness; 2) sounds unique, and may have an individual intonation and rhythmic pattern. The figures can belong to different layers of the orchestral composition, respectively, to act as carriers of different orchestral functions (melody, melodious figuration, pedal, etc.). Multifigure at the macro-syntactic level of a music composition is realized through frequent change of thematic episodes, accompanied by orchestral composition and sound colour altering. This gives rise to eventfulness, density, contrast of symphonious time. Multifigure at the micro-syntactic level is manifested through horizontal combination of figures, conditioned by intonational structure of the theme. A figure may coincide with the intonation if it represents a melody function. Vertically multifigure is manifested in the combination of figures in different layers of composition. They interact on the principle of rhythmic (and melodic) complementarity. This forms a particularly sophisticated space where all the elements interact, having their own unique sound colour, rhythmic, compositional patterns. The multifigure concept is of a double origin. The first source is culture, as a type of thinking. Ihor F. Stravinsky was one of the first composers who, at the level of artistic thinking, became aware of the complex intricacy of the universe and transformed it into orchestral works sound materials. The second source is the aesthetics of the stage (theatrical) space and the stage movements (gesture). Thus, we believe that in Ihor F. Stravinsky’s ballets scores of Russian period, a special orchestra style was developed, with the technique to be used in the symphonies. Conclusions. The analysis of Ihor F. Stravinsky’s Russian ballets and two symphonies scores showed that the orchestral style, invented by the composer in his early works, was based on the multifigure principle, embodying the idea of time and space in the world building, which was radically changed at the beginning of the century. The author formed an idea that the connection between orchestration, composer’s thinking and culture, as a certain type of thinking, needs further elaboration taking other Ihor F. Stravinsky’s works, as well as of the composers who made a breakthrough in orchestral style in the first half of the twentieth century.

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28

Chynczewska-Hennel, Teresa. "Between Slavia Latina and Slavia Orthodoxa. The Discussion of Ihor Skochylyas with the Concept by Riccardo Picchio." Studia Polsko-Ukraińskie 9 (July 18, 2022): 179–86. http://dx.doi.org/10.31338/2451-2958spu.9.11.

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Both scholars are no longer alive. Riccardo Picchio (1923–2011) and Ihor Skochylyas (1967–2020) did not know each other and they were almost two generations apart. Riccardo Picchio, Italian Slavist, created the concepts of Slavia Orthodoxa and Slavia Romana (Latina), which aroused discussion in the scientific world but also gave rise to considerable doubts. Anyway, he himself believed that conceptual schemas could not be of absolute value. Over the years of his work, Ihor Skochylyas argued with these concepts, believing that in fact we are dealing with the picture of the Slavic world consisting of three realms: Slavia Latina, Slavia Orthodoxa and Slavia Unita. He presented this approach in many publications, including his last work entitled “The latest discoveries of the Lviv historians in research on the Synod of Zamość” published in the conference materials “The legacy of the Synod of Zamość 1720–2020. Challenges and Prospects”, Kraków 2021.

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Shaf, Olha. "EMMA ANDIIEVSKA’S (UN)REPEATABLE POETRY, OR TWO COMPARATIVE SKETCHES." Слово і Час, no. 1 (February 3, 2022): 38–51. http://dx.doi.org/10.33608/0236-1477.2022.01.38-51.

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Emma Andiievska’s poetic manner is quite experimental in modern literary milieu due to dense metaphoric imagology, daring alliteration, specific subject’s representation, cosmogonic transformation motive, etc., so it hardly correlates with European art styles (modernism and postmodernism in particular), albeit her early oeuvre (1950—1960) is being consequently considered as surrealistic one. It is also hard to outline stylistic and mental links between Emma Andiievska’s poetry and Ukrainian or European one since she has been moving in her art creativity strictly towards poetic originality. At the same time, the poetess’ works can’t be excluded from the world literary process — that is the reason for a comparative search. Some literary parallels have been found in Ukrainian (Bohdan Ihor Antonych) and American (Emily Dickinson) poetry. Both authors could influence Emma Andiievska’s poetic manner. There is a similar attitude to reality and own creativity in Emma’s Andiievska’s poetic oeuvre and Emily Dickinson’s one, caused by a desire for solitude and priority of the author’s subjectivity in the lyrical view. There are also some similar syntactic means in the poetics of both female authors. The poetic manner of Emma Andiievska’s works written in the 1950s—1960s also resembles Bohdan Ihor Antonych’s poetical style, represented in his collections “Salute to Life”, “Three Rings” and “The Green Gospel”. The two authors have a similar phenomenological focus of lyrical reflection, surrealistic metaphors, and acoustic mode of connecting words in an utterance. The childlike features of a worldview and oneiric elements of narrative in the literary works realize the surrealistic mode of writing attributable both to Bohdan Ihor Antonych and Emma Andiievska.

