Pub Date : 2022-12-27DOI: 10.31471/2304-7402-2022-17(65)-331-338
Тетяна Лях, І. М. Гречин
Онімний простір є важливим складником формування картини світу художнього тексту, адже є відображенням не лише індивідуальної манери письменника, стилістики твору, а й культурно-історичної епохи, до якої він належить. Марко Черемшина – письменник-новатор, котрий жив і творив у час формування українського модернізму, тому дослідження онімного простору художніх творів письменника потребує належної уваги. У сучасному українському мовознавстві сформувалися різні погляди щодо поняття онімного простору та класифікації онімів. Найвідомішими є наукові доробки Л. Белея, В. Калінкіна, Ю. Карпенка, кожен з яких сформував власний підхід до вивчення онімії художнього тексту, термінологію на позначення власних назв у художньому творі. Доречними для пропонованого дослідження є твердження тих мовознавців, котрі розглядають онімний простір художнього твору у зв’язку зі світосприйняттям автора (Н. Подольська, Л. Селіверстова). Для вивчення онімного простору новелістичної збірки Марка Черемшини «Село за війни» найоптимальнішим буде загальновживаний підхід до класифікації, який спирається на розподіл власних назв живих істот та назви неживих предметів. Провідний лінгвістичний метод даного дослідження – описовий (дескриптивний). За допомогою цього методу в дослідженні виділено одиниці аналізу, здійснено їхню класифікацію та інтерпретацію за допомогою прийомів зовнішньої і внутрішньої інтерпретації. Зроблено висновок, що типи онімів у збірці Марка Черемшини «Село за війни» підпорядковуються жанру художнього тексту, його загальній ідеї. З’ясовано, що онімний простір збірки «Село за війни» репрезентовано досить розмаїто, проте найчисельнішу групу у збірці становлять антропоніми. Ономастична лексика досліджуваної збірки виступає вагомим художньо-виражальним засобом та є виразним маркером авторського індивідуального стилю Марка Черемшини.
意象空间是构成文学文本世界图景的重要组成部分，因为它不仅反映了作家的个人风格、作品风格，还反映了作品所属的文化和历史时代。马尔科-切列姆希纳是一位在乌克兰现代主义形成时期生活和工作的创新型作家，因此需要对作家作品中的onymic空间进行研究。当代乌克兰语言学对词义空间概念和词义分类形成了不同的观点。最有名的是 L. Beley、V. Kalinkin 和 Y. Karpenko 的科学著作，他们在研究文学文本的同义词和小说作品中的专有名词术语时各自形成了自己的方法。一些语言学家（N. Podolska、L. Seliverstova）认为小说作品中的同义词空间与作者的世界观有关，他们的论述对本研究具有现实意义。为了研究马克-切雷姆希纳的短篇小说集《战争中的村庄》的词义空间，最理想的分类方法将是常用的分类方法，即根据生物的专有名称和无生命物体的名称进行划分。本研究的主要语言学方法是描述性方法。在这种方法的帮助下，本研究确定了分析单位，并使用外部和内部解释的方法对其进行分类和解释。研究得出的结论是，马克-切列姆希纳的作品集《战争中的村庄》中的拟物类型从属于文学文本的体裁和总体思想。研究发现，《战争中的村庄》文集的拟声空间表现得相当多样化，但文集中最多的一组是拟声词。所研究文集中的拟声词是一种重要的艺术表现手段，是作者马尔科-切雷姆希纳个人风格的表现标志。
{"title":"ОНІМНИЙ ПРОСТІР ЗБІРКИ НОВЕЛ МАРКА ЧЕРЕМШИНИ «СЕЛО ЗА ВІЙНИ»","authors":"Тетяна Лях, І. М. Гречин","doi":"10.31471/2304-7402-2022-17(65)-331-338","DOIUrl":"https://doi.org/10.31471/2304-7402-2022-17(65)-331-338","url":null,"abstract":"Онімний простір є важливим складником формування картини світу художнього тексту, адже є відображенням не лише індивідуальної манери письменника, стилістики твору, а й культурно-історичної епохи, до якої він належить. Марко Черемшина – письменник-новатор, котрий жив і творив у час формування українського модернізму, тому дослідження онімного простору художніх творів письменника потребує належної уваги. У сучасному українському мовознавстві сформувалися різні погляди щодо поняття онімного простору та класифікації онімів. Найвідомішими є наукові доробки Л. Белея, В. Калінкіна, Ю. Карпенка, кожен з яких сформував власний підхід до вивчення онімії художнього тексту, термінологію на позначення власних назв у художньому творі. Доречними для пропонованого дослідження є твердження тих мовознавців, котрі розглядають онімний простір художнього твору у зв’язку зі світосприйняттям автора (Н. Подольська, Л. Селіверстова). Для вивчення онімного простору новелістичної збірки Марка Черемшини «Село за війни» найоптимальнішим буде загальновживаний підхід до класифікації, який спирається на розподіл власних назв живих істот та назви неживих предметів. Провідний лінгвістичний метод даного дослідження – описовий (дескриптивний). За допомогою цього методу в дослідженні виділено одиниці аналізу, здійснено їхню класифікацію та інтерпретацію за допомогою прийомів зовнішньої і внутрішньої інтерпретації. Зроблено висновок, що типи онімів у збірці Марка Черемшини «Село за війни» підпорядковуються жанру художнього тексту, його загальній ідеї. З’ясовано, що онімний простір збірки «Село за війни» репрезентовано досить розмаїто, проте найчисельнішу групу у збірці становлять антропоніми. Ономастична лексика досліджуваної збірки виступає вагомим художньо-виражальним засобом та є виразним маркером авторського індивідуального стилю Марка Черемшини.","PeriodicalId":338851,"journal":{"name":"PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126834275","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 : 2022-12-27DOI: 10.31471/2304-7402-2022-17(65)-131-139
