Pub Date : 2023-01-01DOI: 10.17721/1728-2659.2023.33.06
Viktoria Hetman
The article highlights the use of infographics to effectively present the news material at BBC and CNN web pages. Infographic is a visual representation of information, data and knowledge. The infographic types that are widely used in news texts include maps, different kinds of graphs and charts such as bar/line/pie/column/bubble/gauge/stock/waterfall/flow charts; area/ hierarchy/circuit/tree diagrams; pictographs, timelines. Also, the symbiosis of infographic resources and additional graphic components (images, icons, geometric shapes, colour, numbers, and headers) was taken into account within the scopes of the current research. All of these allow controlling the infographics flow. Both verbal and nonverbal elements are considered to be crucially significant in creating the eye-catching and attention-grabbing infographic picture. Besides, the digital mode and colour play a significant role in presenting the information infographically. Numbers convey large amounts of information briefly and accurately and colour denotes emotionally valuable metaphorical meaning, stylistic and associative properties. The visual and the verbal can be integrated into a single syntagmatic unit. Verbal elements elucidate and decipher the nonverbal symbols, restate the message of the infographic image in a more precise way, distilling just one from the many possible meanings the image might have. Verbal items are represented by means of a single lexeme, a word combination or a simple sentence. Nonverbal components provide the verbal ones with the essential and highly informative visuals by showing the data, presenting many numbers in a small space, making large data sets coherent. They serve a reasonably clear purpose of description, exploration, tabulation and decoration. The visual elements serve as syntax identifying the participants by nonverbal means. Infographic is an effective and powerful tool to explain complex issues in a way that can quickly lead to insight and better understanding by making information easy to digest, educational, and engaging.
{"title":"INFOGRAPHICS USED IN NEWS TEXTS (BASED ON THE BBC AND CNN ONLINE NEWS)","authors":"Viktoria Hetman","doi":"10.17721/1728-2659.2023.33.06","DOIUrl":"https://doi.org/10.17721/1728-2659.2023.33.06","url":null,"abstract":"The article highlights the use of infographics to effectively present the news material at BBC and CNN web pages. Infographic is a visual representation of information, data and knowledge. The infographic types that are widely used in news texts include maps, different kinds of graphs and charts such as bar/line/pie/column/bubble/gauge/stock/waterfall/flow charts; area/ hierarchy/circuit/tree diagrams; pictographs, timelines. Also, the symbiosis of infographic resources and additional graphic components (images, icons, geometric shapes, colour, numbers, and headers) was taken into account within the scopes of the current research. All of these allow controlling the infographics flow. Both verbal and nonverbal elements are considered to be crucially significant in creating the eye-catching and attention-grabbing infographic picture. Besides, the digital mode and colour play a significant role in presenting the information infographically. Numbers convey large amounts of information briefly and accurately and colour denotes emotionally valuable metaphorical meaning, stylistic and associative properties. The visual and the verbal can be integrated into a single syntagmatic unit. Verbal elements elucidate and decipher the nonverbal symbols, restate the message of the infographic image in a more precise way, distilling just one from the many possible meanings the image might have. Verbal items are represented by means of a single lexeme, a word combination or a simple sentence. Nonverbal components provide the verbal ones with the essential and highly informative visuals by showing the data, presenting many numbers in a small space, making large data sets coherent. They serve a reasonably clear purpose of description, exploration, tabulation and decoration. The visual elements serve as syntax identifying the participants by nonverbal means. Infographic is an effective and powerful tool to explain complex issues in a way that can quickly lead to insight and better understanding by making information easy to digest, educational, and engaging.","PeriodicalId":33822,"journal":{"name":"Visnik Kiivs''kij nacional''nij universitet imeni Tarasa Sevcenka Istoria","volume":"74 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74649108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/1728-2659.2023.33.22
O. Shestopal
