Pub Date : 2023-12-13DOI: 10.33608/0236-1477.2023.06.50-66
Valeriia Kolodii
Ukrainian modernists, in particular Prague School poets, sought to actualize the old Ukrainian mythology in their writings and reinterpret it as a starting point for existence. Relying on the tradition of neoromanticism and neoclassicism, they created a unique style that reflected the experience of defeat in the national liberation war and emigration. This style was an attempt to form a new identity that would maintain continuity with the glorious past and meet the requirements of the time. The poets aimed to establish a new way of thinking that would influence the nation’s worldview, self-determination, and will to struggle. A scrupulous analysis of the elements from old Ukrainian mythology in Oleh Olzhych’s lyrics is crucial for a comprehensive interpretation of his texts. Oleh Olzhych’s poems are saturated with old Ukrainian mythological archetypes, images, and plots that have become a fundamental part of his literary model of the world. The published poems from his books “Pebble” (“Rin”, 1935), “Towers” (“Vezhi”, 1940), and “Pidzamcha” (1946), as well as works beyond these collections, have been analyzed with the use of mythocritical method. Mythologemes, being minimal semantic units of text referring to myths, are typically positioned prominently within the texts. The relevant archetypes and images in Oleh Olzhych’s lyrics include the Great Mother, the World Tree, a complex of solar imagery, mediators, and direct references to the gods and creatures of old Ukrainian myths. The old Ukrainian mythology in Oleh Olzhych’s poems accumulates ontological, existential, and value knowledge, appealing to the collective unconscious and being one of the formative components of his worldview.
{"title":"OLD UKRAINIAN MYTHOLOGY IN OLEH OLZHYCH’S LYRICS","authors":"Valeriia Kolodii","doi":"10.33608/0236-1477.2023.06.50-66","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.06.50-66","url":null,"abstract":"Ukrainian modernists, in particular Prague School poets, sought to actualize the old Ukrainian mythology in their writings and reinterpret it as a starting point for existence. Relying on the tradition of neoromanticism and neoclassicism, they created a unique style that reflected the experience of defeat in the national liberation war and emigration. This style was an attempt to form a new identity that would maintain continuity with the glorious past and meet the requirements of the time. The poets aimed to establish a new way of thinking that would influence the nation’s worldview, self-determination, and will to struggle. A scrupulous analysis of the elements from old Ukrainian mythology in Oleh Olzhych’s lyrics is crucial for a comprehensive interpretation of his texts. Oleh Olzhych’s poems are saturated with old Ukrainian mythological archetypes, images, and plots that have become a fundamental part of his literary model of the world. The published poems from his books “Pebble” (“Rin”, 1935), “Towers” (“Vezhi”, 1940), and “Pidzamcha” (1946), as well as works beyond these collections, have been analyzed with the use of mythocritical method. Mythologemes, being minimal semantic units of text referring to myths, are typically positioned prominently within the texts. \u0000The relevant archetypes and images in Oleh Olzhych’s lyrics include the Great Mother, the World Tree, a complex of solar imagery, mediators, and direct references to the gods and creatures of old Ukrainian myths. The old Ukrainian mythology in Oleh Olzhych’s poems accumulates ontological, existential, and value knowledge, appealing to the collective unconscious and being one of the formative components of his worldview.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"116 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003542","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 : 2023-12-13DOI: 10.33608/0236-1477.2023.06.20-34
Svitlana Kyryliuk
The problem of Olha Kobylianska’s interrelationship with European literature has been in the field of researchers’ vision since the Ukrainian author’s appearance in literature. The emergence of new facts related to this problem can accentuate the writer’s conscious focus on mastering the cultural experience of other literatures. O. Kobylianska often emphasized such moments in her own works, naming the authors that influenced her. Among them is the Danish writer Jens Peter Jacobsen. Kobylianska translated Jacobsen’s short story “There Should Have Been Roses” and wrote her original work — a prose poetry “Roses”, containing some allusions and coincidences pointing to the Danish writer’s work. However, this was not the only point connecting the literary worlds of J. P. Yacobsen and O. Kobylianska. The other fact of such creative ‘convergence’, unknown until now, is the Ukrainian translation of J. P. Jacobsen’s novella “Mogens” (the unfinished autograph translation is kept in the Manuscript Collections and Textual Studies Department of the Institute of Literature in the fund of Olha Kobylianska under the name “Morene” and with the note “Olha Kobylianska. Unfinished story” (DM ІL, fund 14, folder 1338). The present paper offers attribution of it, including the clarified title and approximate date. The Ukrainian text of the story has been prepared for publication. The inclusion of the incomplete Ukrainian translation of J. P. Jacobsen’s novella into scholarly discourse provides new insights for assessing peculiarities and stylistic parameters of O. Kobylianska’s prose of the late 19th and early 20th centuries. This fact also enhances our understanding of the historical connections between Ukrainian and European literatures, especially Danish literature. The research of O. Kobylianska and J. P. Jacobsen’s works is based on the principles of textual studies, historical-genetic approach, comparative studies, and analytical anthropology.