Тетяна Ігорівна Вірченко
Стаття присвячена дослідженню кінопоетики збірки Василя Стефаника «Дорога». Метою розвідки є дати відповідь на проблемне питання: чи послідовний митець у використанні кінопоетичних засобів. Стефаникознавці послідовно констатують візуальність новелістики письменника, але ці твердження позбавлені уважного текстуального аналізу. Авторка послуговується апробованою методикою, яка передбачає увагу до художнього простору, внутрішнього світу персонажів, кольористики, звуків і художніх деталей. Основна дослідницька увага звернута на твори «Дорога», «Скін», «Палій», «Похорон», «Сон», «Озимина», «Такий панок». Це й становить історико-літературну новизну роботи. У результаті проаналізовані кольористика планів, семантика художніх деталей, образи, подані крупним планом, динаміка подій у кадрі; з’ясовано, що лише багатозначні в семантичному плані образи подаються крупним планом, кольористика послідовно розташованих кадрів збігається, гармонічності кадрам додають використані звуки. У новелах спостерігається чергування загальних і крупних планів, остання і перша новела створюють цілісність завдяки використанню візуального образу дороги.
{"title":"ЗАМКНЕНЕ КОЛО «СМЕРТЬ–ЖИТТЯ–СМЕРТЬ»: КІНОПОЕТИКА ЗБІРКИ ВАСИЛЯ СТЕФАНИКА «ДОРОГА»","authors":"Тетяна Ігорівна Вірченко","doi":"10.31471/2304-7402-2022-17(65)-131-139","DOIUrl":"https://doi.org/10.31471/2304-7402-2022-17(65)-131-139","url":null,"abstract":"Стаття присвячена дослідженню кінопоетики збірки Василя Стефаника «Дорога». Метою розвідки є дати відповідь на проблемне питання: чи послідовний митець у використанні кінопоетичних засобів. Стефаникознавці послідовно констатують візуальність новелістики письменника, але ці твердження позбавлені уважного текстуального аналізу. Авторка послуговується апробованою методикою, яка передбачає увагу до художнього простору, внутрішнього світу персонажів, кольористики, звуків і художніх деталей. Основна дослідницька увага звернута на твори «Дорога», «Скін», «Палій», «Похорон», «Сон», «Озимина», «Такий панок». Це й становить історико-літературну новизну роботи. У результаті проаналізовані кольористика планів, семантика художніх деталей, образи, подані крупним планом, динаміка подій у кадрі; з’ясовано, що лише багатозначні в семантичному плані образи подаються крупним планом, кольористика послідовно розташованих кадрів збігається, гармонічності кадрам додають використані звуки. У новелах спостерігається чергування загальних і крупних планів, остання і перша новела створюють цілісність завдяки використанню візуального образу дороги.","PeriodicalId":338851,"journal":{"name":"PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125777462","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 : 2022-08-26DOI: 10.31471/2304-7402-2022-16(63)-264-278
Solomia Khorob
The purpose of the article is to study peculiarities of the publicist speeches (both oral and printed) of Vasyl Stefanyk as this could contribute to his general creative portrait. Research methods include historical, cultural, and biographical ones. The results of the research represent a thorough analysis of certain inquiries, written and oral speeches of Vasyl Stefanyk perceived as important manifestations of his journalistic and socio-political activities, as natural factors of the life and creative work the outstanding writer. The research article proves that they were national-patriotic essence and ideological conviction that dominated a number of his publicist speeches, in particular, during the period of the writer's deputy service in the Vienna Parliament (1908-1918) and prior to 1908 as well. It also emphasizes that the motives of such inquiries, written and oral speeches come from historical and political, national and social, spiritual and patriotic, as well as common human factors, as their content along with ideological and aesthetic essence were an integral part of the life and work of Vasyl Stefanyk. Scientific novelty: the article focuses on the disclosure of the problem of "journalism of Vasyl Stefanyk" from the standpoint of new methodological approaches, it is studied and clarified according to an updated database of socio-historical and scientific-biographical data on the lives of the Western Ukrainian people on the given period, in particular of Vasyl Stefanyk. The practical significance of the article is that its results can be used in the study of the writer's work, in particular his journalistic activity.
