Pub Date : 2024-07-23DOI: 10.24425/slo.2024.150744
Bartłomiej Brążkiewicz
{"title":"Bibliografia zawartości kwartalnika „Slavia Orientalis” w roku 2023 w układzie alfabetyczno-działowym","authors":"Bartłomiej Brążkiewicz","doi":"10.24425/slo.2024.150744","DOIUrl":"https://doi.org/10.24425/slo.2024.150744","url":null,"abstract":"","PeriodicalId":35094,"journal":{"name":"Slavia Orientalis","volume":"33 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141814324","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 : 2024-07-17DOI: 10.24425/slo.2024.150671
Monika Sidor
{"title":"[Recenzja] MŁODA ROSJA. POZASYSTEMOWE FORMY KULTURY, red. M. Kowalska i B. Brążkiewicz, Kraków: Wydawnictwo Księgarnia Akademicka 2024, ss. 182","authors":"Monika Sidor","doi":"10.24425/slo.2024.150671","DOIUrl":"https://doi.org/10.24425/slo.2024.150671","url":null,"abstract":"","PeriodicalId":35094,"journal":{"name":"Slavia Orientalis","volume":" 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141829710","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 : 2024-07-17DOI: 10.24425/slo.2024.150662
Albert Nowacki
The aim of this paper is a scientific reflection on the issue of Donbas identity, Donbas mythology and historical memory, and to examine how these categories works in contemporary Ukrainian literature. The analysed literary works, on the one hand, show the economic and mental breakdown of the region (Serhiy Zhadan), and on the other hand, they allow us to hope that thanks to the process of self-reflection, it is possible to construct an identity of the inhabitants of Donbas correlated with the Ukrainian national identity (Oleksiy Chupa). Contemporary Ukrainian literature also indicates efforts to create their own Donbas mythology, independent of Russian patterns, which may become part of the Ukrainian nation-building mythology (Lubov Yakymchuk).
{"title":"Refleksje nad tożsamością Donbasu we współczesnej literaturze ukraińskiej","authors":"Albert Nowacki","doi":"10.24425/slo.2024.150662","DOIUrl":"https://doi.org/10.24425/slo.2024.150662","url":null,"abstract":"The aim of this paper is a scientific reflection on the issue of Donbas identity, Donbas mythology and historical memory, and to examine how these categories works in contemporary Ukrainian literature. The analysed literary works, on the one hand, show the economic and mental breakdown of the region (Serhiy Zhadan), and on the other hand, they allow us to hope that thanks to the process of self-reflection, it is possible to construct an identity of the inhabitants of Donbas correlated with the Ukrainian national identity (Oleksiy Chupa). Contemporary Ukrainian literature also indicates efforts to create their own Donbas mythology, independent of Russian patterns, which may become part of the Ukrainian nation-building mythology (Lubov Yakymchuk).","PeriodicalId":35094,"journal":{"name":"Slavia Orientalis","volume":" 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141830867","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 : 2024-07-17DOI: 10.24425/slo.2024.150666
Mariana Hdakovych
The semantics and functioning of ethnonyms in the poem Aeneid by Ivan Kotlyarevsky are covered in the article. It has been established that the text of the poem contains 44 ethnonym names referring to two time-spaces – the ancient (15 ethnonyms) and the early modern time of writing the Aeneid (29 ethnonyms). Ethnonyms are a reflection of inter-ethnic contacts, represent the linguistic picture of the world at the end of the turn of the 19th century. The text contains neutral and expressive ethnonyms, as well as ethnophaulisms. The ethnonyms of the Aeneid implicate the ethno-cultural specificity of peoples and at the same time are the historical and cultural realities of their time. The text contains the names of household items of ethnonymic origin. Literary ethnonyms record the connotative stereotyped images of peoples, in particular, the nearest neighbours of the Ukrainians. Against the background of other peoples, the self-identification of one's own people can be clearly traced, which the author designates with auto-ethnonyms – Cossacks, Our people, Baptized people. Literary ethnonyms reveal the linguistic identity of the author of the Aeneid as an educated Ukrainian who identified himself with the Cossack people.
