Pub Date : 2019-10-16DOI: 10.33608/0236-1477.2019.10.44-51
Larysa Moros
The paper explores the ground of the ideas, plots, and schemes of conflicts in ideological dramas by P. Kulish. The two of them are conditionally symbolic while the other three are based on real historical material. The libretto of the musical performance “A Woman from the Farmstead, or Singing Praise to the Bride in front of the Wedding Guests” and multifaceted drama “Herod’s Trouble” show combination of biblical, i. e. international, elements, while the latter also contains traditional folklore features of the Ukrainian Nativity Play. The other group of works makes up the trilogy, although P. Kulish interprets the selected topics in different ways and every time uses special literary techniques. The tragedy “Baida, Prince Vyshnevetskyi” depicts the conflict between the real historical figure, who was the founder of the regular Cossack army and folklore character, and representative of the Cossack poor, therefore between the knightly and lumpen forces. The heroes of the drama “Petro Sahaidachnyi” are prominent figures of the Ukrainian authorities, church, and culture of the 17th century, so the main conflict is determined by the concern for the development of cultural life; it unfolds in intellectual and philosophical sphere. The characters reflect on the problems of confrontation, combination of faith and science, possibility of spiritual or political struggle, etc. The ‘Old Ruthenian’ drama “Tsar Nalyvai” (the action takes place in the hot 1596) is the most dynamic; it has the most elaborate intrigue, but here the focus is rather on the deep symbolic language than on revealing the emotional or intellectual world of the characters. There are also some common features in all the dramas by Kulish. The author interpreted historical events estimated as the most important in a way of ideological conflict, combining historical phenomena and figures with symbolic (biblical and folklore) images and details.
{"title":"Panteleimon Kulish’s Dramaturgy: Historical and Spiritual-Philosophical Features","authors":"Larysa Moros","doi":"10.33608/0236-1477.2019.10.44-51","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.10.44-51","url":null,"abstract":"The paper explores the ground of the ideas, plots, and schemes of conflicts in ideological dramas by P. Kulish. The two of them are conditionally symbolic while the other three are based on real historical material. The libretto of the musical performance “A Woman from the Farmstead, or Singing Praise to the Bride in front of the Wedding Guests” and multifaceted drama “Herod’s Trouble” show combination of biblical, i. e. international, elements, while the latter also contains traditional folklore features of the Ukrainian Nativity Play. The other group of works makes up the trilogy, although P. Kulish interprets the selected topics in different ways and every time uses special literary techniques. The tragedy “Baida, Prince Vyshnevetskyi” depicts the conflict between the real historical figure, who was the founder of the regular Cossack army and folklore character, and representative of the Cossack poor, therefore between the knightly and lumpen forces. The heroes of the drama “Petro Sahaidachnyi” are prominent figures of the Ukrainian authorities, church, and culture of the 17th century, so the main conflict is determined by the concern for the development of cultural life; it unfolds in intellectual and philosophical sphere. The characters reflect on the problems of confrontation, combination of faith and science, possibility of spiritual or political struggle, etc. The ‘Old Ruthenian’ drama “Tsar Nalyvai” (the action takes place in the hot 1596) is the most dynamic; it has the most elaborate intrigue, but here the focus is rather on the deep symbolic language than on revealing the emotional or intellectual world of the characters. There are also some common features in all the dramas by Kulish. The author interpreted historical events estimated as the most important in a way of ideological conflict, combining historical phenomena and figures with symbolic (biblical and folklore) images and details.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"78 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132193600","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 : 2019-10-16DOI: 10.33608/0236-1477.2019.10.14-21
Yuliia Hryhorchuk
The paper compares Hryhorii Skovoroda’s fables and Emma Andiievska’s tales. These works proved to be thematically and stylistically related. They refl ect the dominant literary features of both authors, such as philosophical, didactic, symbolic, and aphoristic accents. The analysis is focused on the collections “Fables of Kharkіv” and “Tales” (30 and 18 texts respectively). The researcher explores the similarity of the works within their plots, ideas, and stylistics. Both fables and fairy tales show dialectical understanding of the antagonism hidden in the visible and invisible facets of the human life and world. Friendship, creativity, and courage of being oneself are common topics for these texts, where they are interpreted in the light of cordocentric philosophy and by means of the allegorical language of symbols. Despite the similarity of motives, the works by Emma Andiievskа keep considerable originality in content. She elaborates the themes of good and evil, faith, hope, and freedom, while Hryhorii Skovoroda is focused on the symbolic understanding of the Bible. The similar features urge to relate the writers’ texts at the stylistic level as well. A dialogue, a parable, a moral conclusion are inherent both in the fables and fairy tales. In addition, the works may be related due to the form of expression, the allegories, the symbolic imagery, and common prototext. The fairy tales by Andiievska, like the fables by Skovoroda, are rooted both in the folklore and the Bible. However, while the fairy tales reveal the prototext mainly through the interpretation of the plots, in the fables it is reflected at the lexical level. The compared works also have an extensive system of aphorisms (the folk and the authors’ ones), which reflect their main ideas.
