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На берегах праці О. Бороня про Шевченкові повісті
Get PDFThe essay may serve as marginal notes on the fundamental Oleksandr Boron’s study about the Russian novels by Taras Shevchenko. The Boron’s idea about these stories as an organic phenomenon of bilingual Ukrainian literature of the 1850s is supported and supplied with additional arguments, despite the fact that Shevchenko himself intended them for his debut in “the Russian word”. It is proved that no publishing catastrophe with the stories ever happened; the author deliberately refused to publish them. The high didactic and aesthetic value of Shevchenko’s stories is emphasized on the background of contemporary Russian magazine prose. Some facts concerning Shevchenko’s reading have been specifi ed.Стаття являє собою нотатки на берегах фундаментальної монографії Олександра Бороня про російські повісті Тараса Шевченка. Підтримано та додатково аргументовано ідею автора про повісті як про органічне явище двомовної української літератури 1850-х років, хоча суб’єктивно Шевченко призначав їх для дебюту “в великорусском слове”. Показано, що жодної видавничої катастрофи з повістями не сталося: автор свідомо відмовився від їх публікації. Указано на високу ідейно-естетичну цінність повістей Шевченка на тлі тогочасної російської журнальної прози. Уточнено деякі факти в галузі лектури Шевченка
Чи належить Тарасові Шевченку малюнок “Мойсей добуває воду”?
Get PDFThe author positively denies Shevchenko’s authorship of the picture placed in the appendix to the 8th volume of the Complete collection of works by Shevchenko in 12 volumes, reminding about the big article by Vasyl Afanasyev «Let’s Not Be Tempted by Sensation... An Attempt to Review One Publication», which was not mentioned in the commentary on the work. Yet in 1993 the art expert spoke against the attribution of the picture to Shevchenko and pointed out the probable author – Alexandr Agin. Some additional arguments in favor of Afanasyev’s opinion have been presented.Автор категорично відкидає Шевченкове авторство малюнка, уміщеного в додатку до восьмого тому Повного зібрання творів Шевченка у 12 томах, нагадуючи про замовчану в науковому коментарі до твору розлогу статтю Василя Афанасьєва “Не спокушаймося сенсацією… Спроба рецензії на одну публікацію”. Мистецтвознавець іще 1993 р. виступив проти атрибуції малюнка Шевченкові й указав на ймовірного справжнього автора – Олександра Агіна. Наведено кілька додаткових аргументів на користь думки В. Афанасьєва
Роман, який не вдалося “спалити” (до питання рецепції “Собору” О. Гончара)
Get PDFThe paper considers reception of O. Honchar’s novel “The Cathedral” (“Sobor”) taking into account its controversial manifestations, both in Ukraine and in the diaspora (Y. Boyko, V. Donchyk, I. Koshelivets, D. Pavlychko, A. Pohribnyi, L. Rudnytskyi, Y. Sverstiuk, G. Tiutiunnyk, Y. Sherekh).
The functional role of “The Cathedral” in the development of the national literature, then inseparably linked with the social life of Ukraine, is conceptualized, first of all, based on Y. Boyko’s ideas (whose article “Incinerated Novel”, one of the first reviews on this Honchar’s book in the diaspora, remained unknown in Ukraine until now).
The researchers’ opinion of this novel as a ‘culmination’ of the writer’s creative work is actualized considering its powerful nation-building role, and, at the same time, a special attention of the writer, who was a representative of ‘poetic realism’ (A. Pohribnyi) in the Ukrainian literature, to such national spiritual values as native language, culture and history. There is an internal connection of the symbolic images of the cathedral (“The Cathedral”) and the Mother of God (“Your Star”) with the author’s thoughts about the fate of his people on a ‘planetary scale’ running through all his literary work.
It is stated that O. Honchar’s novel “The Cathedral”, while promoting national literary tradition, rises to the highest level in comprehension of universal human problems, remaining nevertheless deeply rooted in its Ukrainian ground and promoting national literary tradition. This ‘universal piece of art’ (L. Rudnytskyi) is still extremely relevant and serves as ‘a tower of strength’ (Y. Sverstiuk) for spirituality of the nation.У статті проаналізовано рецепцію “Собору” О. Гончара з огляду на різні її аспекти як в Україні, так і в діаспорі (Ю. Бойко, В. Дончик, І. Кошелівець, Д. Павличко, А. Погрібний, Л. Рудницький, Є. Сверстюк, Г. Тютюнник, Ю. Шерех).