{"title":"Етноніми в поемі івана котляревського енеїда","authors":"Mariana Hdakovych","doi":"10.24425/slo.2024.150666","DOIUrl":"https://doi.org/10.24425/slo.2024.150666","url":null,"abstract":"The semantics and functioning of ethnonyms in the poem Aeneid by Ivan Kotlyarevsky are covered in the article. It has been established that the text of the poem contains 44 ethnonym names referring to two time-spaces – the ancient (15 ethnonyms) and the early modern time of writing the Aeneid (29 ethnonyms). Ethnonyms are a reflection of inter-ethnic contacts, represent the linguistic picture of the world at the end of the turn of the 19th century. The text contains neutral and expressive ethnonyms, as well as ethnophaulisms. The ethnonyms of the Aeneid implicate the ethno-cultural specificity of peoples and at the same time are the historical and cultural realities of their time. The text contains the names of household items of ethnonymic origin. Literary ethnonyms record the connotative stereotyped images of peoples, in particular, the nearest neighbours of the Ukrainians. Against the background of other peoples, the self-identification of one's own people can be clearly traced, which the author designates with auto-ethnonyms – Cossacks, Our people, Baptized people. Literary ethnonyms reveal the linguistic identity of the author of the Aeneid as an educated Ukrainian who identified himself with the Cossack people.","PeriodicalId":35094,"journal":{"name":"Slavia Orientalis","volume":" 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141828184","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 : 2024-07-17DOI: 10.24425/slo.2024.150668
Lyubov Frolyak
The article is devoted to a study of the dynamics of linguistic and cultural assimilation of migrants from the Boyko region to the Donetsk region in Ukraine and the establishment of relevant factors that contributed to this process or delayed it. The research was carried out on the material of two centres of compact resettlement of the Boykos, who found themselves in different linguistic, cultural and social conditions. The author focuses on the role of the presence/absence of the dominant dialect of the recipient microsociety, the degree of linguistic and cultural affinity between the migrants and the host microsociety, the conflictogenicity of the situation, the language of education and the language of the city in the process of the assimilation of the migrants and their descendants.
{"title":"До питання про мовно-культурну асиміляцію переселенців з бойківщини на донеччину в україні","authors":"Lyubov Frolyak","doi":"10.24425/slo.2024.150668","DOIUrl":"https://doi.org/10.24425/slo.2024.150668","url":null,"abstract":"The article is devoted to a study of the dynamics of linguistic and cultural assimilation of migrants from the Boyko region to the Donetsk region in Ukraine and the establishment of relevant factors that contributed to this process or delayed it. The research was carried out on the material of two centres of compact resettlement of the Boykos, who found themselves in different linguistic, cultural and social conditions. The author focuses on the role of the presence/absence of the dominant dialect of the recipient microsociety, the degree of linguistic and cultural affinity between the migrants and the host microsociety, the conflictogenicity of the situation, the language of education and the language of the city in the process of the assimilation of the migrants and their descendants.","PeriodicalId":35094,"journal":{"name":"Slavia Orientalis","volume":" 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141828670","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 : 2024-07-17DOI: 10.24425/slo.2024.150658
Lidia Macheta
The article discusses iconography as a phenomenon of theo-anthropology. The general aim of these analyses is to explain the essence of iconography from the perspective of ontological anthropology – by relating it to the human existence in terms of the possibility and duty of being oneself. In this article, we consider the hypothesis according to which icon-writing has four main complementary formulations: liturgical (icon-writing as a liturgical process), artistic (icon-writing as God’s art), spiritual (icon-writing as spirituality), mystical (icon-writing as prayer). Confirming the truth of the hypothesis constitutes our main goal. We are heading towards it through the implementation of two main research tasks. In the first of them, we demonstrate that each of the assumed models of iconography contains four components (liturgical, artistic, spiritual, mystical), but in each model only one of them dominates, and it is from its perspective that the others are understood. In the second task, we show that each of these models is based on a different onto-anthropological principle – one of the four main ones (community, reflexivity, ethics, religiosity) – corresponding to one of the dimensions of the human existence in ontological terms, the concept of which we adopt for the purposes of this article. A given anthropological principle determines which of the elements of iconography dominates, i.e. what it is above all.