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30

Semak, O. I. "IHOR KOSTETSKYI AND EUGENE IONESKO: TYPOLOGY OF ARTISTIC THINKING." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 150–56. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-150-156.

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Анотація:

The article deals with the works of such famous playwrights as Ihor Kostetskyi and Eugene Ionesco. The comparison of the work of the Ukrainian playwright with the dramatic works of the world level made it possible to distinguish the laws that show that Ihor Kostetskyi's drama is a multi-faceted and ambiguous phenomenon in the literary process of the second half of the twentieth century. The study of the peculiarities of the literary heritage of I. Kostetskyi involves a profound analysis of the influence of the emigration factor on creative process of the writer. His close interweaving of universal, national, and moral issues was caused by life in emigration and the loss of Ukraine. The combination of Ukrainian mentality with the understanding of the philosophical concepts of the West allowed the playwright-emigrant to consider social and moral problems more panoramic. Using techniques such as phantasmagority of individual scenes, deconstructivistic distrust to language, the destruction of syntactics and paradigmatics and logical structural connections in some places allows us to characterize the poetics of I. Koste-tskyi’s style as an absurdity experiment based on the drama of the Baroque era.In the result of comparison of the heritage of Eugen Ionesco and Ihor Kostetskyi the author found that both dramatists rejected the canons of classical drama with its traditional plot, experimented with the form of works, the language of characters. The artistic material of their dramatic works unfolds through absurd situations that contrast with the world of reality.One of the problems raised by the authors is the problem of human communicability, which leads to leveling of the personality. Their verbal experiments are one of the factors in the creation of new generations of heroes. The dramatists did not abandon one of the main problems of existentialism - time as characteristics of human being.

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31

PAVELCHUK, Ivanna. "Modern Ukrainian Post-Impressionism: pictorial art of Ihor Melnychuk." Humanities science current issues 4, no. 35 (2021): 45–55. http://dx.doi.org/10.24919/2308-4863/35-4-7.

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32

Syrotynska, Natalia. "TRANSCARPATIAN CHURCH SINGING IN THE RESEARCH OF IHOR ZADOROZHNY." Ukrainian music 39, no. 1 (2021): 154–56. http://dx.doi.org/10.32782/2224-0926-2021-1-19.

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33

Cybriwsky, Roman. "Ihor Stebelsky. Placing Ukraine on the Map: Stepan Rudnytsky’s Nation-Building Geography." East/West: Journal of Ukrainian Studies 2, no. 2 (September 8, 2015): 149. http://dx.doi.org/10.21226/t28c78.

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Ihor Stebelsky. Placing Ukraine on the Map: Stepan Rudnytsky’s Nation-Building Geography. Kingston, Ontario: Kashtan Press, 2014. iii, 50 pp. Foreword. Illustrations. Endnotes. References. Afterword. Cloth.

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34

Nagaichuk, V. "Knight of the Science. On the 90th Birthday of Ihor Chernikov List of Ihor Chernikov’s Scientific Published Works (1990–2017). Editing and reviewing." World of the Orient 2020, no. 4 (December 30, 2020): 176–91. http://dx.doi.org/10.15407/orientw2020.04.176.

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35

Reese, Kevin Mitchell, John Wright, and Antonina Tymczenko. "Sen w butelce Kleina: wiersz Ihora Muratowa „We śnie”." Studia Ukrainica Posnaniensia 11, no. 2 (December 29, 2023): 117–29. http://dx.doi.org/10.14746/sup.2023.11.2.08.