Крізь призму сприйняття твору насамперед Ю. Бойка (його стаття “Спалений роман” – один із перших відгуків на твір Гончара в діаспорі – майже невідома та не оприлюднена в Україні) осмислено функціональність “Собору” в тогочасному розвиткові української літератури, нерозривно (!) пов’язаному із соціокультурним життям
Олександра Псьол як читачка Шевченка
Get PDFThe author of the paper finds out which poems Alexandra Psiol sent to exiled Shevchenko. In the researcher’s opinion, Alexandra Psiol began to write her poems just under the influence of Shevchenko, in her case Shevchenko was a real Pygmalion. Alexandra Psiol is an important person not only in the context of Shevchenko’s biography, but also in Ukrainian literature, because she was in fact the first Ukrainian poetess not only of the romanticism period, but also of the time when Ukrainian literature was taking its separate place in the literary stream of the Russian empire. Shevchenko’s influence on her poetics was significant, but the poet himself did not consider her as an epigone, he saw a literary sister in her.Авторка статті з’ясовує, які вірші передавала Олександра Псьол на заслання Шевченкові. На її думку, О. Псьол почала писати свої вірші саме під впливом Шевченка, у її випадку поет був справжнім Пігмаліоном
Локалізація часопросторової моделі дитячого життя (на матеріалі усної ігрової традиції Поділля)
Get PDFAnalyzing the texts of popular games in Podillia region as nationally identifying folk forms, the researcher distinguishes the temporal-spatial model of the child’s community and suggests a definition of the folklore category ‘game’. The emphasis is made on the fact that a game is characterized by the clear limits of its time and space as well as the participants’ gender, age and social features. The monitoring of the existing games testifies to the local preservation of game tradition in Podillia region.
The textual material is analyzed in accordance with the time of the game practice. The games for adults with children have been specified, as they ensure the socialization and development of the person (physical, psychological, spiritual).
The dominant role of the song subtext of the game text, which includes the unity of the verbal, actional and substantive components, is emphasized. The basic form of the game practice is a mutual communication “mother↔child”, which makes it possible to identify the game situation by establishing a balance at the level of the age rating “adult/small”. The author focuses on the symbolic meaning of choosing the playing space defined by the circle (players move around / the game takes place inside the circle), where the circle is a playground. The game locus of the shepherd players is singled out. The temporal characteristics of such games are related to the limits of the agricultural calendar.
A special attention is paid to the universal ability of a game to overcome the restrictions of the real world and, at the same time, to be one of the fundamental ways of knowing it.Автор дослідження на основі комплексного аналізу текстів народних ігор Поділля як національно-ідентичних фольклорних форм виокремлює часопросторову модель дитячого соціуму. Запропоновано авторське визначення фольклористичної категорії “гра”. Акцентовано увагу на тому, що грі властиве чітке окреслення ігрового часопростору та гендерного, вікового, соціального цензу учасників.
Текстовий матеріал проаналізовано відповідно до часу ігрової практики; виокремлено ігри дорослих із дітьми, які забезпечують соціалізацію та розвиток індивіда (фізичний, психологічний, духовний). Зосереджується увага на універсальній здатності гри долати межі реального світу, бути одним із фундаментальних способів його пізнання
Візуальні форми та їх роль у модерністському романі (“Чотири шаблі” Юрія Яновського)
Get PDFCompared to realism, the modernism of the 1920s had a broader use of visual forms. Its immanent features and syncretism of the Ukrainian art of the period are the main reasons for that. Visual forms of art were especially prominent at this time (painting, cinema, theater, architecture). The first avant-garde tendencies appeared in these art forms and later permeated literature, changing its genres and style. While describing the modern time we can mention the ‘all-seeing eye’ (M. Bakhtin) of numerous writers of the period, their ability to see the world through visual images, impressions, details. New verbal and visual genre and style forms appear (or reappear and become active if they existed before): visual poetry, prose, screen novel, movie essay etc. Visual elements of other art forms permeate the literary texts. At this time greater polyphony of encoded meanings and their various readings become possible.
The “Four Sabres” novel by Yuriy Yanovskyi is typical for the 1920s. Its visual forms are an important part of the author’s modernist individual style. They originate in cinema. One may talk of cinema (visual) nature of this author’s world perception.
The analysis of the work in the light of visual poetics shows new semantic facets and deepens its modern interpretation. The novel’s visual space expands the historical time to the limits of existential perception. The paper analyzes visual descriptions, images, means, methods (‘living pictures’, montage, visual details), their functional role in the structure of Ukrainian modernist novel. The verbal photo shot in Yanovskyi’s work is compared to the illustration by Vasyl Krychevskyi (the 1930 edition), which complements it and deepens the idea of the author’s historiosophy.Розгляд “Чотирьох шабель” Ю. Яновського крізь призму поетики візуальності відкриває нові смислові грані цього репрезентативного для 1920-х років твору. Його візуальний простір розширює історичний час до меж екзистенційного сприйняття. У статті аналізуються візуальні описи, образи, засоби, прийоми (“картини, що оживають”, кіномонтаж, візуальні деталі, ілюстрація В. Кричевського до видання 1930 р. та ін.), їхня функціональна роль у структурі українського модерністського роману
Творчий шлях Бориса Грінченка
Get PDFThe essay attempts to outline the most important stages of Borys Hrinchenko’s creative work. It must be emphasized that Shevchenko’s poetry made a significant influence on the formation of the creative principles of the young author, and, after all, on his whole life. He became a defender of the Ukrainian national idea and a fighter for it on the field of Ukrainian word. With the official prohibition of education as a punishment for manifestation of revolutionary activity, Hrinchenko ardently started his self-education and developed a comprehensive cultural and educational program for himself. Subsequently, he began to write and publish books for common Ukrainian people and dreamt about a popular library for them.