{"title":"Ikonopisanie i jego modele (liturgiczny, artystyczny, duchowy, mistyczny) w świetle teo-antropologii ontologicznej","authors":"Lidia Macheta","doi":"10.24425/slo.2024.150658","DOIUrl":"https://doi.org/10.24425/slo.2024.150658","url":null,"abstract":"The article discusses iconography as a phenomenon of theo-anthropology. The general aim of these analyses is to explain the essence of iconography from the perspective of ontological anthropology – by relating it to the human existence in terms of the possibility and duty of being oneself. In this article, we consider the hypothesis according to which icon-writing has four main complementary formulations: liturgical (icon-writing as a liturgical process), artistic (icon-writing as God’s art), spiritual (icon-writing as spirituality), mystical (icon-writing as prayer). Confirming the truth of the hypothesis constitutes our main goal. We are heading towards it through the implementation of two main research tasks. In the first of them, we demonstrate that each of the assumed models of iconography contains four components (liturgical, artistic, spiritual, mystical), but in each model only one of them dominates, and it is from its perspective that the others are understood. In the second task, we show that each of these models is based on a different onto-anthropological principle – one of the four main ones (community, reflexivity, ethics, religiosity) – corresponding to one of the dimensions of the human existence in ontological terms, the concept of which we adopt for the purposes of this article. A given anthropological principle determines which of the elements of iconography dominates, i.e. what it is above all.","PeriodicalId":35094,"journal":{"name":"Slavia Orientalis","volume":" 30","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141829377","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 : 2024-07-17DOI: 10.24425/slo.2024.150661
Marta Zambrzycka
The topic of the article is the presentation of artistic trends that appeared in Ukrainian art at the turn of the 1980s and 1990s and which are described as postmodern. These include: trans-avant-garde painting, performative art, media art, and conceptual art. All of them are an expression of the newly gained freedom, they choose the oppressive past as their main adversary, but they are also a form of reflection on new cultural and intellectual phenomena that appeared in Ukraine during this period (mass culture, “new spirituality”). The point of my article is not a detailed analysis of the works of individual artists, as I only indicate selected trends and directions.
{"title":"Tendencje postmodernistyczne w ukraińskiej sztuce okresu transformacji i pierwszego dziesięciolecia niepodległości","authors":"Marta Zambrzycka","doi":"10.24425/slo.2024.150661","DOIUrl":"https://doi.org/10.24425/slo.2024.150661","url":null,"abstract":"The topic of the article is the presentation of artistic trends that appeared in Ukrainian art at the turn of the 1980s and 1990s and which are described as postmodern. These include: trans-avant-garde painting, performative art, media art, and conceptual art. All of them are an expression of the newly gained freedom, they choose the oppressive past as their main adversary, but they are also a form of reflection on new cultural and intellectual phenomena that appeared in Ukraine during this period (mass culture, “new spirituality”). The point of my article is not a detailed analysis of the works of individual artists, as I only indicate selected trends and directions.","PeriodicalId":35094,"journal":{"name":"Slavia Orientalis","volume":" 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141830821","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 : 2024-07-17DOI: 10.24425/slo.2024.150667
Gennadii Zeldowicz
The paper demonstrates that, along with its standard function of linking the relevant utterance to the context, information structure (whose main parameters are assumed to be the theme-rheme division, given-new division, and direct VS inverted word order contrasts) may also fulfil a more intricate role within lyrical texts. The function of information structure may be extended to mark the inner discourse hierarchization of a poem, i.e. its division into the backgrounded part, where some experience open to the lyrical hero is presented, and the foregrounded, ‘wisdom’ part, where the discovery of some important, mostly general truth is made. This is shown with reference to a famous poem by O. Mandelstam. The final conclusion is that in general the true functions of information structure stretch far beyond what is claimed in standard, ‘non-poetically-oriented’ literature on information structure.
{"title":"Лирический текст и коммуникативная структура предложения: стихотворение О.Э. Мандельштама «Сестры – тяжесть и нежность, одинаковы ваши приметы»","authors":"Gennadii Zeldowicz","doi":"10.24425/slo.2024.150667","DOIUrl":"https://doi.org/10.24425/slo.2024.150667","url":null,"abstract":"The paper demonstrates that, along with its standard function of linking the relevant utterance to the context, information structure (whose main parameters are assumed to be the theme-rheme division, given-new division, and direct VS inverted word order contrasts) may also fulfil a more intricate role within lyrical texts. The function of information structure may be extended to mark the inner discourse hierarchization of a poem, i.e. its division into the backgrounded part, where some experience open to the lyrical hero is presented, and the foregrounded, ‘wisdom’ part, where the discovery of some important, mostly general truth is made. This is shown with reference to a famous poem by O. Mandelstam. The final conclusion is that in general the true functions of information structure stretch far beyond what is claimed in standard, ‘non-poetically-oriented’ literature on information structure.","PeriodicalId":35094,"journal":{"name":"Slavia Orientalis","volume":" 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141828553","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 : 2024-07-17DOI: 10.24425/slo.2024.150660
Izabella Malej
Picasso occupied a very special place within Nicolai Berdyaev’s philosophical considerations. What motivated him to assess avant-garde art was an exhibition at the art gallery owned by Sergey Shchukin in 1914. The Russian thinker became personally acquainted with the exhibition. In his attitude towards Picasso’s art, Berdyaev shows the universal category of assessment which he had applied earlier to random artistic phenomena. The philosopher gives avant-garde art the status of the verifier of spiritual changes, at the same time pointing to the evolution of people’s attitude towards both the surrounding reality and themselves. By paying so much attention to the works of the Spanish artist, Berdyaev formulates a thesis concerning the spiritual crisis of the culture occurring in statu nascendi. That is to say that he perceives avant-garde art as, on the one hand, the foreshadowing of inevitable socio-political changes and, on the other hand, a graphic equivalent of the spiritual changes which are about to happen. In the role of category which should present the direction of assessing not only Picasso’s works, but also, in a broader sense, the historical and cultural changes, Berdyaev uses the terms of crisis, freedom, beauty, humanism and spirituality. The Russian philosopher considers Picasso a helpless exposer of illusions of materialized and synthesized beauty, whose paintings are the proof of the crisis occurring in art, self-awareness and, in a broader sense, also within humanity.