The article is dedicated to the problem of transposition of the Cervantes’s Code in the cinematographic adaptation of the novel Don Quixote by Orson Welles (1957-1992). The study focuses on identifying and revealing the aesthetic and ideological kinship of the film adaptation of the American director with the work of the Spanish writer, as well as on the analysis of methods and mechanisms of actualization of the main thematic, problematic, structural and narrative aspects of the novel of Cervantes at various levels of the Welles’s cinematic poetics. Welles retains the "intellectual" skepticism of Cervantes, but demostrates a greater affinity with the romantic tradition of reading this text, which at his time dominated the cinematic and scientific-critical discourse. The actualization of the anachronism of Don Quixote as one of the key thematic codes of Cervantes's novel is carried out by transferring the action of the novel to the Francoist Spain. The structure of the film reproduces the plot mostly on the basis of the first volume. Working in the "manner of Cervantes", the author of the cinematic adaptation uses a wide range of ludic, metatextual and metanarrative techniques that reveal the "auto-reflexivity" of his text. In addition, Welles' adaptation of Don Quixote transposes the linguistic and stylistic codes of the Spanish author's novel by using the cinematic montage techniques, oblique angle shots, and stylized mise-en-scène (in-depth). Those features, in turn, demonstrate the inherent kinship with the baroque style of the second volume. Welles stresses the ambivalence inherent in Cervantes's text: he criticizes modernity, but uses its achievements (especially the cinema) to implement his own utopian cultural program of the new knight of cinema. Welles's film chosen as the object of our study essentially and aesthetically remains "faithful" to the original and at the same time contributes to a deeper understanding of the Cervantes’s code in the modern media space and culture in particular. The film reveals the ability of Cervantes's code to adapt to modern communication technologies and changes in life (cinema, advertising, tourism) that not only present Don Quixote and Sancho Panza as anachronisms, but also ensure their immortality, proving the validity of Welles's idea who states that they are heroes for all ages.
{"title":"CINEMATOGRAPHIC TRANSPOSITION OF CERVANTES’S CODE IN DON QUIXOTE BY ORSON WELLES","authors":"O. Shestopal","doi":"10.17721/1728-2659.2023.33.22","DOIUrl":"https://doi.org/10.17721/1728-2659.2023.33.22","url":null,"abstract":"The article is dedicated to the problem of transposition of the Cervantes’s Code in the cinematographic adaptation of the novel Don Quixote by Orson Welles (1957-1992). The study focuses on identifying and revealing the aesthetic and ideological kinship of the film adaptation of the American director with the work of the Spanish writer, as well as on the analysis of methods and mechanisms of actualization of the main thematic, problematic, structural and narrative aspects of the novel of Cervantes at various levels of the Welles’s cinematic poetics. Welles retains the \"intellectual\" skepticism of Cervantes, but demostrates a greater affinity with the romantic tradition of reading this text, which at his time dominated the cinematic and scientific-critical discourse. The actualization of the anachronism of Don Quixote as one of the key thematic codes of Cervantes's novel is carried out by transferring the action of the novel to the Francoist Spain. The structure of the film reproduces the plot mostly on the basis of the first volume. Working in the \"manner of Cervantes\", the author of the cinematic adaptation uses a wide range of ludic, metatextual and metanarrative techniques that reveal the \"auto-reflexivity\" of his text. In addition, Welles' adaptation of Don Quixote transposes the linguistic and stylistic codes of the Spanish author's novel by using the cinematic montage techniques, oblique angle shots, and stylized mise-en-scène (in-depth). Those features, in turn, demonstrate the inherent kinship with the baroque style of the second volume. Welles stresses the ambivalence inherent in Cervantes's text: he criticizes modernity, but uses its achievements (especially the cinema) to implement his own utopian cultural program of the new knight of cinema. Welles's film chosen as the object of our study essentially and aesthetically remains \"faithful\" to the original and at the same time contributes to a deeper understanding of the Cervantes’s code in the modern media space and culture in particular. The film reveals the ability of Cervantes's code to adapt to modern communication technologies and changes in life (cinema, advertising, tourism) that not only present Don Quixote and Sancho Panza as anachronisms, but also ensure their immortality, proving the validity of Welles's idea who states that they are heroes for all ages.","PeriodicalId":33822,"journal":{"name":"Visnik Kiivs''kij nacional''nij universitet imeni Tarasa Sevcenka Istoria","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79266560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/1812-5409.2023/1.4
O. Borysenko, O. Borysenko
The non-autonomous stochastic density dependent predator-prey model with Holling-type II functional response disturbed by white noise, centered and non-centered Poisson noises is investigated. Corresponding system of stochastic differential equations has a unique, positive, global (no explosions in a finite time) solution. Sufficient conditions are obtained for extinction, non-persistence in the mean, weak and strong persistence in the mean of a predator and prey population densities in the considered stochastic predator-prey model.