自乌克兰作家出现在文学作品中以来，奥尔哈-科比连斯卡与欧洲文学的相互关系问题一直是研究人员关注的焦点。与这一问题相关的新事实的出现可以突出作家有意识地关注掌握其他文学的文化经验。奥-科比连斯卡经常在自己的作品中强调这样的时刻，并说出对她产生影响的作家的名字。其中包括丹麦作家延斯-彼得-雅各布森。科比连斯卡翻译了雅各布森的短篇小说《本该有玫瑰》，并写下了自己的原创作品--散文诗《玫瑰》，其中包含了一些与这位丹麦作家作品相关的典故和巧合。然而，这并不是连接 J. P. Yacobsen 和 O. Kobylianska 文学世界的唯一纽带。J. P. 雅克布森的长篇小说《摩根斯》的乌克兰译本（未完成的亲笔译本保存在奥尔哈-科比连斯卡文学研究所的手稿收藏和文本研究部，基金名为 "Morene"，并注明 "奥尔哈-科比连斯卡。未完成的故事"（DM ІL，基金 14，文件夹 1338）。本文提供了该故事的出处，包括明确的标题和大致日期。该故事的乌克兰语文本已准备出版。将 J. P. 雅各布森长篇小说的不完整乌克兰语译本纳入学术论述，为评估 19 世纪末 20 世纪初 O. 科比连斯卡散文的特殊性和文体参数提供了新的视角。这一事实也加深了我们对乌克兰文学与欧洲文学，尤其是丹麦文学之间历史联系的理解。对奥-科比连斯卡和 J. P. 雅各布森作品的研究基于文本研究、历史-遗传学方法、比较研究和分析人类学的原则。
{"title":"JENS PETER JAKOBSEN'S NOVELLA “MOGENS” TRANSLATED BY OLHA KOBYLIANSKA: TEXT AND CONTEXTS","authors":"Svitlana Kyryliuk","doi":"10.33608/0236-1477.2023.06.20-34","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.06.20-34","url":null,"abstract":"The problem of Olha Kobylianska’s interrelationship with European literature has been in the field of researchers’ vision since the Ukrainian author’s appearance in literature. The emergence of new facts related to this problem can accentuate the writer’s conscious focus on mastering the cultural experience of other literatures. O. Kobylianska often emphasized such moments in her own works, naming the authors that influenced her. Among them is the Danish writer Jens Peter Jacobsen. Kobylianska translated Jacobsen’s short story “There Should Have Been Roses” and wrote her original work — a prose poetry “Roses”, containing some allusions and coincidences pointing to the Danish writer’s work. However, this was not the only point connecting the literary worlds of J. P. Yacobsen and O. Kobylianska. \u0000The other fact of such creative ‘convergence’, unknown until now, is the Ukrainian translation of J. P. Jacobsen’s novella “Mogens” (the unfinished autograph translation is kept in the Manuscript Collections and Textual Studies Department of the Institute of Literature in the fund of Olha Kobylianska under the name “Morene” and with the note “Olha Kobylianska. Unfinished story” (DM ІL, fund 14, folder 1338). The present paper offers attribution of it, including the clarified title and approximate date. The Ukrainian text of the story has been prepared for publication. The inclusion of the incomplete Ukrainian translation of J. P. Jacobsen’s novella into scholarly discourse provides new insights for assessing peculiarities and stylistic parameters of O. Kobylianska’s prose of the late 19th and early 20th centuries. This fact also enhances our understanding of the historical connections between Ukrainian and European literatures, especially Danish literature. The research of O. Kobylianska and J. P. Jacobsen’s works is based on the principles of textual studies, historical-genetic approach, comparative studies, and analytical anthropology.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"3 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139004688","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 : 2023-12-13DOI: 10.33608/0236-1477.2023.06.35-49
Oleksandr Boron
The paper assesses the validity of including several works in the “Dubia” section of the academic edition. Th ere are grounded doubts regarding Shevchenko’s authorship of the poem “I am bored, it is hard — what should I do?” from the manuscript “Kobzar” of 1861, which belonged to Ivan Levchenko. The main warning is that the poem “Polubotok” was also copied into the same manuscript “Kobzar”, but Shevchenko’s authorship in this case has long been disproven. Therefore, Ivan Levchenko cannot be considered an authoritative expert on the poet’s works. It is plausible that an unknown epigone took “Ballad” (“Weary-dreary lags and drags”) as a model for imitation. There is no doubt that the poem-dedication “Tribute to Shternberg” on the now unknown copy of “Kobzar” of 1840 belongs to Shevchenko. The sole known text of the poem “I do not grieve, but do not sleep...” was cited by Oleksandr Afanasiev-Chuzhbynskyi in his memoirs about Shevchenko. Since there is no reason to doubt the reliability of this memoirist, who is known for his accuracy and thoroughness, Shevchenko’s authorship should be definitively confirmed. As for the quatrain “Drink the first, you’ll be aroused...”, despite the compelling testimonies of Shevchenko’s authorship, there is still insufficient certainty to include this poem in the main body. As a result of the analysis, it is proposed that the poem “I am bored, it is hard — what should I do?..”, as well as the note “Picturesque Ukraine” from the newspaper “Northern Bee” of 1844, be removed from the edition of Shevchenko’s works as not belonging to the poet. The impromptu “Drink the first, you’ll be aroused...” must be left in the “Dubia” section, while the poems “Tribute to Shternberg”, “I do not worry, but do not sleep...” should be unconditionally transferred to the main body.