Having made his debut as a poet, B. Hrinchenko passed the exam for being an elementary school teacher. The result of more than a decade of his teaching (1881–1893) was a series of pedagogical research works and textbooks. The writer tried to raise the culture of the people, to prompt their social activity and promote civilized forms of life among them.
The Chernihiv period of the writer’s life was the most productive for his cultural and educational work. More than 50 books for common people were issued in Hrinchenko’s publishing house (founded in 1894). His fruitful work in the fields of folklore studies and ethnography was reflected in the three volumes of stories, tales, legends and songs published under the title “Ethnographic materials collected in Chernihiv and neighboring provinces” (1895–1899). At the same time in Chernihiv B. Hrinchenko successfully worked as a writer. In particular, he wrote a remarkable dilogy “At the Dark of Night” (1900) – “Under the Quiet Willows” (1901). The hard work of Hrinchenko and his spouse Mariya Zahirnia in favor of the Ukrainian cause as well resulted in the catalog of the first Ukrainian national museum (“Catalog of the Ukrainian Antiquities Museum of V. Tarnovskyi, Compiled by B. Hrinchenko").
In 1902, Borys Hrinchenko moved to Kyiv with his family, intending to focus on the literary work only. However, the actual writing activity was again interrupted for almost two years by vigilant work on the completion of the 4-volume dictionary of the Ukrainian language, which remains an important source to this day.У статті окреслено найважливіші етапи творчого шляху Бориса Грінченка. Звертається увага на основні віхи життя письменника як поета, прозаїка, драматурга, перекладача, педагога, видавця, публіциста, критика, фольклориста, етнографа, мовознавця
Вплив мистецьких стилів на обкладинки часописів першої третини XX століття
Get PDFThe article analyses the influence of artistic styles on the magazine covers of the 1st third of the 20th century in different regions of Ukraine. The modifications of the artistic approaches in the context of social-historical events, the connection between the fonts and the plots are considered. The study focuses on changes that occurred in society, and shows how the new ideology was reflected in changing styles and figurative content. At the turn of the 19th and 20th centuries Ukrainian graphic arts became a part of the European artistic process. Journal and book graphics, drawings for magazines and newspapers - these forms of graphic art acquired a priority development in the fine arts and shaped the cultural life of that time.
Today, objectively evaluating the Ukrainian culture of this age as blooming, one should appreciate the importance of the development of Ukrainian book printing. Analysing the peculiarities of the national graphic arts, especially in the area of books, periodicals, almanacs, the researcher notes the constant attraction that the artists had to national traditions and symbolic images of folk art. The movement for a national style developed in the context of complex, intense artistic life in Ukraine that was oriented mainly on common European tendencies or traditions of Russian art. The artistic process involved young artists who received artistic education in Munich, Vienna, Paris, Cracow, St. Petersburg and Moscow, but the vast majority had ties with Russian and Polish art.
Symbolism and modernism were the leading artistic styles of the graphic art in the first two decades of the century. At the same time, the futuristic movement, which included features of cubism, expressionism, and neo-primitivism, was also noticeable. The arts of the poster and the book and magazine cover enriched and complemented one another. The artists often combined different stylistic trends. In the 1920s – early 1930s the constructivist trend prevailed. У статті проаналізовано вплив мистецьких стилів на обкладинки часописів першої третини XX століття різних регіонів України. Розглянуто видозміни художнього вирішення обкладинок у контексті соціально-історичних подій, взаємозв’язок шрифту й сюжету. Прослідковано, які зміни відбулися в суспільстві і як саме нова ідеологія відбилася на зміні стилів та образного змісту
Український поет із Румунії Кирило Куцюк-Кочинський у світлі мемуарів та поетичного самовираження [Закінчення. Початок див.: Слово і Час. – 2018. – № 7. – С. 11–23.]