{"title":"Extinction and persistence in stochastic predator population density-dependent predator-prey model with jumps","authors":"O. Borysenko, O. Borysenko","doi":"10.17721/1812-5409.2023/1.4","DOIUrl":"https://doi.org/10.17721/1812-5409.2023/1.4","url":null,"abstract":"The non-autonomous stochastic density dependent predator-prey model with Holling-type II functional response disturbed by white noise, centered and non-centered Poisson noises is investigated. Corresponding system of stochastic differential equations has a unique, positive, global (no explosions in a finite time) solution. Sufficient conditions are obtained for extinction, non-persistence in the mean, weak and strong persistence in the mean of a predator and prey population densities in the considered stochastic predator-prey model.","PeriodicalId":33822,"journal":{"name":"Visnik Kiivs''kij nacional''nij universitet imeni Tarasa Sevcenka Istoria","volume":"56 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79560026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/1728-2217.2023.53.22-26
К. Kravchenko, К. Kravchenko, О. Sokolina
The article presents analytical review of theoretical phase of psychological techniques development – metaphorical association cards "Masc" to work with servicemen (combatants) of the Ukrainian armed forces. The main purpose of the tools abovementioned is to increase efficiency of psychological support of servicemen (combatants) of the Ukrainian armed forces (including those who take part in combat actions in the combat area). Metaphorical association cards provide arrangement of constructive dialog between a serviceman and a psychologist that makes possible to optimise time for getting into psychological contact. Metaphorical associational cards are helpful both in performing of psychognosis of servicemen (individually and in groups) promptly and enabling to resolve numerous problems (normalize negative emotional conditions, increase motivation for activity, contribute to resolve conflict situations inside of unit) etc. Use of these cards is more practical because of massive refusals of servicemen to perform tests' tasks with traditional methods of psychognosis, i.e. survey, blank test procedures, computer-based automated psychological procedures, etc. The following results were obtained from theoretical phase of research: 1) peculiarities of metaphorical associational cards were defined, they were recognised as an active psychological tool. Procedure for their employment was determined. Basic recommendations for their development were formed; 2) particularities and advantages of Masc therapy method were defined, and recommendations for it practical use were developed; 3) advantages of both methods combination – Masc therapy method and metaphorical associational cards (MAC) use were established. Creation of psychological tools MAC "Masc" was the result of this research, it is designed for psychological work with servicemen (combatants) of the Armed Forces of Ukraine; 4) the basic list of problems was defined, that is the object to find solution for them by mean of abovementioned psychological tools. It is based on analytical description of part-time groups of psychological aid that accompany Ukrainian Armed Forces units in the battle area from the beginning of full-scale invasion; 5) the procedure for development of metaphorical association cards for psychological work with combatants of Ukrainian armed forces was created.
{"title":"Analytical review of theoretical phase of psychological tools development – metaphorical associational cards \"masc\" for the purpose of research of servicemen (combatants) of the Armed Forces of Ukraine","authors":"К. Kravchenko, К. Kravchenko, О. Sokolina","doi":"10.17721/1728-2217.2023.53.22-26","DOIUrl":"https://doi.org/10.17721/1728-2217.2023.53.22-26","url":null,"abstract":"The article presents analytical review of theoretical phase of psychological techniques development – metaphorical association cards \"Masc\" to work with servicemen (combatants) of the Ukrainian armed forces. The main purpose of the tools abovementioned is to increase efficiency of psychological support of servicemen (combatants) of the Ukrainian armed forces (including those who take part in combat actions in the combat area). Metaphorical association cards provide arrangement of constructive dialog between a serviceman and a psychologist that makes possible to optimise time for getting into psychological contact. Metaphorical associational cards are helpful both in performing of psychognosis of servicemen (individually and in groups) promptly and enabling to resolve numerous problems (normalize negative emotional conditions, increase motivation for activity, contribute to resolve conflict situations inside of unit) etc. Use of these cards is more practical because of massive refusals of servicemen to perform tests' tasks with traditional methods of psychognosis, i.e. survey, blank test procedures, computer-based automated psychological procedures, etc. The following results were obtained from theoretical phase of research: 1) peculiarities of metaphorical associational cards were defined, they were recognised as an active psychological tool. Procedure for their employment was determined. Basic recommendations for their development were formed; 2) particularities and advantages of Masc therapy method were defined, and recommendations for it practical use were developed; 3) advantages of both methods combination – Masc therapy method and metaphorical associational cards (MAC) use were established. Creation of psychological tools MAC \"Masc\" was the result of this research, it is designed for psychological work with servicemen (combatants) of the Armed Forces of Ukraine; 4) the basic list of problems was defined, that is the object to find solution for them by mean of abovementioned psychological tools. It is based on analytical description of part-time groups of psychological aid that accompany Ukrainian Armed Forces units in the battle area from the beginning of full-scale invasion; 5) the procedure for development of metaphorical association cards for psychological work with combatants of Ukrainian armed forces was created.","PeriodicalId":33822,"journal":{"name":"Visnik Kiivs''kij nacional''nij universitet imeni Tarasa Sevcenka Istoria","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78501266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/1728-2217.2023.54.57-62