{"title":"DUBIA TEXTS IN THE ACADEMIC EDITION OF TARAS SHEVCHENKO’S WORKS: THE PROBLEM OF AUTHORSHIP","authors":"Oleksandr Boron","doi":"10.33608/0236-1477.2023.06.35-49","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.06.35-49","url":null,"abstract":"The paper assesses the validity of including several works in the “Dubia” section of the academic edition. Th ere are grounded doubts regarding Shevchenko’s authorship of the poem “I am bored, it is hard — what should I do?” from the manuscript “Kobzar” of 1861, which belonged to Ivan Levchenko. The main warning is that the poem “Polubotok” was also copied into the same manuscript “Kobzar”, but Shevchenko’s authorship in this case has long been disproven. Therefore, Ivan Levchenko cannot be considered an authoritative expert on the poet’s works. It is plausible that an unknown epigone took “Ballad” (“Weary-dreary lags and drags”) as a model for imitation. \u0000There is no doubt that the poem-dedication “Tribute to Shternberg” on the now unknown copy of “Kobzar” of 1840 belongs to Shevchenko. The sole known text of the poem “I do not grieve, but do not sleep...” was cited by Oleksandr Afanasiev-Chuzhbynskyi in his memoirs about Shevchenko. Since there is no reason to doubt the reliability of this memoirist, who is known for his accuracy and thoroughness, Shevchenko’s authorship should be definitively confirmed. As for the quatrain “Drink the first, you’ll be aroused...”, despite the compelling testimonies of Shevchenko’s authorship, there is still insufficient certainty to include this poem in the main body. \u0000As a result of the analysis, it is proposed that the poem “I am bored, it is hard — what should I do?..”, as well as the note “Picturesque Ukraine” from the newspaper “Northern Bee” of 1844, be removed from the edition of Shevchenko’s works as not belonging to the poet. The impromptu “Drink the first, you’ll be aroused...” must be left in the “Dubia” section, while the poems “Tribute to Shternberg”, “I do not worry, but do not sleep...” should be unconditionally transferred to the main body.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"30 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003574","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 : 2023-12-13DOI: 10.33608/0236-1477.2023.06.3-19
T. Hundorova
The paper analyzes the images of Romani in the works by Olha Kobylianska against the background of the multiethnic situation in Bukovyna, and traces the influence of the anthropological interpretation of the Gypsies as a race and a pre-modern people on the representation of Romani in the literature of the Romanticism period and the 2nd half of the 19th century. Kobylianska treats the Gypsies not only as an exotic ‘other’ but also as an integral part of the cultural and ethnic identity of Ukrainian society and analyzes the relationship between Romani as monads and settled peasants, as well as the processes of assimilation and integration of Gypsies into the Ukrainian environment. By depicting the colourful images of the Roma in her works, Kobylianska unfolds conflict situations related to the struggle for land and the participation of ‘outsiders’ in them. The Gypsy is a figure of the stranger who serves as a matrix of ‘otherness’ for her and functions in various semantic projections. Such a matrix is projected onto the life of Hutsuls as children of nature; it correlates with the situation of reversed gender, in particular feminine identity; it serves as an attribute of exotic and oriental racial otherness. Adopting romantic oriental stereotypes about Gypsies, Kobylianska, in accordance with the anthropology of the time, marks them racially (through the signification of the ‘black’ body) and geographically (through their belonging to the Oriental world). At the same time, she brings these images closer to Ukrainian life and everyday routine and doesn’t ignore the assimilation and relations between Ukrainians and Gypsies. Settled and nomadic peoples, insiders and outsiders become the backdrop against which Kobylianska unfolds the drama of shaping the modern Ukrainian nation.