{"title":"VASYL STEFANYK'S PUBLICIST WORKS: THE PORTRAIT DETAILS","authors":"Solomia Khorob","doi":"10.31471/2304-7402-2022-16(63)-264-278","DOIUrl":"https://doi.org/10.31471/2304-7402-2022-16(63)-264-278","url":null,"abstract":"The purpose of the article is to study peculiarities of the publicist speeches (both oral and printed) of Vasyl Stefanyk as this could contribute to his general creative portrait. Research methods include historical, cultural, and biographical ones. The results of the research represent a thorough analysis of certain inquiries, written and oral speeches of Vasyl Stefanyk perceived as important manifestations of his journalistic and socio-political activities, as natural factors of the life and creative work the outstanding writer. The research article proves that they were national-patriotic essence and ideological conviction that dominated a number of his publicist speeches, in particular, during the period of the writer's deputy service in the Vienna Parliament (1908-1918) and prior to 1908 as well. It also emphasizes that the motives of such inquiries, written and oral speeches come from historical and political, national and social, spiritual and patriotic, as well as common human factors, as their content along with ideological and aesthetic essence were an integral part of the life and work of Vasyl Stefanyk. Scientific novelty: the article focuses on the disclosure of the problem of \"journalism of Vasyl Stefanyk\" from the standpoint of new methodological approaches, it is studied and clarified according to an updated database of socio-historical and scientific-biographical data on the lives of the Western Ukrainian people on the given period, in particular of Vasyl Stefanyk. The practical significance of the article is that its results can be used in the study of the writer's work, in particular his journalistic activity.","PeriodicalId":338851,"journal":{"name":"PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115676342","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 : 2022-08-26DOI: 10.31471/2304-7402-2022-16(63)-55-62
Yevhen Baran
The study is devoted to the research of specifity of the literary communicationbetween Vasyl Stefanyk and Lesia Ukrainka in the form of an unfinished dialogue. The aim of the article is todisclose the peculiarities of relations between Vasyl Stefanyk and Lesia Ukrainka, foremost, the analysis is conducted in the bibliographical aspects of the research, namely the materials of O. Radavska “Lesia Ukrainka and Vasyl Stefanyk: literary relations, creative echoes”, of M. Moklytsia “Lesia Ukrainka’s aesthetics: the problem of an authorial notional dictionary”, of L. Vasylyk “Lesia Ukrainka and Vasyl Stefanyk: the semantics of the stony in the fictional world”, as well as major literary tendencies of their articles that lay in searches of creative echoes of the indicated authors, of the interpretation of creative work, of the research of stylistics and the system of image creation. However, the theme of relations between Vasyl Stefanyk and Lesia Ukrainka is still not exhausted and not explored to a full extent. The author performs the research on the basis of Lesia Ukrainka’s article “Writers-Rusyny in Bukovyna” (1899), giving it a detailed interpretation, of Lesia Ukrainka’s letters to Olha Kobylianskaand Mykhailo Kryvyniuk, and, respectively, of Vasyl Stefanyk’s letters to Wacław Moraczewski, Olha Kobylianska and others. That provides the practical significance and novely of the work. Consequently, the course of relations between Vasyl Stefanyk and Lesia Ukrainka is analysed in the chronological order, the writers’ attitude to the creative work of each other is elucidated, as well as mentions, recollections and fragments of the letters are commented.
