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“Східні поеми” П. Куліша на перехресті азіатського містицизму і європейського романтизму
Get PDFThe paper considers the main Panteleimon Kulish’s epic poems “Marusia Bohuslavka”, “Baida, Prince Vyshnevetskyi”, “Muhammad and Hadiza” with the focus on their oriental background. The idea of the eastern orientation of P. Kulish originates from the works of V. Shchurat, V. Ivashkiv and others. The main attention is drawn to the fact that Kulish was considerably acquainted with eastern cultures and religious systems (especially those of Near East and Middle East which he had to know as a translator of Bible) and often used eastern concepts in his philosophic and literary works. The researcher traces the influence of different factors in Kulish’s ‘Eastern poems’ at the levels of ideology and imagery. The analysis reveals that the main sources of the author’s creative ideas were the eastern religious mystical systems (such as Islam, Sufi sm) as well as European Romantic works, in particular those by Lord Byron and P. B. Shelley, that were created under the same influence of the eastern philosophic doctrines and philosophy of Spinoza. This content was most vividly embodied in Kulish’s ‘cordocentric’ doctrine contrasting with ‘ratiocentric’ European philosophies. The emphasis on the concept of the heart and emotional sphere is most eloquent and obvious in the image of Woman that is interpreted as the eastern category of eternal femininity. The eastern focus is also noticeable at the thematic level (the concepts of Truth, Love, and Eternity). The main poetical peculiarities of the analyzed works are found in the mystical thinking and belief in the sacred power of the Word. Thus the language of the poems is very allegoric, enigmatic, and mysterious; it rather veils the main meaning than reveals it. So it results in double meaning or multiplicity of interpretations and demands reading the poems with a search for a certain code or cipher for decoding the author’s imagery and parabolic content. That is why the poems leave the impression of paradoxical thinking and remain difficult for understanding which relate them to the works by Lord Byron and P. B. Shelley (“Revolt of Islam”). Probably this combination of Asian mysticism and European philosophies was the main reason why some critics accused Kulish of being ‘non-synthetic’ personality (S. Yefremov). But oriental focus reveals the new way for understanding and interpreting the poems by Kulish, as well as his philosophic doctrine and personal position in life.У статті проаналізовано поеми П. Куліша “Маруся Богуславка”, “Байда, князь Вишневецький”, “Магомет і Хадиза” з погляду їх орієнтального підґрунтя. Основними джерелами “Східних поем” є релігійні містичні системи (іслам, суфізм), твори європейського романтизму (Дж. Байрона, П. Б. Шеллі) та філософія Спінози. Найяскравіше це втілилося в кордоцентричній доктрині. Найбільше концепція Серця репрезентована в образі Жінки (категорія вічної жіночності). Східний ракурс увиразнюється на тематичному рівні (концепти Істини, Любові, Вічності). Особливості поетики виявляються в містичному мисленні. Мова поем алегорична, загадкова, таємнича, що провокує подвійний сенс чи багатозначність інтерпретації, спонукає до розкодування авторської образності та притчевості. Орієнтальний ракурс відкриває нові шляхи для розуміння Кулішевих поем, його філософської доктрини й особистої життєвої позиції
Колористичні засоби художньої виразності в прозі Володимира Дрозда
Get PDFThe paper deals with coloristic means in the works by the well-known Ukrainian writer-Sixtier. It focuses on the functions of colors and color effects in the text, their analogues in painting, and the role of the colors in showing semantic and mood accents or expressing some implicated meanings. The researcher traces accordance of the literary means with expressive resources of painting art as they are recorded in the theory of art.
Throughout all the periods of the writer’s creative work the prose by V. Drozd shows the author’s attention to the plastic wealth of the outside world and its coloristic potential. The search for the graphic forms of a psychological analysis, as well as the mood dominant, the background of event, the expressive color markers of semantic accents or meaningful image components of exposition, and, after all, the very painting-like modeling of the landscape or interior, stimulated new graphic experiments that renewed and deepened aesthetic impact of a literary work on a reader, due to the culture of visual perception and constructive imagination.