{"title":"ROMA AS A MATRIX OF THE ‘OTHER’IN THE PROJECTION OF ORIENTALISM, RACE, AND NATION IN THE WORKS BY OLHA KOBYLIANSKA","authors":"T. Hundorova","doi":"10.33608/0236-1477.2023.06.3-19","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.06.3-19","url":null,"abstract":"The paper analyzes the images of Romani in the works by Olha Kobylianska against the background of the multiethnic situation in Bukovyna, and traces the influence of the anthropological interpretation of the Gypsies as a race and a pre-modern people on the representation of Romani in the literature of the Romanticism period and the 2nd half of the 19th century. \u0000Kobylianska treats the Gypsies not only as an exotic ‘other’ but also as an integral part of the cultural and ethnic identity of Ukrainian society and analyzes the relationship between Romani as monads and settled peasants, as well as the processes of assimilation and integration of Gypsies into the Ukrainian environment. By depicting the colourful images of the Roma in her works, Kobylianska unfolds conflict situations related to the struggle for land and the participation of ‘outsiders’ in them. The Gypsy is a figure of the stranger who serves as a matrix of ‘otherness’ for her and functions in various semantic projections. Such a matrix is projected onto the life of Hutsuls as children of nature; it correlates with the situation of reversed gender, in particular feminine identity; it serves as an attribute of exotic and oriental racial otherness. Adopting romantic oriental stereotypes about Gypsies, Kobylianska, in accordance with the anthropology of the time, marks them racially (through the signification of the ‘black’ body) and geographically (through their belonging to the Oriental world). At the same time, she brings these images closer to Ukrainian life and everyday routine and doesn’t ignore the assimilation and relations between Ukrainians and Gypsies. Settled and nomadic peoples, insiders and outsiders become the backdrop against which Kobylianska unfolds the drama of shaping the modern Ukrainian nation.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"25 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139004021","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 : 2023-12-13DOI: 10.33608/0236-1477.2023.06.67-79
Mykhailo Sokulskyi
To analyze the representation of the Holodomor in Vasyl Barka’s novel “The Yellow Prince”, it is beneficial to draw upon the concepts of artistic universes and mythological studies. In particular, Franz Boas’s notion of mythological universes as source material for the creation of new universes can provide valuable insights. Based on this concept, the apocalyptic motifs of the novel “The Yellow Prince” might be considered a unique author’s attempt to interpret the traumatic experience of the Holodomor. In this case, the biblical eschatology serves as the key to understanding the entire scale of the tragedy and the essence of the crime against the Ukrainian people. After analyzing the structure of the novel, drawing parallels with biblical motifs and codes, and noting the most prominent biblical allusions, it becomes evident that the writer constructs his own apocalyptic model of the world, which shows no specific Comings of the Antichrist and Christ as they both are presented collectively. The writer’s dichotomy between the ‘sacred’ and the ‘profane’ contrasts the harmonious, traditional Ukrainian village with the godless Bolshevik regime. The first mode, embodied by the Katrannyk family, functions around the church as a sacred center and a treasury of Christian values. Therefore the process of collectivization and the destruction of the temple disrupts its organic existence, leading to death. Those who strive to preserve their right for the sacred must be prepared to fight, even at the cost of their lives. Both the church Chalice-Grail and the martyred peasants represent the collective Christ. The source of evil, in its turn, lies within the hierarchical system of the Bolshevik forces of evil. This system ranges from the symbolic image of the Yellow Prince as a collective Antichrist to radical evil embodied by demonized and dehumanized representatives of the Soviet government and banal evil manifesting itself in unconscious peasants who, due to a lack of understanding, also become accomplices in the crimes. Thus, the evil appears in the novel as a series of negative and demonic images embodied in characters, symbols, and details existing at various hierarchical levels. All these elements serve as a comprehensive representation of the profane.