{"title":"VASYL STEFANYK – LESIA UKRAINKA: AN UNFINISHED DIALOGUE","authors":"Yevhen Baran","doi":"10.31471/2304-7402-2022-16(63)-55-62","DOIUrl":"https://doi.org/10.31471/2304-7402-2022-16(63)-55-62","url":null,"abstract":"The study is devoted to the research of specifity of the literary communicationbetween Vasyl Stefanyk and Lesia Ukrainka in the form of an unfinished dialogue. The aim of the article is todisclose the peculiarities of relations between Vasyl Stefanyk and Lesia Ukrainka, foremost, the analysis is conducted in the bibliographical aspects of the research, namely the materials of O. Radavska “Lesia Ukrainka and Vasyl Stefanyk: literary relations, creative echoes”, of M. Moklytsia “Lesia Ukrainka’s aesthetics: the problem of an authorial notional dictionary”, of L. Vasylyk “Lesia Ukrainka and Vasyl Stefanyk: the semantics of the stony in the fictional world”, as well as major literary tendencies of their articles that lay in searches of creative echoes of the indicated authors, of the interpretation of creative work, of the research of stylistics and the system of image creation. However, the theme of relations between Vasyl Stefanyk and Lesia Ukrainka is still not exhausted and not explored to a full extent. The author performs the research on the basis of Lesia Ukrainka’s article “Writers-Rusyny in Bukovyna” (1899), giving it a detailed interpretation, of Lesia Ukrainka’s letters to Olha Kobylianskaand Mykhailo Kryvyniuk, and, respectively, of Vasyl Stefanyk’s letters to Wacław Moraczewski, Olha Kobylianska and others. That provides the practical significance and novely of the work. Consequently, the course of relations between Vasyl Stefanyk and Lesia Ukrainka is analysed in the chronological order, the writers’ attitude to the creative work of each other is elucidated, as well as mentions, recollections and fragments of the letters are commented.","PeriodicalId":338851,"journal":{"name":"PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word","volume":"258 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116196014","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 : 2022-08-26DOI: 10.31471/2304-7402-2022-16(63)-279-291
Ulyana Martinyuk
The article analyzes some works of Vasyl Stefanyk through the prism of Christian morality (Ten Commandments of God); the discrepancy between the ideas of the characters who love God, live under his protection, and their actions, which contradict the Lord's instructions, is investigated; parallels are drawn between individual episodes from the biography of the master of the expressionist short story and tragic human destinies in the pages of his life sketches; on the example of quotations from Stefanyk's works, attention is focused on the problem of non-observance of the biblical Decalogue by the heroes of short stories; systematized works on the fall and misdeeds of Pokut peasants; the tragedy of people on the border is shown; outlines the causes of distortion of human consciousness that lead to sin. The article is based on a kind of parallel: biblical truths received by Moses on Mount Sinai – brought to despair, hopelessness, often suicide and crime, disadvantaged, hungry inhabitants of Pokut village, described by a true connoisseur of human psychology, singer of pain and truth Vasily Stefanyk. The material for the analysis was a collection-summary of the first period of V. Stefanyk's work – a book of selected works "My Word", which included short stories from previous collections: "Blue Book", "Stone Cross" and two new short stories "My Word" and "Court".