The first attempts of verbal design and color rendering in V. Drozd’s works still testify to his literary apprenticeship showing excessively decorative nature, unambiguity of semantic associations, bright hues and chromatic saturation that looks rather as adopted from pictures and not taken from nature. Such artistic approach to the theme generates enormous, and at the same time ideologically typical, pathos associated with aesthetics of socialistic realism and therefore with the teaching function of art.
The development of coloristic culture in the works of the prose writer is rooted in his attention to the rich range of hues, their emotional and expressive potential, and also in the author’s desire to show a psychological action in a more plastic and suggestive way. In order to reproduce the coloristic variety of sensory experience and underline important semantic implications the writer skillfully works on the parameters of achromatic light environment which becomes symbolized or transformed in a fantastic and hyperbolic way due to the expressive function of light markers.
The light and color contrasts or combinations of hues may underline some essential semantic aspects of the verbal picture components within the reproduction of a landscape. The analysis of figurative and modeling means proves the artistic functionality of the verbal analogues of painting in V. Drozd’s prose, and its consistency with the aesthetic dominants of the Sixtiers.У статті розглянуто малярський колористичний потенціал прози відомого українського письменника-шістдесятника. З’ясовано художні функції кольорів і світлових ефектів, їх аналоги в картинній композиції, роль у розкритті змістових, настроєвих акцентів і конотаційних підтекстів, відповідність малярським виражальним ресурсам, зафіксованим у теорії мистецтва.
 
Драматургія Пантелеймона Куліша: історичне і духовно-філософське
Get PDFThe paper explores the ground of the ideas, plots, and schemes of conflicts in ideological dramas by P. Kulish. The two of them are conditionally symbolic while the other three are based on real historical material. The libretto of the musical performance “A Woman from the Farmstead, or Singing Praise to the Bride in front of the Wedding Guests” and multifaceted drama “Herod’s Trouble” show combination of biblical, i. e. international, elements, while the latter also contains traditional folklore features of the Ukrainian Nativity Play. The other group of works makes up the trilogy, although P. Kulish interprets the selected topics in different ways and every time uses special literary techniques. The tragedy “Baida, Prince Vyshnevetskyi” depicts the conflict between the real historical figure, who was the founder of the regular Cossack army and folklore character, and representative of the Cossack poor, therefore between the knightly and lumpen forces. The heroes of the drama “Petro Sahaidachnyi” are prominent figures of the Ukrainian authorities, church, and culture of the 17th century, so the main conflict is determined by the concern for the development of cultural life; it unfolds in intellectual and philosophical sphere. The characters reflect on the problems of confrontation, combination of faith and science, possibility of spiritual or political struggle, etc. The ‘Old Ruthenian’ drama “Tsar Nalyvai” (the action takes place in the hot 1596) is the most dynamic; it has the most elaborate intrigue, but here the focus is rather on the deep symbolic language than on revealing the emotional or intellectual world of the characters. There are also some common features in all the dramas by Kulish. The author interpreted historical events estimated as the most important in a way of ideological conflict, combining historical phenomena and figures with symbolic (biblical and folklore) images and details.У статті розглянуто ідейно-сюжетні основи й конфліктні схеми ідеологічних драм П. Куліша: двох ранніх – умовно-символічних і трьох, основаних на реальному історичному матеріалі. У лібрето музичної вистави “Хуторянка, або Співана хвала молодої перед весільними гістьми” та драмі “Іродова морока” використано елементи біблійні та українські фольклорні. Твори, що складають
трилогію П. Куліша, базуються на різних історичних матеріалах та художніх прийомах. Конфлікт між засновником регулярного козацького війська, князем-лицарем і фольклорним персонажем, представником люмпенських шарів – в основі трагедії “Байда, князь Вишневецький”. Герої драми “Петро Сагайдашний” – визначні діячі української культури й церкви ХVІІ ст., які обмірковують буттєво-філософські проблеми. “Староруська” драма “Цар Наливай”, дія якої відбувається напруженого 1596 р., найбільш динамічна за вправно розбудованою інтригою