{"title":"THE MYTHOLOGICAL SPACE OF GOOD AND EVIL IN “THE YELLOW PRINCE” BY VASYL BARKA","authors":"Mykhailo Sokulskyi","doi":"10.33608/0236-1477.2023.06.67-79","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.06.67-79","url":null,"abstract":"To analyze the representation of the Holodomor in Vasyl Barka’s novel “The Yellow Prince”, it is beneficial to draw upon the concepts of artistic universes and mythological studies. In particular, Franz Boas’s notion of mythological universes as source material for the creation of new universes can provide valuable insights. Based on this concept, the apocalyptic motifs of the novel “The Yellow Prince” might be considered a unique author’s attempt to interpret the traumatic experience of the Holodomor. In this case, the biblical eschatology serves as the key to understanding the entire scale of the tragedy and the essence of the crime against the Ukrainian people. \u0000After analyzing the structure of the novel, drawing parallels with biblical motifs and codes, and noting the most prominent biblical allusions, it becomes evident that the writer constructs his own apocalyptic model of the world, which shows no specific Comings of the Antichrist and Christ as they both are presented collectively. The writer’s dichotomy between the ‘sacred’ and the ‘profane’ contrasts the harmonious, traditional Ukrainian village with the godless Bolshevik regime. The first mode, embodied by the Katrannyk family, functions around the church as a sacred center and a treasury of Christian values. Therefore the process of collectivization and the destruction of the temple disrupts its organic existence, leading to death. Those who strive to preserve their right for the sacred must be prepared to fight, even at the cost of their lives. \u0000Both the church Chalice-Grail and the martyred peasants represent the collective Christ. The source of evil, in its turn, lies within the hierarchical system of the Bolshevik forces of evil. This system ranges from the symbolic image of the Yellow Prince as a collective Antichrist to radical evil embodied by demonized and dehumanized representatives of the Soviet government and banal evil manifesting itself in unconscious peasants who, due to a lack of understanding, also become accomplices in the crimes. Thus, the evil appears in the novel as a series of negative and demonic images embodied in characters, symbols, and details existing at various hierarchical levels. All these elements serve as a comprehensive representation of the profane.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"20 S8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139004077","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 : 2023-10-30DOI: 10.33608/0236-1477.2023.05.20-34
Алла Швець
The paper analyzes Ivan Franko’s poem “Tsar’s words” in the context of the anti-imperial discourse presented in the writer’s journalism and poetry. It also uncovers allusions and reminiscences of the poetic texts by T. Shevchenko and P. Kulish within the poetic framework of Franko’s work. Additionally, the study directs attention towards the facts of Franko’s life during the Russian occupation of Lviv from 1914 to 1915, a period when this particular poem was written.
In terms of content, the poem 'Tsar's Words' represents Franko's satirical reflection on the manifesto addressed by the supreme commander-in-chief of the Russian army, Nikolai Romanov, to Galician Muscophiles and the people of Galicia. The title-allusion “Tsar’s words” decodes the real political and historical meaning of this monarchical message, essentially revealing the aggressive and conquering plan of Russia’s anti-Ukrainian project for Galicia. Under the pretext of “collecting Russian lands,” its true aim was to undermine the core of Ukrainian life in the region. Therefore, the poetics of this piece is defined by the simultaneous presence of literary imagery and topical journalism. The poem contains genre features of political satire with elements of invective, political parody, and biting sarcasm. It is characterised by an angry denunciative pathos, the presence of an implicit addressee, a combination of high and vernacular vocabulary, hyperbolism, and polemicism.
As a far-sighted political analyst with the foresight of a national prophet, Franko saw deeper historical processes and consequences in this war, interpreting it in the spectrum of a historically consistent, existential confrontation between the national aspiration of Ukrainians for their own statehood and centuries of Russian enslavement. The political sarcasm of the poem further develops into a prophetic vision and national warning by Franko against the bloody consequences of an uncertain peace with Muscovy, exposing the real essence of the colonialist policy of russification, savage conquest, and obscurantism.
{"title":"IVAN FRANKO’S POEM “TSAR’S WORDS” IN THE CONTEXT OF THE WRITER’S ANTI-IMPERIAL DISCOURSE","authors":"Алла Швець","doi":"10.33608/0236-1477.2023.05.20-34","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.05.20-34","url":null,"abstract":"The paper analyzes Ivan Franko’s poem “Tsar’s words” in the context of the anti-imperial discourse presented in the writer’s journalism and poetry. It also uncovers allusions and reminiscences of the poetic texts by T. Shevchenko and P. Kulish within the poetic framework of Franko’s work. Additionally, the study directs attention towards the facts of Franko’s life during the Russian occupation of Lviv from 1914 to 1915, a period when this particular poem was written.
 In terms of content, the poem 'Tsar's Words' represents Franko's satirical reflection on the manifesto addressed by the supreme commander-in-chief of the Russian army, Nikolai Romanov, to Galician Muscophiles and the people of Galicia. The title-allusion “Tsar’s words” decodes the real political and historical meaning of this monarchical message, essentially revealing the aggressive and conquering plan of Russia’s anti-Ukrainian project for Galicia. Under the pretext of “collecting Russian lands,” its true aim was to undermine the core of Ukrainian life in the region. Therefore, the poetics of this piece is defined by the simultaneous presence of literary imagery and topical journalism. The poem contains genre features of political satire with elements of invective, political parody, and biting sarcasm. It is characterised by an angry denunciative pathos, the presence of an implicit addressee, a combination of high and vernacular vocabulary, hyperbolism, and polemicism.