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Pub Date : 2022-08-26DOI: 10.31471/2304-7402-2022-16(63)-74-86
Valentyna Barchan
The aim. The suggested literary critic research traces the influence of Vasyl Stefanyk’s creative experience upon shaping worldview, aesthetical grounds of Yurii Stanynets (1906-1994), a prose writer from Zakarpattia. On the rich literary-fictional material, the task is set to analyse the writer’s works that came out in different periods of his creative life and to reveal the “lessons of the master of psychological prose” in the planes of Yurii Stanynets’s genres and styles, as well as problems and themes. The research methods are outlined through using comparative-typological, cultural-historical and biographical methods, as a result of which the extent of Vasyl Stefanyk’s impact on Yurii Stanynets’s prose works in the periods of 20s ‒ 40s and 50s ‒ 80s of the XXth century is elucidated. The research results witness that shaping the prose mastery of the word artist from Zakarpattia was under the direct influence of the best literary models of the Ukrainian national prose writing. The writer himselfhighlights the role and significance of Vasyl Stefanyk’s novellas in that, witnessed by his “Autobiography”. Hence, the article singles out those aspects of Yurii Stanynets’s fictional practice that are brightly marked with the imprint of the creative work of the Ukrainian literature classic. In particular, the correlation of worldview and aesthetical grounds of the word artist from Zakarpattia from Vasyl Stefanyk’s worldview-aesthetical guidesis elucidated,. Simultaneously, typologically comparable parallels define the impact of the latter on Yurii Stanynets’s long and short prose, the peculiarities of his fictional thinking, that is revealed in in his external and internal structures of stories, novellas and narratives, in the peculiarity of the style manner of the prose writer from Zakarpattia. The scientific novelty lies in the fact that for the first time in contemporary Ukrainian literaryscience the comparative-typological study of creative works by Vasyl Stefanyk and Yurii Stanynetsis conducted in the field ofaspectual levels of their fictional heritage, Vasyl Stefanyk’s notable influence upon the creative work of the prose writer from Zakarpattia is proved.
{"title":"LITERARY LESSON OF VASYL STEFANYK IN YURII STANYNETS` CREATIVE WORKS STANYNTS","authors":"Valentyna Barchan","doi":"10.31471/2304-7402-2022-16(63)-74-86","DOIUrl":"https://doi.org/10.31471/2304-7402-2022-16(63)-74-86","url":null,"abstract":"The aim. The suggested literary critic research traces the influence of Vasyl Stefanyk’s creative experience upon shaping worldview, aesthetical grounds of Yurii Stanynets (1906-1994), a prose writer from Zakarpattia. On the rich literary-fictional material, the task is set to analyse the writer’s works that came out in different periods of his creative life and to reveal the “lessons of the master of psychological prose” in the planes of Yurii Stanynets’s genres and styles, as well as problems and themes. The research methods are outlined through using comparative-typological, cultural-historical and biographical methods, as a result of which the extent of Vasyl Stefanyk’s impact on Yurii Stanynets’s prose works in the periods of 20s ‒ 40s and 50s ‒ 80s of the XXth century is elucidated. The research results witness that shaping the prose mastery of the word artist from Zakarpattia was under the direct influence of the best literary models of the Ukrainian national prose writing. The writer himselfhighlights the role and significance of Vasyl Stefanyk’s novellas in that, witnessed by his “Autobiography”. Hence, the article singles out those aspects of Yurii Stanynets’s fictional practice that are brightly marked with the imprint of the creative work of the Ukrainian literature classic. In particular, the correlation of worldview and aesthetical grounds of the word artist from Zakarpattia from Vasyl Stefanyk’s worldview-aesthetical guidesis elucidated,. Simultaneously, typologically comparable parallels define the impact of the latter on Yurii Stanynets’s long and short prose, the peculiarities of his fictional thinking, that is revealed in in his external and internal structures of stories, novellas and narratives, in the peculiarity of the style manner of the prose writer from Zakarpattia. The scientific novelty lies in the fact that for the first time in contemporary Ukrainian literaryscience the comparative-typological study of creative works by Vasyl Stefanyk and Yurii Stanynetsis conducted in the field ofaspectual levels of their fictional heritage, Vasyl Stefanyk’s notable influence upon the creative work of the prose writer from Zakarpattia is proved.","PeriodicalId":338851,"journal":{"name":"PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132451819","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 : 2022-08-26DOI: 10.31471/2304-7402-2022-16(63)-208-221
O. Derkachova
The article highlights the problem of a lonely man in Vasyl Stefanyk's short stories. It is noticed that the writer mentions fear and loneliness not only in short stories but also in his letters, and defines their nature: fear of unsettled life, hunger, cold, fear of losing loved ones, fear of loneliness, nightmares, the tragedy of ordinary person. It is determined that often Stefanyk's characters become lonely, forced, under the pressure of external circumstances. Old age and illness are the main causes of loneliness. Such heroes often find themselves a few steps away from the terrible phantasmagoric death and meet it in their home, where they no longer feel themselves protected. The native house becomes a place of danger, threat, anxiety, acting as a place of horror. There, the heroes have terrible pre-death visions, some try to get out of this locus, but are defeated. Someone succeeds, and he hopes for the best. It is concluded that homo solitarius in Vasyl Stefanyk's short stories are mostly old people who perceive loneliness as one of the inevitable stages of their lives. It is often inseparable from death. Homo solitarius are mostly silent or talk to animals, themselves, objects in the house, immersed in the past. Loneliness-death is inevitable and inevitable for them. They don’t protest, do not resist, understanding the futility of resistance and the depth of fate. The following short stories were mentioned: «Novyna», «Sama-Samiska», «Maister», «Leseva familiia», «Osin», «Pokhoron», «Skin», «Shkoda», «Anhel», «Dity», «Sviatyi vechir», «Palii», «Vona – zemlia», «Mariia»The main emphasis is on the works of the first period of Vasyl Stefanyk (1897 – 1901).