Про долю автографа вірша Т. Шевченка “Якось-то йдучи уночі…”
Get PDFThe article reveals the history of the autograph of Taras Shevchenko’s poem “Once I Was Walking at Νight” (“Yakos’-to yduchy unochi”). The poet wrote it in the autumn of 1861. The existence of this autograph was reported by Dmytro Zatyrkevych, who found it while sorting the archive of his late father Ivan Zatyrkevych. The latter himself was a talented poet and began to write poetry being a student of the classical school in Nizhyn. His fable “Puddle” was published in the journal “Osnova” and became popular thanks to the famous Ukrainian actress Hanna Zatyrkevych-Karpinska. She advised the fable to Marko Kropyvnytskyi, who repeatedly and with constant success read it from the stage. Having graduated from Nizhyn, Ivan Zatyrkevych became a military man and participated in the Crimean War. In 1861 he served in Orel, where on May 2 the farewell procession with the body of Taras Shevchenko came. Ivan Zatyrkevych took an active part in preparing the farewell ceremony in Orel. In gratitude, Ivan Lazarevskyi, who was the main organizer of the mournful procession in honor of Taras Shevchenko in Orel, presented the autograph of the poem “Once I Was Walking at Night” to Zatyrkevych. At the top of the autograph, there is an inscription made by an unknown hand: “Autograph by T. H. Shevchenko presented to me by Lazarevskyi in Orel.” A comparison of the handwritings made it possible to establish that this inscription belongs to Ivan Zatyrkevych. In the summer of 1911 Dmytro Zatyrkevych announced his ȇnd to Mykhailo Hrushevskyi and then offered selling an autograph, as he needed money. Apparently, Mykhailo Hrushevskyi agreed and bought an autograph. Hrushevsky published fragments of the correspondence with Dmytro Zatyrkevych and selected poetic and prose works of Ivan Zatyrkevych within the article “One from Nizhyn” in the journal “Literaturno-Naukovyi Visnik”.У статті досліджено історії автографа вірша Тараса Шевченка “Якось-то йдучи уночі”, який поет написав восени 1860 р. Про існування цього автографа 1911 р. повідомив Дмитро Затиркевич, який знайшов його в архіві батька, Івана Затиркевича. Останній 1861 р. служив в Орлі, куди 2 травня прибула для прощання труна з тілом Шевченка. Головним організатором скорботних урочистостей в Орлі був Іван Лазаревський, котрому допомагав І. Затиркевич. Вдячний Лазаревський і подарував Затиркевичеві автограф вірша. Угорі над текстом напис: “Автограф Т. Г. Шевченко, подаренный мне Лазаревским в Орле”. Проведений у статті зіставний аналіз почерку на автографі та рукописів Івана Затиркевича дав змогу встановити їх тотожність. Цей автограф та знайдені в ньому розбіжності з остаточним текстом проливають світло на процес роботи поета
У вінок Каменяреві. Іван Франко у книжковій графіці
Get PDFThe paper analyzes ways of honoring the anniversary of Ivan Franko’s birth. The author focuses on the work of leading graphic artists who created illustrations to Franko’s works being inspired by wisdom of the classic.У статті проаналізовано, котрі якими заходами вшанували ювілей Івана Франка. Розглянуто творчість провідних художників-графіків, які зверталися до невичерпної, неосяжної мудрості класика та створювали ілюстрації до його творів
Філософська парадигма художнього перекладу:феномен нерозуміння “чужого” слова й тексту
Get PDFThe paper analyzes philosophic aspects of the translator’s misunderstanding of the original text which always reflects cultural and mental experience of the ‘other’ system of literary thinking. The translator is a mediator, who not only tries to insert a literary word and a text into ‘our’ culture, but also depicts ‘other’ reality in terms of symbols and images of the ‘other’ system of national understanding of senses. It is obvious that there are a lot of mental and semantic differences and transformations between the original text and the translation. This is a problem with a specific metaphysical status, when the misunderstanding of the original text may be caused by a number of aspects, some of which lie outside the text itself and its translation. The search for the new forms of thinking beyond the traditional stereotypes of rationality and self-evidence of “cogito” creates a new approach to the tasks and the essence of literary translation. Today one may confidently say that a new ethics, psychology and aesthetics of literary translation were born. The postmodern crisis of communication, as well as multicultural diversity and transcultural dialogue stimulated new forms and mechanisms for representing ‘other’ cultural experience (the experience of the ‘other’ / ‘alien’).