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Literatura charkowska połowy XX wieku, po przeniesieniu stolicy do Kijowa, przez długi czas pozostawała mało znana ogółowi społeczeństwa; tendencja ta utrzymuje się do dziś. Jednak tradycję Czerwonego Renesansu godnie kontynuowała cała konstelacja niezwykle utalentowanych artystów – Wasyl Mysyk, Ihor Muratow, Wasyl Borowy, Iwan Wyrhan, Robert Tretiakow. W artykule podjęto analizy jednego w wierszy Ihora Muratowa (We śnie), wybitnego poety, prozaika i dramaturga XX wieku. Badacze proponują mikroanalizę tego wiersza, w toku której odkrywano podteksty i dokonywano odczytania ukrytych znaczeń zawartych w jego treści. Liryczna kompozycja odwraca typowy sen o ucieczce: to, co normalnie byłoby wizją wolności, staje się koszmarem zniewolenia. Sen przedstawiony zostaje jako analogia pobytu dziecka w łonie matki. W procesie interpretacji wiersza ujawnia się podobieństwo struktury semantycznej tego tekstu do samoprzecięć butelki Kleina, a także inne nieoczekiwane konteksty i aluzje. Stwierdzono, że w szczególności liryk We śnie i w ogóle twórczość Muratowa jest zjawiskiem niezwykłym w literaturze ukraińskiej okresu sowieckiego i potrzebuje dalszych badań

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36

CHURPITA, Tetiana. "The hardships and choreographic activity of Ihor Andrieiev in Kolyma." Humanities science current issues 3, no. 39 (2021): 41–48. http://dx.doi.org/10.24919/2308-4863/39-3-7.

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37

Editors. "CELEBRATION ISSUES OF THE INVITED PAPERS FOR PROFESSOR IHOR YUKHNOVSKII." Condensed Matter Physics 3, no. 2 (2000): 225. http://dx.doi.org/10.5488/cmp.3.2.225.

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38

Merzová, Radana. "Biblický metatext v ukrajinské modernistické próze (Ivan Bahrjanyj, Ihor Kosteckyj)." Svět literatury 30, no. 61 (July 9, 2020): 9–16. http://dx.doi.org/10.14712/23366729.2020.1.1.

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39

Shaf, Olga. "Bohdan Ihor Antonych’s psycho-bibliography: between maternal and paternal worlds." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, no. 26-27 (2022): 227–39. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-227-239.

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The article deals with Bohdan Ihor Antonych’s art phenomenon, in particular the factors and trends of his creative evolution. The psychoanalytical approach is helpful in revealing concealed psychical frameworks in the author’s (art) consciousness, and also the key role of Maternal and Paternal archetypical figures in Antonych’s artistic world and writing technique as well. According to the purpose of considering the evolution of B. I. Antonych’s works through the prism of his lyric subject’s Oedipus attraction to Maternal and/or Paternal figures, the concept of “psycho-bibliography” has been proposed. In this concept, the notions of “psychobiography” and “bibliography” are combined. As an experimental literary study field psycho-bibliography assumes projecting the artist's psychical evolution onto his oeuvre, in particular, onto the periodicity of the publication of his books. Despite the harmonious relationships in Antonych's family, his works have shown a confrontation with the Paternal figure caused by his challenged separation from the Maternal figure. Both lead to deep internal conflicts in the writer’s psyche. In the article, it has been defined the specifics of the Paternal and Maternal semantic codes’ implementation in the poetics of B. I. Antonych, has been deciphered the poetic code of their symbolization, as well as characterizes the mental fluctuations expressed in the lyrics between Maternal and Paternal figures as the basis of an alternative interpretive strategy of the artist's work. The B.-I. Antonych's debut collection "Greetings of Life" (1931), despite the dominant motives of travel, youth, and sports, contains a number of poems on the topic of creativity as a dangerous but inevitable vocation for the lyrical subject. For him, creativity is associated with maternal power. He perceived his own devotion to it as a betrayal of the parental authority. As a symbolic compensation for this "sin", the collection "Great Harmony" (1932-1933) has been written. "Great Harmony" is marked by the dominant motives of trust in God and his Guidance, by which the parental archetype is guessed. In the poetics of the next collection, "Three Rings" (1934), the maternal archetype is actualized again. The priority of maternal energy is expressed through the symbolic triad "Night"-"Nature"-"Song" ("Creativity"). The lyric hero is ready to dissolve in the maternal substance, although it can reinforce his fear of confrontation with the parental world, as well as the fear of losing himself in the maternal one. The yearning to reduce this fear had caused a compensatory attraction to the paternal substances Logos, Law, and Order - in the next collection "The Book of the Lion" (1935). The balancing of maternal and paternal energy determines the poetics of the last B. I. Antonych’s collections "Green Gospel" and "Rotation" (both were published after the author’s death in 1938). The motive of death as the end of the life cycle characterizes the resolution of the mental conflict and the completion of the poet's / his lyric subject’s psychical evolution. The psycho-bibliographical approach of rereading Antonych’s oeuvre expands its interpretative field. In the article, contrary to numerous Antonych’s biography studies, there is an attempt to explain the strange logic of noticed author’s mental and art “ambiguity”.