{"title":"HOMO SOLITARIUS IN SHORT STORIES BY VASYL STEFANYK","authors":"O. Derkachova","doi":"10.31471/2304-7402-2022-16(63)-208-221","DOIUrl":"https://doi.org/10.31471/2304-7402-2022-16(63)-208-221","url":null,"abstract":"The article highlights the problem of a lonely man in Vasyl Stefanyk's short stories. It is noticed that the writer mentions fear and loneliness not only in short stories but also in his letters, and defines their nature: fear of unsettled life, hunger, cold, fear of losing loved ones, fear of loneliness, nightmares, the tragedy of ordinary person. It is determined that often Stefanyk's characters become lonely, forced, under the pressure of external circumstances. Old age and illness are the main causes of loneliness. Such heroes often find themselves a few steps away from the terrible phantasmagoric death and meet it in their home, where they no longer feel themselves protected. The native house becomes a place of danger, threat, anxiety, acting as a place of horror. There, the heroes have terrible pre-death visions, some try to get out of this locus, but are defeated. Someone succeeds, and he hopes for the best. It is concluded that homo solitarius in Vasyl Stefanyk's short stories are mostly old people who perceive loneliness as one of the inevitable stages of their lives. It is often inseparable from death. Homo solitarius are mostly silent or talk to animals, themselves, objects in the house, immersed in the past. Loneliness-death is inevitable and inevitable for them. They don’t protest, do not resist, understanding the futility of resistance and the depth of fate. The following short stories were mentioned: «Novyna», «Sama-Samiska», «Maister», «Leseva familiia», «Osin», «Pokhoron», «Skin», «Shkoda», «Anhel», «Dity», «Sviatyi vechir», «Palii», «Vona – zemlia», «Mariia»The main emphasis is on the works of the first period of Vasyl Stefanyk (1897 – 1901).","PeriodicalId":338851,"journal":{"name":"PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116082516","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 : 2022-08-26DOI: 10.31471/2304-7402-2022-16(63)-368-381
Mykola Lesiuk
Mykola Lesiuk’s article «Functions of the preposition Z in Vasyl Stefanyk’s novellas» examines a fragment of the Language Dictionary of the fictional works of this outstanding Ukrainian novella author (Mykola Lesiuk. The Language Dictionary of Vasyl Stefanyk’s Fictional Works (a fragment). Ivano-Frankivsk : Misto NV. 2021. 384 p.), in particular the role of the preposition Z and its variants. The aim of the article – to show and illustrate how the dictionary entry on the functions of the preposition Z and its variants in V. Stefanyk’s fictional works is created, the richness of relations these or those words enter into thanks to this preposition. While creating the dictionary there were used the principles of compiling dictionaries of writers’ language, developed as far back as at the end of the previous century by Professor I. Kovalyk and somewhat renewed and perfected by the compiler of the Dictionary and the author of this article. The article traces how these principles are embodied in practice. The research methods lay in the exhaustive analysis of dictionary entries, the entry on the preposition Z in particular. The methods of creating the Dictionary foresaw the thorough examination of the writer’s texts in V. 1 of Vasyl Stefanyk’s academic edition(1949) and writing out word combinations with the preposition Z from them, establishing sense and grammar relations that appeared due to the preposition Z. The research results. Since the compilation of the dictionary of the writer’s language is too complicated and laborious work, meant for a group of people, there was created only a fragment of the dictionary consisting of seven letters, that, however, has a great practical significance because it can serve as the model for creating other similar dictionaries or a full dictionary of V. Stefanyk’s language, and the article on the preposition Z may serve as the pattern for describing functions of other prepositions or function words. The article’s scientific novelty does not arouse any doubt as in the Ukrainian linguistics there were no publications tracing the employment of the functional parts speech in works of a separate author.