No full textThe paper offers the first attempt of summarizing and interpreting the life history and poetic heritage of Kyrylo Kutsiuk-Kochyns’kyi (1910–1991). Born in Ukraine, a qualified engineer, at the time of the Second World War he found himself in Romania and lived there to the end. The researcher traces the formation of human and creative individuality of this author, his patriotic sentiments, humanistic beliefs, artistic and aesthetic tastes, his reading interests, as they significantly influenced the writer’s self-expression. Debuting in 1974, K. Kutsiuk-Kochynskyi worked intensely in the field of writing and published more than a dozen books. They enriched the Ukrainian poetry with complex, metaphorical, maybe sometimes excessively complicated presentation of the inner world of a person in exile, full of peculiar and often very individual and subjective associations. It is a lyric of feeling, but also thoughts, although almost without descriptive or narrative components. Kutsiuk-Kochynskyi also worked as a translator. This part of his legacy includes a wide range of historical and literary works that represent a literature of many foreign countries. Kutsiuk-Kochynskyi’s poem «Long Wanderings of Odysseus» (1988) stands separately as a kind of autobiography and vivid literary reflection. The traditional (Homeric) plot, motifs and images of the original were rethought in accordance with the new sociocultural reality of the 20th century. They were compared with his own life path shown as a myth. Writing down this myth and the history in the all-Ukrainian and world dimension, the author thus expressed a number of overwhelming problems. They relate to war and peace, the moral, existential essence of man, his life, existential choice, complex relations with other people and civilization.
There is a need to republish in Ukraine at least the selected works by K. Kutsiuk-Kochynskyi, which would contribute to faster return of this writer to his proper place in Ukrainian literature.У статті здійснено спробу наукового першопрочитання життєвої історії та поетичної спадщини Кирила Куцюка-Кочинського (1910 – 1991). Народжений в Україні, за фахом інженер, він під час Другої світової війни опинився в Румунії, де й прожив до останку; дебютував у літературі 1974 р. Лірика К. Куцюка-Кочинського, як і створена на основі гомерівського епосу фантастична поема “Довге блукання Одіссея” мають автобіографічний підтекст. Вони збагатили українське письменство показом складного внутрішнього світу людини, її суб’єктивних, багато в чому індивідуальних переживань. Батьківщину, рідне поет-емігрант сприймав як фундаментальні цінності, відповідно і страждання, пов’язані з ними, стали провідним лейтмотивом творчості
Цивілізаційні парадигми полемічного діалогу Лева Кревзи та Захарії Копистенського
Get PDFThe monumental treatise by Zahariya Kopystenskyi’s “Παλινωδία” (1619–1622) appeared in response to the publication of Leon Kreuza’s book “Obrona jedności cerkiewnej” (1617). This allows us to view both texts in the format of polemical dialogue. This dialogue unfolds in the context of tectonic shifts, which changed the confessional map of the Reformation era Europe hitherto unidentified. The most important changes for Ukrainian culture were the Berestia Church Union of 1596 and the jurisdictional division of the Byzantine rite Christian community in the Polish-Lithuanian Commonwealth.
The positioning of the authors in the dimensions of European civilization, identified by them as a Christian one, is a characteristic paradigm of this dialogue. Leon Kreuza defends the model of integrating the patristic tradition, the synodical and liturgical life of the Greek East into a single civilizational space. The measure of this unity is recognition of the primacy of the Roman bishop. A departure from this unity makes the Church to depend on secular power, causes the catastrophic decline of education, the mess and sympathy in the consecration of clergy in the Byzantine East.
The tendency of Zahariya Kopystenskyi to localize the sphere of religious and cultural contacts with the Christian East opposes the integrationist intentions of Leon Kreuza. The logic of a confessionally motivated social conflict prompts Zahariya Kopystenskyi to polarize his model of the world. He consistently emphasizes the distance between the Christian West and the East and accuses the Papal Rome of splitting not only the Church but also of the Mediterranean civilization. In its historical model, “Sarmatian Rus’” appears an alternative to an unstable West. Zahariya Kopystenskyi includes “the Little Rus” (Ukraine) in a civilized space, lit by a continuous shining of the sanctity of Orthodox asceticism. And along with Little Rus, this space is formed by Greece, Bulgaria, Serbia, Wallachia – and “Great Rus” (Muscovy). The boundaries between Little and Great Russia are eroded. Logical in the parameters of polemics, this feature will become fatal for the Ukrainian sympathizers of the “Orthodox empire”.Монументальний трактат Захарії Копистенського “Παλινωδία” з’явився у відповідь на публікацію книги Лева Кревзи “Obrona jedności cerkiewnej” (1617). Це дає підстави розглядати обидва тексти у форматі полемічного діалогу. Характерна парадигма цього діалогу – позиціонування авторів у вимірах європейської цивілізації, ототожнюваної ними з християнською. Інтеграційним інтенціям Лева Кревзи протистоїть схильність Захарії Копистенського локалізувати сферу релігійних і культурних контактів християнським Сходом. Логічна в параметрах полеміки, ця риса стане фатальною для українських симпатиків “православної імперії”