V. Petkov, S. Petkov
The external aggression of totalitarian anti-democratic states against Ukraine is, among other things, caused by internal factors, including the crisis of democratic institutions and, above all, the conflicts that existed in the soviet system of law and have been recapitulated in the law of postsoviet countries. Ukraine's example of societal transformation is perhaps the most striking, as the imperial nature of power in the form of corruption, authoritarianism, repression, and disregard for rights and freedoms has also affected the newly formed Ukrainian political and economic environment. The military sphere, and especially the institution of legal responsibility of the military, is no exception, as it is extremely corruption- and crime-prone due to its isolation, conservatism, and multivector risks associated with both personal characteristics and the environment itself. Therefore, it requires urgent reform in accordance with NATO standards. However, this cannot be done without reforming the entire system of Ukrainian legislation. In accordance with the postulates of jurisprudence and practical necessity, the article substantiates the need to ensure legal certainty in the use of the terms "crime", "administrative offense", "disciplinary offense" in Ukrainian legislation, which are basic for the institution of legal liability. The author provides arguments in favor of distinguishing between the subject matter and grounds of liability for a crime, liability for an administrative offense and liability for a disciplinary offense in accordance with the Constitution of Ukraine. Proposals are made to create codified regulations governing various spheres of social and economic life and, above all, the military sphere.
{"title":"Legal responsibility for crimes: regarding the specific division of offenses","authors":"V. Petkov, S. Petkov","doi":"10.17721/1728-2217.2023.54.57-62","DOIUrl":"https://doi.org/10.17721/1728-2217.2023.54.57-62","url":null,"abstract":"The external aggression of totalitarian anti-democratic states against Ukraine is, among other things, caused by internal factors, including the crisis of democratic institutions and, above all, the conflicts that existed in the soviet system of law and have been recapitulated in the law of postsoviet countries. Ukraine's example of societal transformation is perhaps the most striking, as the imperial nature of power in the form of corruption, authoritarianism, repression, and disregard for rights and freedoms has also affected the newly formed Ukrainian political and economic environment. The military sphere, and especially the institution of legal responsibility of the military, is no exception, as it is extremely corruption- and crime-prone due to its isolation, conservatism, and multivector risks associated with both personal characteristics and the environment itself. Therefore, it requires urgent reform in accordance with NATO standards. However, this cannot be done without reforming the entire system of Ukrainian legislation. In accordance with the postulates of jurisprudence and practical necessity, the article substantiates the need to ensure legal certainty in the use of the terms \"crime\", \"administrative offense\", \"disciplinary offense\" in Ukrainian legislation, which are basic for the institution of legal liability. The author provides arguments in favor of distinguishing between the subject matter and grounds of liability for a crime, liability for an administrative offense and liability for a disciplinary offense in accordance with the Constitution of Ukraine. Proposals are made to create codified regulations governing various spheres of social and economic life and, above all, the military sphere.","PeriodicalId":33822,"journal":{"name":"Visnik Kiivs''kij nacional''nij universitet imeni Tarasa Sevcenka Istoria","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75562574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/2523-4064.2023/8-6/8
V. Prykhodko
The article is devoted to the postphenomenological approach to the study of war as primarily a world phenomenon, anthropological patterns and moral and legal codes. The foundations of the proposed materialistіс phenomenology have three main points. First, existential topography acts as a leading descriptive method which is based on the triple unity of spatiality, bodility and otherness. Secondly, the visibility of the phenomenon is captured by its imagery, which has three situational aspects – givenness, performance practices, marking contours. Thirdly, phenomenality has two asymmetrically connected sides – available, which ensures meeting and assimilation in the approach, and the reverse, which marks the contours of the visible in the invisibility of the distant. The materialistic character of phenomenology means that the emphasis is on the world as an existential media that has its own bodily organized agent network. The description of the war phenomenon offered in this article stops only at the first step – the discovery of givens to testify to a phenomenological point of view, but with the prospect of further description. War manifests itself as a deforming topos compression that leads to bodily practices of concealment. Deformation is the result of homogenizing control over the topos diversity of existence through the invasion of radical otherness that carried out by the artificial corporeality of weapons and the dominant corporeality of the military. In a situation of war, otherness, instead of receding into the invisible, which ensures the absolute difference of the world order, turns into a positive approximation of indistinction, monstrosity. The world stops reporting on the order of life.