 As a far-sighted political analyst with the foresight of a national prophet, Franko saw deeper historical processes and consequences in this war, interpreting it in the spectrum of a historically consistent, existential confrontation between the national aspiration of Ukrainians for their own statehood and centuries of Russian enslavement. The political sarcasm of the poem further develops into a prophetic vision and national warning by Franko against the bloody consequences of an uncertain peace with Muscovy, exposing the real essence of the colonialist policy of russification, savage conquest, and obscurantism.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"65 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136105556","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 : 2023-10-30DOI: 10.33608/0236-1477.2023.05.35-52
Вадим Василенко
The novel “The Day of Wrath” by Yurii Kosach is a modernist literary experiment, which reflected genre and stylistic searches of the late 1940s and the features of the individual creative and ideological evolution of the writer. The novel by Kosach attempts to question Polish and Russian imperial views on the events and the era of the Ukrainian Cossack Revolution, as well as to discard established social and religious concepts in favor of a national-cultural one.
The novelty of Kosach’s literary technique in the novel lies, in particular, in the method of kaleidoscopic arrangement of material chosen by the author, the specific alternation of images and situations, the incorporation of cinematographic elements, and the utilization of the ‘stream of consciousness’ technique. There are elements of baroque, romantic, and expressionist poetics in the structure of Kosach’s novel, and it’s the syncretism of these stylistic trends that underlies the uniqueness of Kosach’s author’s style. His works are marked with ornamentality, complicated associativity, the motif of duality, and the special function of the metaphor. These features bring Kosach’s writings closer to baroque poetics. Kosach’s “Day of Wrath” is also connected with the tradition of the romantic historical novel through the use of typical romantic images, schemes, and situations, which the author attempts to modernize. The expressionistic stylistic tendencies are evident in “The Day of Wrath” at the linguistic level, characterized by fragmentary writing, elliptical sentences, and a deliberate violation of syntax. These tendencies also manifest themselves in the means and techniques used for image and form creation. The paper highlights the characteristics of Kosach’s ideological and literary interpretation of Bohdan Khmelnytskyi’s image. The hetman is portrayed as a historical figure, a "baroque man," and a statesman-demiurge. Yurii Kosach created a sample of the historical novel, resonating with his time and his own historical and literary views. In order to fulfil this task, he updated its content and form, making some changes in genre and narrative canons.
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 The novelty of Kosach’s literary technique in the novel lies, in particular, in the method of kaleidoscopic arrangement of material chosen by the author, the specific alternation of images and situations, the incorporation of cinematographic elements, and the utilization of the ‘stream of consciousness’ technique. There are elements of baroque, romantic, and expressionist poetics in the structure of Kosach’s novel, and it’s the syncretism of these stylistic trends that underlies the uniqueness of Kosach’s author’s style. His works are marked with ornamentality, complicated associativity, the motif of duality, and the special function of the metaphor. These features bring Kosach’s writings closer to baroque poetics. Kosach’s “Day of Wrath” is also connected with the tradition of the romantic historical novel through the use of typical romantic images, schemes, and situations, which the author attempts to modernize. The expressionistic stylistic tendencies are evident in “The Day of Wrath” at the linguistic level, characterized by fragmentary writing, elliptical sentences, and a deliberate violation of syntax. These tendencies also manifest themselves in the means and techniques used for image and form creation. The paper highlights the characteristics of Kosach’s ideological and literary interpretation of Bohdan Khmelnytskyi’s image. The hetman is portrayed as a historical figure, a \"baroque man,\" and a statesman-demiurge. Yurii Kosach created a sample of the historical novel, resonating with his time and his own historical and literary views. In order to fulfil this task, he updated its content and form, making some changes in genre and narrative canons.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"65 S2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136105565","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 : 2023-10-30DOI: 10.33608/0236-1477.2023.05.53-67
Микола Васьків
The paper explores the early (Uzhhorod) period of Dmytro Kremin’s (1953–2019) creative work. He was a prominent Ukrainian poet of the second half of the 20th and early 21st century, a laureate of Taras Shevchenko National Prize of Ukraine (2019). In particular, the study deals with the 1974 self-publishing collection of four poems-symphonies and the ‘documentary poem’ “Gerstein’s Memorandum”, which were printed in full and reached a wider readership only in the 2021 edition of the poet’s works. The formal-semantic characteristics of the poetic texts synthesize elements of many avant-garde and modernist artistic trends, such as expressionism, symbolism, neo-baroque, neorealism, imagism, etc. The dominant among them is the poetics of surrealism. Poems-symphonies constructed as an associative combination of poetic visions, bizarre images, motifs, and more, serve as exemplars of non-referential lyrics. The poet spontaneously changes the emotional tempo of narration, combining verses with varying syllable counts, verlibre, syllabic-tonic and tonic poems, and even incorporating prose poems. Additionally, he creates unique rhymes and rhyming schemes, etc. The use of all these techniques led to accusations of ‘incomprehensibility’ against D. Kremin, resulting in a limited circle of enthusiasts who appreciate his lyrical and lyre-epic works. In the early works of Dmytro Kremin, there were no dissident motifs or harsh criticism of the system. Nevertheless, the pathos, mood of the poems, their content and form went beyond commonly accepted norms and testified to complete freedom of creativity. For this reason, the poet faced persecution and left Uzhhorod. He became estranged from his circle of friends and deprived of opportunities to thoroughly fulfil his literary pursuits.