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40

Веретюк, Тетяна Володимирівна. "Тема війни в поетичній спадщині Ігоря Муратова". Літератури світу: поетика, ментальність і духовність 9 (30 червня 2017): 42–52. http://dx.doi.org/10.31812/world_lit.v9i0.1070.

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The article is devoted to research of the military theme in Ihor Muratov’s poetry in the context of Socialist-realism literature. The poet’s verses, two poems «With Iron and Blood» and «Gate Wide-Open», and also the suite «Loboda the Partisan» were analyzed in detail. The researcher emphasized on the character and peculiarities of the corresponding historical time, which has had the doubtless influence on the formation of the writer’s talent.

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41

LYTVYN, Mykola. "A PROMINENT HISTORIAN OF THE KYIV CHURCH: IHOR SKOCHYLIAS (1967–2020)." Ukraine-Poland: Historical Heritage and Public Consciousness 13 (2020): 390–91. http://dx.doi.org/10.33402/up.2020-13-390-391.

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42

Freericks and Shvaika. "Honorary issue dedicated to the 80th anniversary of Professor Ihor Stasyuk." Condensed Matter Physics 21, no. 3 (September 2018): 30101. http://dx.doi.org/10.5488/cmp.21.30101.

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43

Baraban, Elena V. "Filming a Stalinist War Epic in Ukraine: Ihor Savchenko’sThe Third Strike." Canadian Slavonic Papers 56, no. 1-2 (March 2014): 17–41. http://dx.doi.org/10.1080/00085006.2014.11092753.

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44

Dereka, Tetyana, Volodymyr Iskra, Yadwiga Knotovich, Olena Gatsko, Irina Bistra та Dmytro Poznikharenko. "SOTSIALʹNO-PSYKHOLOHICHNA ADAPTATSIYA DITEY MOLODSHOHO SHKILʹNOHO VIKU ZASOBAMY IHOR U VOD". Sports Bulletin of the Dnieper 1, № 2 (27 березня 2019): 60–68. http://dx.doi.org/10.32540/2071-1476-2019-1-060.

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45

Gladun, Daryna. "PERFORMANCE AND TEXT (BASED UPON THE MATERIALS FROM ONLINE ARCHIVE ‘ODESSA ART IN 1980-S’)." Fìlologìčnì traktati 12, no. 1 (2020): 29–41. http://dx.doi.org/10.21272/ftrk.2020.12(1)-3.