{"title":"Emma Andievska’s Philosophical Tales and Fables by Hryhorii Skovoroda: Textual Dialogs","authors":"Yuliia Hryhorchuk","doi":"10.33608/0236-1477.2019.10.14-21","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.10.14-21","url":null,"abstract":"The paper compares Hryhorii Skovoroda’s fables and Emma Andiievska’s tales. These works proved to be thematically and stylistically related. They refl ect the dominant literary features of both authors, such as philosophical, didactic, symbolic, and aphoristic accents. The analysis is focused on the collections “Fables of Kharkіv” and “Tales” (30 and 18 texts respectively). The researcher explores the similarity of the works within their plots, ideas, and stylistics. Both fables and fairy tales show dialectical understanding of the antagonism hidden in the visible and invisible facets of the human life and world. Friendship, creativity, and courage of being oneself are common topics for these texts, where they are interpreted in the light of cordocentric philosophy and by means of the allegorical language of symbols. Despite the similarity of motives, the works by Emma Andiievskа keep considerable originality in content. She elaborates the themes of good and evil, faith, hope, and freedom, while Hryhorii Skovoroda is focused on the symbolic understanding of the Bible. The similar features urge to relate the writers’ texts at the stylistic level as well. A dialogue, a parable, a moral conclusion are inherent both in the fables and fairy tales. In addition, the works may be related due to the form of expression, the allegories, the symbolic imagery, and common prototext. The fairy tales by Andiievska, like the fables by Skovoroda, are rooted both in the folklore and the Bible. However, while the fairy tales reveal the prototext mainly through the interpretation of the plots, in the fables it is reflected at the lexical level. The compared works also have an extensive system of aphorisms (the folk and the authors’ ones), which reflect their main ideas.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122250418","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 : 2019-10-16DOI: 10.33608/0236-1477.2019.10.90-100
T. Nosenko
The essay surveys the works written by C. Irod, one of the leading contemporary Ukrainian writers of Romania. The main attention is paid to his trilogy of novels “The Feast” and stories that vary in thematic features and stylistics, some of them belonging to a particular type of short prose works – allegoric pieces called “blunder stories”. Considering main themes and ideas of C. Irod’s works and focusing on peculiarities of their literary interpretation, the researcher intends to represent the originality of the writer’s prose heritage, to determine his role in developing the genre of the modern novel and renovating flash fiction in Ukrainian literature of Romania. To achieve this aim, the researcher adds a comparative aspect and refers to the major development patterns of the world novel of the 1960s–1980s, in particular, focusing on such a remarkable feature as ‘new epics’. The themes and issues of the works by C. Irod have been compared to those in the works by Romanian writers, in particular D. R. Popescu. It is noted that C. Irode’s stories have the inherent connection with the flash fiction of the Ukrainian masters – H. Tiutiunnyk and Ye. Hutsalo. The essay follows correspondences in themes and literary technique that relate the Romanian writer to the mentioned Ukrainian authors. The essay also informs about C. Irod’s achievements in the Цeld of literary translation. In particular, he worked over translation of T. Shevchenko’s “Diary”, as well as the book “Taras Shevchenko’s life” by P. Zaitsev. The researcher also gives some details concerning C. Irod’s translations of the tales “When the animals could talk” and “Mykyta the Fox” by I. Franko, the stories written by H. Tiutiunnyk and some pieces in poetry and prose by junior Ukrainian authors.