Based on the analysis and the opinions of the poet’s contemporaries, the author of the paper claims that the Uzhhorod period is the pinnacle achievement of D. Kremin’s creative work. This conclusion is corroborated by self-evaluations of the poet himself.
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 Based on the analysis and the opinions of the poet’s contemporaries, the author of the paper claims that the Uzhhorod period is the pinnacle achievement of D. Kremin’s creative work. This conclusion is corroborated by self-evaluations of the poet himself.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136105515","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 : 2023-10-30DOI: 10.33608/0236-1477.2023.05.68-82
Наталія Овчаренко
The paper offers a comprehensive analysis of discursive anti-imperial models in Canadian post-Victorian novels. The set tasks relate to detailing the features of this genre paradigm. In particular, attention is focused on the study of its historical, literary, and cultural context. The explanation of the socio-historical background typical of classical English Victorianism, provided in the paper, helps to trace the evolution of the related genre on Canadian soil. Its reinterpretation was prompted by the polyethnic and cultural ‘mosaic’ of the country, which became a prerequisite for the emergence of original models in modern sociology, cultural studies, and fiction.
The study postulates the idea of an anti-imperial paradigm of the genre within the Dominion of Canada. Hence, the process of transforming the discourse of the Victorian novel into the post-Victorian one is demonstrated to be determined by the peculiarities of the post-colonial multicultural structure of the country, which manifests itself at the thematic, cognitive, psychological, and poetic levels. For the purpose of comprehensive analysis, the research is based on the plurality of historical and philosophical foundations within the field of ethics. The range of methods encompasses syncretic, cultural-historical, psychoanalytic, ‘close reading’, genetic, and gynocriticism.
The study led to the observation that the social pattern of the Victorian era (a strict religious and moral code, the pretext of which was Protestantism, mysticism, etc.) permeated Canadian prose as an echo of English Victorianism. There was an ontological dialogue between the Victorian era and post-Victorianism, between individuals and the times in which they lived. The relationship between literature and individuals of different cultural and historical periods had an evolutionary character. The evolution of the genre of the Canadian post-Victorian novel, particularly in the works by L. M. Montgomery, B. Moore, and M. Atwood, is related to the multifaceted style, which involves the use of diverse elements from various aesthetic forms. This synthesis is the result of an experiment with both new and traditional literary models in Canadian literature. The correlation between the classical and post-Victorian genres shows the functionality of such means as satire, pastiche, and simulacrum in the latter. These tools transform the Victorian novel into an ‘anti-Victorian’ one. The examination of the modern version of the classical genre demonstrates the heterogeneity of meanings, their layering and transmission, a new role and conceptual load, motivated by purely national means of explanation.
Over the course of an extended journey through time, the traditional Victorian models, adopted in the literature of the metropolis, had been transformed on Canadian soil. They acquired unique qualities, expanding the field of event and poetic content of the works by Canadian authors and demonstrating their solid po
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 The study postulates the idea of an anti-imperial paradigm of the genre within the Dominion of Canada. Hence, the process of transforming the discourse of the Victorian novel into the post-Victorian one is demonstrated to be determined by the peculiarities of the post-colonial multicultural structure of the country, which manifests itself at the thematic, cognitive, psychological, and poetic levels. For the purpose of comprehensive analysis, the research is based on the plurality of historical and philosophical foundations within the field of ethics. The range of methods encompasses syncretic, cultural-historical, psychoanalytic, ‘close reading’, genetic, and gynocriticism.