{"title":"FUNCTIONS OF THE PREPOSITION Z IN VASYL STEFANYK’S NOVELLAS","authors":"Mykola Lesiuk","doi":"10.31471/2304-7402-2022-16(63)-368-381","DOIUrl":"https://doi.org/10.31471/2304-7402-2022-16(63)-368-381","url":null,"abstract":"Mykola Lesiuk’s article «Functions of the preposition Z in Vasyl Stefanyk’s novellas» examines a fragment of the Language Dictionary of the fictional works of this outstanding Ukrainian novella author (Mykola Lesiuk. The Language Dictionary of Vasyl Stefanyk’s Fictional Works (a fragment). Ivano-Frankivsk : Misto NV. 2021. 384 p.), in particular the role of the preposition Z and its variants. \u0000The aim of the article – to show and illustrate how the dictionary entry on the functions of the preposition Z and its variants in V. Stefanyk’s fictional works is created, the richness of relations these or those words enter into thanks to this preposition. While creating the dictionary there were used the principles of compiling dictionaries of writers’ language, developed as far back as at the end of the previous century by Professor I. Kovalyk and somewhat renewed and perfected by the compiler of the Dictionary and the author of this article. The article traces how these principles are embodied in practice. \u0000The research methods lay in the exhaustive analysis of dictionary entries, the entry on the preposition Z in particular. The methods of creating the Dictionary foresaw the thorough examination of the writer’s texts in V. 1 of Vasyl Stefanyk’s academic edition(1949) and writing out word combinations with the preposition Z from them, establishing sense and grammar relations that appeared due to the preposition Z. \u0000The research results. Since the compilation of the dictionary of the writer’s language is too complicated and laborious work, meant for a group of people, there was created only a fragment of the dictionary consisting of seven letters, that, however, has a great practical significance because it can serve as the model for creating other similar dictionaries or a full dictionary of V. Stefanyk’s language, and the article on the preposition Z may serve as the pattern for describing functions of other prepositions or function words. \u0000The article’s scientific novelty does not arouse any doubt as in the Ukrainian linguistics there were no publications tracing the employment of the functional parts speech in works of a separate author.","PeriodicalId":338851,"journal":{"name":"PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word","volume":"147 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133448374","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 : 2022-08-26DOI: 10.31471/2304-7402-2022-16(63)-292-303
S. Khorob
The aim of this study is to reveal the peculiarities of functioning of translations of Vasyl Stefanyk’s novellas in other languages: both in the Slavic and in the Romance-Germanic world, elucidate a translatological toolkit in old and contemporary interpretations. The research methods lie in employing a philological method and linguistic principles, as well as the principles of reader-response criticism through the prism of comparative approaches and comparative-historical principles of analysing the foreign language material, created by translators on the basis of Vasyl Stefanyk’s novellas. The results of researching into the posed problem led to the discovery of quite different methodological strategies of the foreign interpretation of different periods of translations of Vasyl Stefanyk’s works, the delineation of the whole complex of issues connected with a fictional being of Vasyl Stefanyk’s translated novellas, for example, in Polish, Bulgarian, Czech, Russian or English, German, French, Spanish languages. It is proved that foreign translators, first of all, used Stefanyk’s word as a fictional unit and succeeded the cases where the translation of Stefanyk’s text was done not literally, but, first and foremost, adequately for the writer’s ideological-aesthetical conceivement. Having implemented Russian and English translations of Vasyl Stefanyk’s novellas for analyzing the posed problem, there are made the conclusions as to creative successes and failures of numerous translators of Vasyl Stefanyk’s novellas into these languages. The scientific novelty of the article lies in the fact that it actualizes an important problem of being of the Ukrainian author’s prose in other languages in different cultural-historical environments, in the lingual space of these or those literatures.