According to the new paradigm of literary translation the translator must be focused on the philosophical aspects of the translation process. This is not only about the connection between the ‘subject’ and the ‘word’, or ‘thought’ and ‘experience’ that should have been reproduced in translation, but also about a specific metaphysical basis for the new process of thinking about a word and its role in overcoming the situation of misunderstanding of the ‘other’ literary text that presents other literary national tradition.
The author of the paper comes to the conclusion that the phenomenon of misunderstanding of the ‘other’ word and text stems from the possibility of reading and rereading the text falsely. At the same time, the ‘misunderstanding’ of the original text gives an important chance to the translator for reading and rereading the original text alternatively.У статті проаналізовано філософські аспекти проблеми нерозуміння перекладачем тексту оригіналу, який завжди постає як культурний і ментальний досвід “чужої” системи художнього мислення. Перекладач тут виступає як посередник, котрий намагається “перенести” не лише художнє слово й текст у “свою” культуру, а й відтворює “чужу” дійсність в образах і символах “іншої” системи національного смислорозуміння. При цьому природно виникають моменти ментальних розбіжностей, семантичних “розривів” і трансформацій між текстами оригіналу й перекладу. А це породжує проблему з особливим метафізичним статусом, коли момент нерозуміння початкового тексту продиктований низкою чинників, зокрема й тих, що лежать за межами текстів оригіналу й перекладу
Вдячні читачі Шевченка з Наддніпрянської України: Володимир Антонович і Микола Лисенко
Get PDFThis paper outlines the portrait of Shevchenko’s reader from the Dnieper Ukraine in the first half of the 19th century based on the example of two prominent figures of Kyiv (Old) “Hromada” Volodymyr Antonovych and Mykola Lysenko. The first one represented the intellectuals from the Right Bank Ukraine, the second one ‒ from the Left Bank part. Under the influence of the Ukrainian national renaissance Volodymyr Antonovych became de-Polonized. He was the first political Ukrainian who understood the significance of Shevchenko’s poetry for the formation of Ukrainian national identity (this is evidenced by his memoirs and promoting Shevchenko’s works). According to M. Starytskyi, Mykola Lysenko perceived “Kobzar” passionately. Not only did he become de-Russificated under the influence of Shevchenko’s poetry, but also made the music to “Kobzar” a matter of his life.
The author of the paper emphasizes that Shevchenko’s works urged the intellectuals from the Right and Left Bank Ukraine, disconnected after the Truce of Andrusovo, to unite in “Hromada” movement. At the same time the Left Bank intellectuals dominated in “Hromada”. On the researcher’s opinion, this fact may be explained by the high level of education in the Cossak Hetmanate Ukraine. “Kobzar” was a cornerstone for the educational program of Ukrainian ‘narodnyks’ and this whole intellectual movement was based on it. Shevchenko’s works essentially contributed to spreading the Ukrainian idea in Galicia.
There is an opinion, that it was the Galician people who separated the Ukrainian national identity from Russian, while in the Left Bank Ukraine both of these identities coexisted. The author of the paper believes that the intellectuals in both parts of Ukraine in 1860s-1870s had an indistinct national identity. Unlike the Galicians the intellectuals from Ukraine under Russian rule, in particular Volodymyr Antonovych, could not speak openly about Ukrainian self-sufficiency. However Shevchenko (born in the Right Bank Ukraine) was first among Ukrainian intellectuals to voice a thesis about the separation of Ukrainians from Russians, about the distinctive Ukrainian history, language and literature that differ from the Russian ones.Авторка статті розглядає, як вплинула поезія Шевченка на національну ідентичність двох чільних представників громадівського руху в Україні – правобережця В. Антоновича й лівобережця М. Лисенка. Вона стверджує, що “Кобзар”– це книжка, що формувала українську політичну ідентичність. Під її впливом відбувалася деполонізація правобережної української інтелігенції й дерусифікація лівобережної. Поезія Шевченка була як головним елементом освітньої програми народництва, так і наріжним каменем народницької ідеології
Начерк драми Івана Франка “До Бразилії”: з історії нереалізованого “еміграційного” тексту