{"title":"Corneliu Irod – Ukrainian Writer from Romania (Creative Work Overview)","authors":"T. Nosenko","doi":"10.33608/0236-1477.2019.10.90-100","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.10.90-100","url":null,"abstract":"The essay surveys the works written by C. Irod, one of the leading contemporary Ukrainian writers of Romania. The main attention is paid to his trilogy of novels “The Feast” and stories that vary in thematic features and stylistics, some of them belonging to a particular type of short prose works – allegoric pieces called “blunder stories”. Considering main themes and ideas of C. Irod’s works and focusing on peculiarities of their literary interpretation, the researcher intends to represent the originality of the writer’s prose heritage, to determine his role in developing the genre of the modern novel and renovating flash fiction in Ukrainian literature of Romania. To achieve this aim, the researcher adds a comparative aspect and refers to the major development patterns of the world novel of the 1960s–1980s, in particular, focusing on such a remarkable feature as ‘new epics’. The themes and issues of the works by C. Irod have been compared to those in the works by Romanian writers, in particular D. R. Popescu. It is noted that C. Irode’s stories have the inherent connection with the flash fiction of the Ukrainian masters – H. Tiutiunnyk and Ye. Hutsalo. The essay follows correspondences in themes and literary technique that relate the Romanian writer to the mentioned Ukrainian authors. The essay also informs about C. Irod’s achievements in the Цeld of literary translation. In particular, he worked over translation of T. Shevchenko’s “Diary”, as well as the book “Taras Shevchenko’s life” by P. Zaitsev. The researcher also gives some details concerning C. Irod’s translations of the tales “When the animals could talk” and “Mykyta the Fox” by I. Franko, the stories written by H. Tiutiunnyk and some pieces in poetry and prose by junior Ukrainian authors.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129734646","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 : 2019-10-16DOI: 10.33608/0236-1477.2019.10.22-36
Valentyna Narivska
The paper analyzes the diaries by the famous Ukrainian writer, artist and political leader Volodymyr Vynnychenko (1880–1951) that highlight events of the World War I. The idea to start the diary just at that time was interpreted by the author himself as an event of his artistic life, ‘a philosophy of action’. It determined the presence of such notions as ‘attention’, ‘a stop above the life’, ‘moments of life’, ‘a beam of light’ used as philosophic prolegomena in the notes about war and traumatic experience of its first days, which the writer faced in Katerynoslav (now Dnipro). The depth of traumatism is evident against the background of the idyllic records from the Dniper steamship, combined with romantic and patriarchal Gogol-like allusions. The writer noted the transition to the Katerynoslav events carefully and clearly. As a politician he was interested in the conditions of workers, labor unrest, Black-Hundred outrage and the city’s perception of the beginning of the war as a trauma. The author of the diary didn’t separate himself from this tragic flow of events. He experienced these events directly and deeply, making correspondent records. It was the image of the station full of people leaving for the battlefi eld that demonstrated the trauma penetrating into the depth of the human consciousness, deforming the general state and behavior. The experience of the diarist led him to conclusion that not only Sarajevo, but also Katerynoslav was the point of the war. The epicenter of the events is in the notes on the station scenes that clearly divided the world into the lost peace and war, causing dramatic changes in human consciousness and behavior. This awareness was facilitated by the successful use of techniques belonging to naturalism, realism, impressionism, and expressionism.