{"title":"Geniusz rozkładu. Nikołaj Bierdiajew wobec sztuki Pabla Picassa","authors":"Izabella Malej","doi":"10.24425/slo.2024.150660","DOIUrl":"https://doi.org/10.24425/slo.2024.150660","url":null,"abstract":"Picasso occupied a very special place within Nicolai Berdyaev’s philosophical considerations. What motivated him to assess avant-garde art was an exhibition at the art gallery owned by Sergey Shchukin in 1914. The Russian thinker became personally acquainted with the exhibition. In his attitude towards Picasso’s art, Berdyaev shows the universal category of assessment which he had applied earlier to random artistic phenomena. The philosopher gives avant-garde art the status of the verifier of spiritual changes, at the same time pointing to the evolution of people’s attitude towards both the surrounding reality and themselves. By paying so much attention to the works of the Spanish artist, Berdyaev formulates a thesis concerning the spiritual crisis of the culture occurring in statu nascendi. That is to say that he perceives avant-garde art as, on the one hand, the foreshadowing of inevitable socio-political changes and, on the other hand, a graphic equivalent of the spiritual changes which are about to happen. In the role of category which should present the direction of assessing not only Picasso’s works, but also, in a broader sense, the historical and cultural changes, Berdyaev uses the terms of crisis, freedom, beauty, humanism and spirituality. The Russian philosopher considers Picasso a helpless exposer of illusions of materialized and synthesized beauty, whose paintings are the proof of the crisis occurring in art, self-awareness and, in a broader sense, also within humanity.","PeriodicalId":35094,"journal":{"name":"Slavia Orientalis","volume":" 24","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141829800","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 : 2024-07-17DOI: 10.24425/slo.2024.150664
Zoja Kuca, Aleksy Kucy
The article analyses the works of Lyudmila Ulitskaya from the point of view of a dichotomous description of anthropological reality in her new collection of stories The Body of the Soul. The authors come to original conclusions connected with the author’s mythologism, especially with the two-variant narrative line developed by the author in the previous periods of her creative work. We were able to prove that in the case of one of the variants, in the collection The Body of the Soul, the author actually revealed the nature of her religious and theosophical views. At the same time, we have shown that Ulitskaya’s literary imagination is not confined to the existing schemes of the metaphysical world, but, on the contrary, it helps Ulitskaya to present this world more colourfully and vividly. Sometimes, for the sake of plot integrity, the writer deliberately changes the elements in the mosaic of the conceptosphere employed.
{"title":"Peculiarities of the ‘Body – Soul’ Dichotomy in the Collection of Short Stories by Ludmila Ulitskaya The Body of the Soul.","authors":"Zoja Kuca, Aleksy Kucy","doi":"10.24425/slo.2024.150664","DOIUrl":"https://doi.org/10.24425/slo.2024.150664","url":null,"abstract":"The article analyses the works of Lyudmila Ulitskaya from the point of view of a dichotomous description of anthropological reality in her new collection of stories The Body of the Soul. The authors come to original conclusions connected with the author’s mythologism, especially with the two-variant narrative line developed by the author in the previous periods of her creative work. We were able to prove that in the case of one of the variants, in the collection The Body of the Soul, the author actually revealed the nature of her religious and theosophical views. At the same time, we have shown that Ulitskaya’s literary imagination is not confined to the existing schemes of the metaphysical world, but, on the contrary, it helps Ulitskaya to present this world more colourfully and vividly. Sometimes, for the sake of plot integrity, the writer deliberately changes the elements in the mosaic of the conceptosphere employed.","PeriodicalId":35094,"journal":{"name":"Slavia Orientalis","volume":" 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141828546","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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