Get PDFThe paper provides an analysis of I. Franko’s unfinished drama “To Brazil” that deals with the first wave of the Ukrainians’ emigration, especially events of Brazilian Rush in 1895–1897. Since the literary text is based on important historical process, the authors characterize the special features of emigration from East Halychyna to the South American country at the late 19th and early 20th centuries. The research explores I. Franko’s participation in emigration movement and outlines the background of the author’s interest in creating literary work on the theme of emigration. Franko’s sketch of emigrational drama is not lengthy. It contains the list of characters, the author’s stage instruction describing the place of the first action (tavern), the first scene, and the beginning of the second. However based on the first fragment the features of conflict between two contrary characters’ groups are already noticeable. These groups are presented by peasants as eventual emigrants and their antagonist agent Podorozhnyi who acts in cooperation with a subagent Jew renter Moshko. It looks like in the play “To Brazil” the writer intended to highlight only key issues of the problem, in particular the emigrational agitation. Franko’s unfinished drama about the emigration contributed to appearance of the poetic cycle “To Brazil” (1896–1898) where its traditional topoi became somewhat transformed (the characters of peasants-emigrants, the agent, the Jewish subagent, archduke Rudolf, and motive of cheating). The mentioned cycle has an evident theatrical tone due to the dominance of role characters in lyrics. However, in the authors’ opinion, the drama, if it had been finished, could have offered more significant psychological analysis and enriched the presentation of Brazilian discourse in I. Franko’s literary works about emigration.
I. Franko’s unfinished drama is interpreted not only within the author’s ‘emigrational’ text but also in the general context of the Ukrainian literature at the turn of the 19th and 20th centuries dealing with emigration in Brazilian direction (L. Lopatynskyi’s dramas “Mother-in-law” (1899) and “To Brazil”; A. Chaikovskyi’s story “Brazilian Welfare” (1896); T. Borduliak’s short story “Ivan the Brazilian” (1899); D. Markovych’s short story “Brazilians” (1896), etc.). The mentioned works have their basis in traditional narrative with its fixed images (agent, emigrant, homeland, outland) and motives (departure agitation, travel obstacles, hard work abroad, comeback).У статті проаналізовано начерк драми І. Франка “До Бразилії”, присвячений першій хвилі еміграції українського населення, зокрема – подіям “бразилійської гарячки” 1895 – 1897 рр. Висвітлено особливості перебігу еміграції кінця ХІХ – початку ХХ ст. зі Східної Галичини до південноамериканської країни, покладені в основу драматичного фрагмента. Прокоментовано участь І. Франка в еміграційному русі. Окреслено передумови появи творчого задуму автора щодо написання художніх текстів на тему еміграції. З’ясовано особливості поетики начерку драми “До Бразилії”, різні варіанти розгортання сюжету. Драматичний фрагмент І. Франка розглянуто в межах “еміграційного” тексту письменника та української літератури зламу ХІХ – ХХ ст. про еміграцію в бразильському напрямку, розбудованих за зразком традиційного наративу
Культурний трансфер – нова методологія компаративістики
No full textA theory of cultural transfer was the branch of comparative literary criticism, although this theory declared its sharp opposition against the mentioned tradition of study. The comparative studies in humanities are based on the ideas of specificity of every culture, even when one deals with the influence of one culture on another. Instead of this approach, the theory of cultural transfer promotes not only a simultaneous study of several cultural and national spaces but also a research on disseminations and transformations that appear at any rapprochement between cultures both in an influential culture and in a perceiving one. Consequently, it is not the binary opposition that must be taken into account in cultural transfer but two cultures, one of which is necessarily comprehended as a culture-recipient, although the whole scheme is much more complicated. Any transition from one cultural space into another easily may cause some transformation.
Other ‘new element’ in the theory of cultural transfer is positioning the study of a cultural space periphery, i. e. connections with alien cultural space that every culture necessarily supports, in a center. This approach demonstrates that any phenomenon, no matter how specifically national it may be, actually is a complicated alloy of different cultures and influences.
The objects of cultural transfer include the history of translation. Another priority direction is a comparative study of the national forms of comparativism related to the history of intellectual and spiritual relations between different countries and nations. During the transfer from one cultural situation into another any object gets into another context and acquires a new meaning.