{"title":"THE PHENOMENON OF WAR: MATERIALISTIC PHENOMENOLOGY POINT OF VIEW","authors":"V. Prykhodko","doi":"10.17721/2523-4064.2023/8-6/8","DOIUrl":"https://doi.org/10.17721/2523-4064.2023/8-6/8","url":null,"abstract":"The article is devoted to the postphenomenological approach to the study of war as primarily a world phenomenon, anthropological patterns and moral and legal codes. The foundations of the proposed materialistіс phenomenology have three main points. First, existential topography acts as a leading descriptive method which is based on the triple unity of spatiality, bodility and otherness. Secondly, the visibility of the phenomenon is captured by its imagery, which has three situational aspects – givenness, performance practices, marking contours. Thirdly, phenomenality has two asymmetrically connected sides – available, which ensures meeting and assimilation in the approach, and the reverse, which marks the contours of the visible in the invisibility of the distant. The materialistic character of phenomenology means that the emphasis is on the world as an existential media that has its own bodily organized agent network. The description of the war phenomenon offered in this article stops only at the first step – the discovery of givens to testify to a phenomenological point of view, but with the prospect of further description. War manifests itself as a deforming topos compression that leads to bodily practices of concealment. Deformation is the result of homogenizing control over the topos diversity of existence through the invasion of radical otherness that carried out by the artificial corporeality of weapons and the dominant corporeality of the military. In a situation of war, otherness, instead of receding into the invisible, which ensures the absolute difference of the world order, turns into a positive approximation of indistinction, monstrosity. The world stops reporting on the order of life.","PeriodicalId":33822,"journal":{"name":"Visnik Kiivs''kij nacional''nij universitet imeni Tarasa Sevcenka Istoria","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78071079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/1728-2659.2023.34.21
O. Romanenko
The article presents a study of the phenomenon of narratives about trauma in modern Ukrainian literature - based on works devoted to the Russian-Ukrainian war. The focus of the study is on two examples: the media project "Another Day: War Diaries" and Oleksandr Mykhed's fairy tale "Cat, Rooster, Cupboard". The purpose of the article is to analyze the attributive features of a story about traumatic events, to clarify the definition of a "trauma novel", and to analyze the genre features of a story about traumatic events that appear in modern Ukrainian literature. Research results and conclusions. Artistic practices of understanding the Russian-Ukrainian war are formed in the context of two trends. The first tendency is neorealism as a special way to reproduce the truth of trauma, the chaos of war, documentary, and impressive facts. The second tendency is to depict fundamental changes in the identity of the characters. This actualizes the trauma novel genre in modern Ukrainian literature. The genre of the trauma novel can be described as a story about the events before, during, or after traumatic events (war, migration, family destruction, violence, genocide, etc.). In such works, the story of the character as a witness or victim of traumatic events is told, and the existential conflict between life and death is described thanks to the principles of self-narrative, family history, fragmentary narrative, etc. This is a special type of understanding of a traumatic event - at the moment of the Catastrophe when the identity crisis of the characters is shown as overcoming silence and creating an individual story inscribed in the collective history. The emergence of such projects as "One more day: war diaries", and the therapeutic story-tale "Cat, Rooster, Cupboard" was influenced by extra-literary factors, in particular mass media, and this determines their typological originality: they combine the collective experience of trauma with individual stories about changing identity and overcoming the consequences of traumatic experiences, forming the language of victory.