 The study led to the observation that the social pattern of the Victorian era (a strict religious and moral code, the pretext of which was Protestantism, mysticism, etc.) permeated Canadian prose as an echo of English Victorianism. There was an ontological dialogue between the Victorian era and post-Victorianism, between individuals and the times in which they lived. The relationship between literature and individuals of different cultural and historical periods had an evolutionary character. The evolution of the genre of the Canadian post-Victorian novel, particularly in the works by L. M. Montgomery, B. Moore, and M. Atwood, is related to the multifaceted style, which involves the use of diverse elements from various aesthetic forms. This synthesis is the result of an experiment with both new and traditional literary models in Canadian literature. The correlation between the classical and post-Victorian genres shows the functionality of such means as satire, pastiche, and simulacrum in the latter. These tools transform the Victorian novel into an ‘anti-Victorian’ one. The examination of the modern version of the classical genre demonstrates the heterogeneity of meanings, their layering and transmission, a new role and conceptual load, motivated by purely national means of explanation.
 Over the course of an extended journey through time, the traditional Victorian models, adopted in the literature of the metropolis, had been transformed on Canadian soil. They acquired unique qualities, expanding the field of event and poetic content of the works by Canadian authors and demonstrating their solid po","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"22 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136105733","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 : 2023-10-30DOI: 10.33608/0236-1477.2023.05.3-19
Артур Малиновський
The paper offers a reinterpretation of a well-known classical literary work, focusing on its acquisition of new meanings, emancipation from the narrow framework of the ethnographic narrative, and discovery of resistance intentions within the context of postcolonial criticism. The research work explores the mechanisms by which the ideas of the Swedish mystic E. Swedenborg influenced H. Kvitka-Osnovianenko’s concepts of the afterlife. It also scrutinizes the incorporation of hell’s topology into the temporal and spatial dimensions of “The Easter of the Dead” and traces the doctrines explaining the idea of souls, the origins of human evil, the nature of sins and their consequences. Analogies and correspondences between worlds, the symbolism of national space, and the anthropology of corporeality are analyzed within the carnival realm and reinterpreted through the lens of Ukrainian burlesque and travesty traditions. Kvitka-Osnovianenko’s story contains links between demonological narratives, myths, legends, and, on the other hand, colonization by fear, an irrational sense of guilt, and the inevitable punishment of the enslaved by a repressive community.
The use of the demonic as a tool to influence the reader is determined by the logic of the author’s tropological thinking within the context of imperial censorship, dual identity, and demonstration of political loyalty. The creative use of archaic genre elements, travesty, and parody of folklore motifs affected the interpretation of the irrational, which was subjected to formalization and intertwined with ideology and hidden anti-colonial rhetoric. The colonization by myths, visualized by monstrous pictures and the fears they instill, is juxtaposed with their deconstruction, disenchanted with laughter, the healing power of the carnival, and replication of an ancient tradition in the collective memory. The secret of the ‘national narrative’ of “The Easter of the Dead” lies in this process.
{"title":"H. KVITKA-OSNOVIANENKO À LA E. SWEDENBORG: DEMONIC AS COLONIAL","authors":"Артур Малиновський","doi":"10.33608/0236-1477.2023.05.3-19","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.05.3-19","url":null,"abstract":"The paper offers a reinterpretation of a well-known classical literary work, focusing on its acquisition of new meanings, emancipation from the narrow framework of the ethnographic narrative, and discovery of resistance intentions within the context of postcolonial criticism. The research work explores the mechanisms by which the ideas of the Swedish mystic E. Swedenborg influenced H. Kvitka-Osnovianenko’s concepts of the afterlife. It also scrutinizes the incorporation of hell’s topology into the temporal and spatial dimensions of “The Easter of the Dead” and traces the doctrines explaining the idea of souls, the origins of human evil, the nature of sins and their consequences. Analogies and correspondences between worlds, the symbolism of national space, and the anthropology of corporeality are analyzed within the carnival realm and reinterpreted through the lens of Ukrainian burlesque and travesty traditions. Kvitka-Osnovianenko’s story contains links between demonological narratives, myths, legends, and, on the other hand, colonization by fear, an irrational sense of guilt, and the inevitable punishment of the enslaved by a repressive community. 
 The use of the demonic as a tool to influence the reader is determined by the logic of the author’s tropological thinking within the context of imperial censorship, dual identity, and demonstration of political loyalty. The creative use of archaic genre elements, travesty, and parody of folklore motifs affected the interpretation of the irrational, which was subjected to formalization and intertwined with ideology and hidden anti-colonial rhetoric. The colonization by myths, visualized by monstrous pictures and the fears they instill, is juxtaposed with their deconstruction, disenchanted with laughter, the healing power of the carnival, and replication of an ancient tradition in the collective memory. The secret of the ‘national narrative’ of “The Easter of the Dead” lies in this process.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136105558","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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