{"title":"VASYL STEFANYK’S WRITINGS IN A FOREIGN INTERPRETATION","authors":"S. Khorob","doi":"10.31471/2304-7402-2022-16(63)-292-303","DOIUrl":"https://doi.org/10.31471/2304-7402-2022-16(63)-292-303","url":null,"abstract":"The aim of this study is to reveal the peculiarities of functioning of translations of Vasyl Stefanyk’s novellas in other languages: both in the Slavic and in the Romance-Germanic world, elucidate a translatological toolkit in old and contemporary interpretations. The research methods lie in employing a philological method and linguistic principles, as well as the principles of reader-response criticism through the prism of comparative approaches and comparative-historical principles of analysing the foreign language material, created by translators on the basis of Vasyl Stefanyk’s novellas. The results of researching into the posed problem led to the discovery of quite different methodological strategies of the foreign interpretation of different periods of translations of Vasyl Stefanyk’s works, the delineation of the whole complex of issues connected with a fictional being of Vasyl Stefanyk’s translated novellas, for example, in Polish, Bulgarian, Czech, Russian or English, German, French, Spanish languages. It is proved that foreign translators, first of all, used Stefanyk’s word as a fictional unit and succeeded the cases where the translation of Stefanyk’s text was done not literally, but, first and foremost, adequately for the writer’s ideological-aesthetical conceivement. Having implemented Russian and English translations of Vasyl Stefanyk’s novellas for analyzing the posed problem, there are made the conclusions as to creative successes and failures of numerous translators of Vasyl Stefanyk’s novellas into these languages. The scientific novelty of the article lies in the fact that it actualizes an important problem of being of the Ukrainian author’s prose in other languages in different cultural-historical environments, in the lingual space of these or those literatures.","PeriodicalId":338851,"journal":{"name":"PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134644123","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 : 2022-08-26DOI: 10.31471/2304-7402-2022-16(63)-158-178
R. Pikhmanets
The proposed article is devoted to the understanding of some issues of the psychology of artistic creativity of Vasyl Stefanyk, in particular the category of "artistic and creative process" as its central problem. Thus, the goal is to trace the dynamics of the novelist's creative thought, starting from the emergence of the idea in the spheres of "lower consciousness" and ending with its verbal embodiment. The research methodology is based on the interdisciplinary nature of the problem under discussion and involves inductive-empirical, objective-analytical and psychological studies. The principles of philological, psychobiographical and comparative-historical research methods, as well as the achievements of the latest methodology: phenomenology, literary hermeneutics and receptive aesthetics are applied. As a result of scientific research, the peculiarities of combining in Vasyl Stefanyk’s creative experience the general regularities of the procedural structure of creativity with individual and unique manifestations have been clarified. Emphasis is placed on such aspects as the psychological mechanisms of the emergence of artistic design, its appearance in consciousness in the form of a prototype, crystallization in concrete-sensory forms and verbal realization. The scientific novelty of the article is that it highlights the subjective and psychological factors of conditionality of artistic phenomena, which helps to learn them more deeply and fully.
{"title":"DYNAMICS OF VASYL STEFANYK'S CREATIVE THOUGHT: GENERAL REGULARITIES AND PERSONAL EXPERIENCE","authors":"R. Pikhmanets","doi":"10.31471/2304-7402-2022-16(63)-158-178","DOIUrl":"https://doi.org/10.31471/2304-7402-2022-16(63)-158-178","url":null,"abstract":"The proposed article is devoted to the understanding of some issues of the psychology of artistic creativity of Vasyl Stefanyk, in particular the category of \"artistic and creative process\" as its central problem. Thus, the goal is to trace the dynamics of the novelist's creative thought, starting from the emergence of the idea in the spheres of \"lower consciousness\" and ending with its verbal embodiment. The research methodology is based on the interdisciplinary nature of the problem under discussion and involves inductive-empirical, objective-analytical and psychological studies. The principles of philological, psychobiographical and comparative-historical research methods, as well as the achievements of the latest methodology: phenomenology, literary hermeneutics and receptive aesthetics are applied. As a result of scientific research, the peculiarities of combining in Vasyl Stefanyk’s creative experience the general regularities of the procedural structure of creativity with individual and unique manifestations have been clarified. Emphasis is placed on such aspects as the psychological mechanisms of the emergence of artistic design, its appearance in consciousness in the form of a prototype, crystallization in concrete-sensory forms and verbal realization. The scientific novelty of the article is that it highlights the subjective and psychological factors of conditionality of artistic phenomena, which helps to learn them more deeply and fully.","PeriodicalId":338851,"journal":{"name":"PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133393079","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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