{"title":"CHAOS OF WAR AND IDENTITY CRISIS: TYPOLOGICAL DOMINANTS OF NARRATIVES ABOUT TRAUMA IN MODERN UKRAINIAN LITERATURE","authors":"O. Romanenko","doi":"10.17721/1728-2659.2023.34.21","DOIUrl":"https://doi.org/10.17721/1728-2659.2023.34.21","url":null,"abstract":"The article presents a study of the phenomenon of narratives about trauma in modern Ukrainian literature - based on works devoted to the Russian-Ukrainian war. The focus of the study is on two examples: the media project \"Another Day: War Diaries\" and Oleksandr Mykhed's fairy tale \"Cat, Rooster, Cupboard\". The purpose of the article is to analyze the attributive features of a story about traumatic events, to clarify the definition of a \"trauma novel\", and to analyze the genre features of a story about traumatic events that appear in modern Ukrainian literature. Research results and conclusions. Artistic practices of understanding the Russian-Ukrainian war are formed in the context of two trends. The first tendency is neorealism as a special way to reproduce the truth of trauma, the chaos of war, documentary, and impressive facts. The second tendency is to depict fundamental changes in the identity of the characters. This actualizes the trauma novel genre in modern Ukrainian literature. The genre of the trauma novel can be described as a story about the events before, during, or after traumatic events (war, migration, family destruction, violence, genocide, etc.). In such works, the story of the character as a witness or victim of traumatic events is told, and the existential conflict between life and death is described thanks to the principles of self-narrative, family history, fragmentary narrative, etc. This is a special type of understanding of a traumatic event - at the moment of the Catastrophe when the identity crisis of the characters is shown as overcoming silence and creating an individual story inscribed in the collective history. The emergence of such projects as \"One more day: war diaries\", and the therapeutic story-tale \"Cat, Rooster, Cupboard\" was influenced by extra-literary factors, in particular mass media, and this determines their typological originality: they combine the collective experience of trauma with individual stories about changing identity and overcoming the consequences of traumatic experiences, forming the language of victory.","PeriodicalId":33822,"journal":{"name":"Visnik Kiivs''kij nacional''nij universitet imeni Tarasa Sevcenka Istoria","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72534763","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/1728-2659.2023.33.18
A. Polishchuk
Among modern cognitive approaches to uncovering the mechanism of humor generation, the most famous are the Semantic Script Theory of Humor and its improved version – the General Theory of Verbal Humor, which are united under the umbrella of frame/script incongruity inherent in humor. This study is devoted to one of the most discussed pragmatic approaches, which is a part of the General Theory of Verbal Humor, the so-called neo-Gricean theory of Raskin and Attardo. It consists in the fact that jokes, as well as other comic forms, constitute a non-bona-fide mode of communication, which is opposed to the Gricean model and accordingly, it is guided by the humour cooperative principle. On the basis of the analysis of these authors conception (Attardo & Raskin 1994; Attardo 1993, 2003, 2017, etc.) on non-observance of cooperative maxims in a humorous message a zone of productive criticism was highlighted, namely: insufficient distinction between the concepts of 'violation' vs 'flout' of maxims (Dynel 2008, 2013); lack of proper interest in the social context and emotional background of communication, presupposed by Relevance Theory and Politeness Theory, and, accordingly, the communicative norms are limited only by the cooperative principle of Grice; the lack of criteria for intentional violation of communicative maxims, necessary for the identification of humorous implicatures. The comic effect is more likely to be recognised, if, in the course of interpretation, the addressee discovers a repeated maxim flouting, as well as possible ignoring of other norms. Therefore, it is proposed to include to the generally accepted list of Grice's maxims Leach's principle of politeness, which is mostly focused not on the substantive aspect of communication, but on the social one: the speaker's attitude towards third parties in a status-role hierarchy. The obtained results of the theoretical exploration are integrated into an improved model of humor interpretation and illustrated by a intent-analysis of a verbal joke.