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The article studies the role of the text in performances conducted during 1980s in Odessa by the participants of so-called ‘Odessa school’ Serhiy Anufriyev, Leonid Voytsekhov, Yuriy Leyderman, Svitlana Martynchyk, Volodymyr Naumets, Alexander Petrelli, Oleh Petrenko, Liydmyla Skrypkina, Ihor Styopin, Ihor Tshatskin (solo or as participants of art groups ‘IU’, ‘Martynchyky’, ‘Pertsi’. Following research discovers, systematizes, and analyzes materials of online archive ‘Odessa Art of 1980s’ created in 2000 by Odessa Centre of Contemporary Art in collaboration with Institute of Contemporary Art. The article, therefore, overviews over twenty individual and collective pieces of Performance Art, in particular: ‘Cross-Zero’ (1982), ‘Russian Idyll ’ (1982), ‘Pacifist Demonstration’ (1983), ‘Leaning Against Pillar’ (1983), «[Among Other Things]» (1983), ‘I Admire Friends’ (1983), ‘David’s Shield’ (1983), «Basin» (dedicated to ‘Muhomory’) (1984), ‘This Secret Word’ (1984), ‘Flag Killing Methods’ (1985), ‘There I Were a Man’ (1985), ‘To Hit a Wall and a Black Wife’ (1987), ‘Like a Shot’ (1987), ‘The Most Precious’ (1987), ‘Exploration of Art Deposits’ (1987), ‘Vasia Was Here’ (1987) etc. as well as performance-exhibition ‘Relatives’ (1983). The attribution and description of all studied pieces of Performance Art is based exclusively on the data gained from the online archive (even though some of the data are controversial). The performances mentioned in the archive are catalogized. The main challenges of the archive-based research in performance studies are underlined.

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46

Telvak, Vitalii, and Lidiia Lazurko. "The Idea of Political Separation in the Ukrainian Intellectual Discourse in the middle of the 19-th – Beginning of the 20th Century (Ihor Hyrych, Ukrainian Intellectuals and Political Distinctiveness (The Middle of the 9th Century – Beginning of the 20th." Scientific Papers of the Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University. Series: History, no. 36 (June 2021): 120–24. http://dx.doi.org/10.31652/2411-2143-2021-36-120-124.

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The article reviews the monograph by Ihor Hyrych which examines the theoretical bases of formation of independent sociopolitical thought in Ukraine (in the middle of the 19th – beginning of the 20th century). It covers the main tendencies of an independent state ideology at different periods of the national liberation movement. There is a characteristic given to the main groups of Ukrainian intellectuals and some of their leading representatives in connection with the attitude to the idea of Ukrainian political identity.

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47

Sluhenska, Ruslana, and Iryna Kaizer. "Sport theme in the oeuvres of Bohdan Ihor Antonych and Kazimezh Vezhynskyi." Current issues of social sciences and history of medicine, no. 1 (February 22, 2018): 81–83. http://dx.doi.org/10.24061/130990.

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48

Buschtedt‐Kociumbas, Irene. "IHOR MICHAEL KOCIUMBAS (16.6.1944–4.7.2020): A beautiful soul – a life well lived." Journal of Medical Imaging and Radiation Oncology 64, no. 6 (October 13, 2020): 827–28. http://dx.doi.org/10.1111/1754-9485.13108.

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49

Dziewulska, Małgorzata. "Łeś Kurbas, cztery ostatnie obrazy." Konteksty. Polska Sztuka Ludowa 343, no. 4 (February 28, 2024): 99–112. http://dx.doi.org/10.36744/k.2551.

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Fragment obszerniejszego eseju pt. Łeś Kurbas, dziewięć obrazów z książki Małgorzaty Dziewulskiej, która ukaże się w serii „Odzyskana awangarda” Instytutu Teatralnego im. Zbigniewa Raszewskiego pt. Awangarda podkarpacka. Dziewięćreportaży historycznych (Łeś Kurbas, Pawło Kowżun, Bohdan Ihor Antonycz, Stowarzyszenia Artystyczne, Leopold Lewicki, Teatr malarzy Cricot, Henryk Wiciński, Tadeusz Kantor, Józef Chrobak). W kolejnych obrazach: Łeś Kurbas opuszcza Galicję; Kijów i republika poetów w domu Heorhija Narbuta; Wertep Bożonarodzeniowy; żołnierska widownia Hajdamaków; poeta Mykoła Bażan na widowni teatru Kyidramte; teatr agitpropu - wertep w służbie propagandy; Osip Mandelsztam na widowni Berezilu; Kurbasa inscenizacje Makbeta Szekspira, Teatr i szafot.

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50

Editors. "HONORARY ISSUES DEDICATED TO THE 60-TH ANNIVERSARY OF PROFESSOR IHOR STASYUK'S BIRTHDAY." Condensed Matter Physics 1, no. 1 (1998): 3. http://dx.doi.org/10.5488/cmp.1.1.3.

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