As focus of attention of a theory and studies of translation was shifting to the context of creation, operation and perception of translations, the research on the translated texts increasingly crossed the boundaries of the related disciplines that enabled learning this context – sociology, comparative studies, economics, history, cultural studies. The scholars aim to indicate the ways of manipulating the readers via translation, to explicate interests and values brought with every translation, to show how it forms the culture-receiver and values of society. The most attention is paid to the issues of ideology, economy and politics, the problems of ethnic responsibility of the translator. The object of cultural translation studies is the text in the system of literary and extra-literary meanings within the initial and receiving cultures. Cultural theory of translation raises the question of cultural prestige of the selected texts and determines the basis of this selection, the principles of forming and changing their status. One may focus also on the role of the commentator as an intermediary between the translator of the text and the readers to whom the translator wants to make his way through.У статті подано огляд тенденцій у розвитку сучасного підходу в аналізі літературних і культурних явищ. Теорія культурного трансферу одночасно вивчає не лише кілька культурних і національних просторів, але також і вкраплення, трансформації, які при будь-якому зближенні культур виявляються як у впливовій культурі, так і в культурі-сприймачі. Вивчення периферії культурного простору, тобто тих зв’язків, які кожна культура через необхідність підтримує із чужим культурним простором, стає пріоритетним, демонструючи в національному явищі складний сплав різних культур і взаємовпливів. До об’єктів культурного трансферу належить також історія перекладу. Студії перекладних текстів дедалі більше перетинаються з простором суміжних гуманітарних дисциплін. Об’єктом розгляду “культурологічного перекладознавства” стає текст у системі літературних і позалітературних смислів у межах вихідної культури і культури-приймача
Вірш Василя Стуса «Дозволь мені сьогодні близько шостої…»: спроба орфічно-просторового аналізу одного сновиддя
Get PDFThe paper presents an attempt to slowly read the poem by Vasyl Stus “Let me about sixth today…” (1975–1979) in order to identify connotative motifs of historical, cultural and subject-spatial nature. It is shown that the fixation of these motifs with the help of nouns (image), adjectives and verbs (motive) generates in the reader’s mind not so much an artistic space aimed at forming an “artistic image” as an architectonic space (plot) aimed at depicting the actions that cause (or subject to them) the semantic construction of the poem. The research methodology is based on the classical method of analyzing a poem, a comparative statistical one, which was proposed and developed by Boris Yarkho and Mikhail Gasparov. Counting nouns is carried out within such groups of them: objects; abstract concepts of the external world; abstract concepts of the inner world; appearance. The use of nouns made it possible to see that all concepts meaning things are subject to the compilation of a certain landscape or — more broadly — a space saturated with par excellence negative visual stimuli that one doesn’t want to notice. The figurative means of the poem that form spatial constructions and show temporal characteristics are indicated. The researcher explains the presence of the mythical motive of Orpheus and Eurydice, being characteristic for the creative consciousness of the poet. However, it looks like Stus changes the roles of Eurydice and Orpheus. In using the reverse perspective technique one should see Kyiv as a place of mythological events, akin to Hellenic, but, despite all the toponymic specifics, it lacks positive features: the anxiety of the myth about Eurydice is reflected here as well. The imprisonment of a hero is directly associated with the kingdom of Persephone and Hades. But the model is somewhat complicated: the reason of Orpheus’ anxiety in the ancient myth is somewhat obscure, while in the poem by Stus the hero really worries not so much about his beloved as due to eventual anxiety for his beloved, and therefore about her and her son.Здійснене «повільне прочитання» вірша Василя Стуса «Дозволь мені сьогодні близько шостої…» (1975 – 1979) з метою виявлення конотативних мотивів історико-культурного й предметно-просторового штибу. Показано, що карбування цих мотивів за допомогою іменників (образ), прикметників і дієслів (мотив) породжують у свідомості читача не так художній простір, спрямований на формування «художнього образу», як архітектонічний простір (сюжет), спрямований на унаочнення дій, що ними зумовлено (або їм підпорядковано) смислову конструкцію вірша. Виявлено за допомогою яких саме образних засобів у вірші подано просторові конструкції й окреслено часові моменти. Прояснено наявність міфічного мотиву Орфея й Еврідіки, що властиво творчій свідомості Стуса