{"title":"NEO-GRICEAN APPROACHES IN PRAGMATICS TO THE STUDY OF VERBAL HUMOR: THEORETICAL AND EMPIRICAL SYNTHESIS","authors":"A. Polishchuk","doi":"10.17721/1728-2659.2023.33.18","DOIUrl":"https://doi.org/10.17721/1728-2659.2023.33.18","url":null,"abstract":"Among modern cognitive approaches to uncovering the mechanism of humor generation, the most famous are the Semantic Script Theory of Humor and its improved version – the General Theory of Verbal Humor, which are united under the umbrella of frame/script incongruity inherent in humor. This study is devoted to one of the most discussed pragmatic approaches, which is a part of the General Theory of Verbal Humor, the so-called neo-Gricean theory of Raskin and Attardo. It consists in the fact that jokes, as well as other comic forms, constitute a non-bona-fide mode of communication, which is opposed to the Gricean model and accordingly, it is guided by the humour cooperative principle. On the basis of the analysis of these authors conception (Attardo & Raskin 1994; Attardo 1993, 2003, 2017, etc.) on non-observance of cooperative maxims in a humorous message a zone of productive criticism was highlighted, namely: insufficient distinction between the concepts of 'violation' vs 'flout' of maxims (Dynel 2008, 2013); lack of proper interest in the social context and emotional background of communication, presupposed by Relevance Theory and Politeness Theory, and, accordingly, the communicative norms are limited only by the cooperative principle of Grice; the lack of criteria for intentional violation of communicative maxims, necessary for the identification of humorous implicatures. The comic effect is more likely to be recognised, if, in the course of interpretation, the addressee discovers a repeated maxim flouting, as well as possible ignoring of other norms. Therefore, it is proposed to include to the generally accepted list of Grice's maxims Leach's principle of politeness, which is mostly focused not on the substantive aspect of communication, but on the social one: the speaker's attitude towards third parties in a status-role hierarchy. The obtained results of the theoretical exploration are integrated into an improved model of humor interpretation and illustrated by a intent-analysis of a verbal joke.","PeriodicalId":33822,"journal":{"name":"Visnik Kiivs''kij nacional''nij universitet imeni Tarasa Sevcenka Istoria","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81741018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/1728-2659.2023.33.05
V. Vasylenko
The article analyzes the important literary publications of the Ukrainian Artistic Movement (MUR), devoted to artistic, literary-critical, art history issues (in particular, the collections "MUR", MUR's аlmanac, "Arсh"). The issues of history, content, and direction of these publications are investigated, each of which is considered as a kind of integrity and is considered in the context of the literary activity of the MUR. The historical, cultural and socio-political prerequisites of MUR's publications, their ideological and aesthetic foundations, and functions are clarified. It is argued that the MUR's literary projects reflect general culture and social moods and trends, ideological and aesthetic changes in the Ukrainian emigration literary process of the late 1940s, that these publications present the most important ideas and works of that time. It is noted that the priority of the three Collections of Literary and Artistic Issues "MUR" was programmatic, and the MUR аlmanac aimed to reflect artistic diversity of literary life, in particular stylistic. The main attention is devoted to the "Arch" as an outstanding and unique phenomenon in the history of Ukrainian literary and literary-critical thought, in particular, the history of its creation, changes in editorial policy are revealed, its assessments are recorder in the views of contemporaries. Periodicals published under the auspices of the MUR had a great influence on the cultural and literary process of the late 1940s, contributing, in particular, to the consolidation of creative efforts, the duration and continuity of Ukrainian modernists and Europeanists literary trends. Memoirs, letters, papers of the creators and members of the MUR, in particular, Yuri Sherekh (Shevelov), Ulas Samchuk, Gregory Kostyuk, Yuri Lavrinenko and other became the source base for the study.
{"title":"LITERARY PUBLICATIONS OF THE UKRAINIAN ARTISTIC MOVEMENT: HISTORY, CONTENT, DIRECTION","authors":"V. Vasylenko","doi":"10.17721/1728-2659.2023.33.05","DOIUrl":"https://doi.org/10.17721/1728-2659.2023.33.05","url":null,"abstract":"The article analyzes the important literary publications of the Ukrainian Artistic Movement (MUR), devoted to artistic, literary-critical, art history issues (in particular, the collections \"MUR\", MUR's аlmanac, \"Arсh\"). The issues of history, content, and direction of these publications are investigated, each of which is considered as a kind of integrity and is considered in the context of the literary activity of the MUR. The historical, cultural and socio-political prerequisites of MUR's publications, their ideological and aesthetic foundations, and functions are clarified. It is argued that the MUR's literary projects reflect general culture and social moods and trends, ideological and aesthetic changes in the Ukrainian emigration literary process of the late 1940s, that these publications present the most important ideas and works of that time. It is noted that the priority of the three Collections of Literary and Artistic Issues \"MUR\" was programmatic, and the MUR аlmanac aimed to reflect artistic diversity of literary life, in particular stylistic. The main attention is devoted to the \"Arch\" as an outstanding and unique phenomenon in the history of Ukrainian literary and literary-critical thought, in particular, the history of its creation, changes in editorial policy are revealed, its assessments are recorder in the views of contemporaries. Periodicals published under the auspices of the MUR had a great influence on the cultural and literary process of the late 1940s, contributing, in particular, to the consolidation of creative efforts, the duration and continuity of Ukrainian modernists and Europeanists literary trends. Memoirs, letters, papers of the creators and members of the MUR, in particular, Yuri Sherekh (Shevelov), Ulas Samchuk, Gregory Kostyuk, Yuri Lavrinenko and other became the source base for the study.","PeriodicalId":33822,"journal":{"name":"Visnik Kiivs''kij nacional''nij universitet imeni Tarasa Sevcenka Istoria","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84566383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.12958/2227-2844-2023-2(356)-23-29
Igor Mikhalskiy
At the present stage of development of Ukrainian historical science, increasingly greater attention is paid to the study of sources of personal origin. In Western scholarship, they are regarded as ego-documents and are more important for the reconstruction of the past, both distant and recent. In many cases the documents of this group are the central ones. It is noted that the letters, as a historical source, are sources of personal origin and have their own specifics. Scientists have repeatedly emphasized that it “consists, firstly, in a vivid manifestation of the subjective perception of events, requiring a scientific critical attitude to this source; secondly, each epoch and each period of history left its mark not only on changes, but also on the form of letters”. Therefore, to study the relationship between different historical and political figures of a particular epoch, it is necessary to use ego-documents, in particular correspondence. It is emphasized that people’s letters to each other, being sources of a unique nature, express not only their instantaneous reactions to events, but also allow reconstructing the system of their relationships through arguments and evaluations of certain events and ideas. Furthermore, correspondence materials have an essential characteristic: being part of the context of human life, they are at the same time authentic sources for the formation of scientific ideas about this context. It is possible to create a complete picture of the activities of individuals in difficult periods of history only by considering the specifics of this context. The published letter reflects the political position of one of the prominent figures of the Ukrainian national liberation movement at the beginning of the 20th century, Volodymyr Levynskyi.
{"title":"Volodymyr Levynskyi’s letter to Mykola Hankevych (1915)","authors":"Igor Mikhalskiy","doi":"10.12958/2227-2844-2023-2(356)-23-29","DOIUrl":"https://doi.org/10.12958/2227-2844-2023-2(356)-23-29","url":null,"abstract":"At the present stage of development of Ukrainian historical science, increasingly greater attention is paid to the study of sources of personal origin. In Western scholarship, they are regarded as ego-documents and are more important for the reconstruction of the past, both distant and recent. In many cases the documents of this group are the central ones. It is noted that the letters, as a historical source, are sources of personal origin and have their own specifics. Scientists have repeatedly emphasized that it “consists, firstly, in a vivid manifestation of the subjective perception of events, requiring a scientific critical attitude to this source; secondly, each epoch and each period of history left its mark not only on changes, but also on the form of letters”. Therefore, to study the relationship between different historical and political figures of a particular epoch, it is necessary to use ego-documents, in particular correspondence. It is emphasized that people’s letters to each other, being sources of a unique nature, express not only their instantaneous reactions to events, but also allow reconstructing the system of their relationships through arguments and evaluations of certain events and ideas. Furthermore, correspondence materials have an essential characteristic: being part of the context of human life, they are at the same time authentic sources for the formation of scientific ideas about this context. It is possible to create a complete picture of the activities of individuals in difficult periods of history only by considering the specifics of this context. The published letter reflects the political position of one of the prominent figures of the Ukrainian national liberation movement at the beginning of the 20th century, Volodymyr Levynskyi.","PeriodicalId":33822,"journal":{"name":"Visnik Kiivs''kij nacional''nij universitet imeni Tarasa Sevcenka Istoria","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85179955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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