{"title":"Traumatic Experience of World War I in Diaries of Volodymyr Vynnychenko: Impressions from Katerynoslav","authors":"Valentyna Narivska","doi":"10.33608/0236-1477.2019.10.22-36","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.10.22-36","url":null,"abstract":"The paper analyzes the diaries by the famous Ukrainian writer, artist and political leader Volodymyr Vynnychenko (1880–1951) that highlight events of the World War I. The idea to start the diary just at that time was interpreted by the author himself as an event of his artistic life, ‘a philosophy of action’. It determined the presence of such notions as ‘attention’, ‘a stop above the life’, ‘moments of life’, ‘a beam of light’ used as philosophic prolegomena in the notes about war and traumatic experience of its first days, which the writer faced in Katerynoslav (now Dnipro). The depth of traumatism is evident against the background of the idyllic records from the Dniper steamship, combined with romantic and patriarchal Gogol-like allusions. The writer noted the transition to the Katerynoslav events carefully and clearly. As a politician he was interested in the conditions of workers, labor unrest, Black-Hundred outrage and the city’s perception of the beginning of the war as a trauma. The author of the diary didn’t separate himself from this tragic flow of events. He experienced these events directly and deeply, making correspondent records. It was the image of the station full of people leaving for the battlefi eld that demonstrated the trauma penetrating into the depth of the human consciousness, deforming the general state and behavior. The experience of the diarist led him to conclusion that not only Sarajevo, but also Katerynoslav was the point of the war. The epicenter of the events is in the notes on the station scenes that clearly divided the world into the lost peace and war, causing dramatic changes in human consciousness and behavior. This awareness was facilitated by the successful use of techniques belonging to naturalism, realism, impressionism, and expressionism.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"20 7-8","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120892429","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 : 2019-10-16DOI: 10.33608/0236-1477.2019.10.37-43
S. Kocherha
The paper deals with empathetic characteristics of Olena Pchilka’s personality in the family letters. The correspondence of the writer’s children, in particular Mychailo and Lesia, contains a number of details for the psychological portrait of Olena Pchilka; it captures her various emotional states and reactions, allows dening the communicative frames that dominated in the family. The researcher traces the formation of a specic Olena Pchilka’s cult, which concerned her roles of a writer, public person, and mother. It is conrmed by numerous enthusiastic and thankful words in the letters of her children. However, the main attention is paid to the synthesis of self-sacrice and authoritarianism in Olena Pchilka’s family pedagogy. Communication at distance between Lesia Ukraiinka and her mother turned into an experiment of modeling the image of a national writer. At the same time, the letters testify to the fact that Olena Pchilka recognised the unique gift and powerful intelligence of her daughter Lesia Ukraiinka. The mother managed to establish quite friendly relations with her elder children, but Pchilka’s desire to control the emotional world of young Kosaches, her insistent interpretation of it, and the fear of other people’s excessive influence on her children caused long-lasting conflicts, accompanied by ‘tactics of silence’. These destructive tactics resulted in emotional traumas, which, in particular, were sublimated in the literary world of Lesia Ukraiinka as a discourse of communicative rupture (“Advocate Martian”, “Johanna, Chusa’s Wife”, “Aisha and Mohammed”, “Babylonian Captivity”, etc.). It should be noted that children tried to tolerate their mother’s dependence on her psychological complexes and insistent self-isolation, understanding the unique role of Olena Pchilka in their personal development.
{"title":"“My Sweet Mother…”: Empathetic Interpretation of Olena Pchilka’s Epistolary Portrait","authors":"S. Kocherha","doi":"10.33608/0236-1477.2019.10.37-43","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.10.37-43","url":null,"abstract":"The paper deals with empathetic characteristics of Olena Pchilka’s personality in the family letters. The correspondence of the writer’s children, in particular Mychailo and Lesia, contains a number of details for the psychological portrait of Olena Pchilka; it captures her various emotional states and reactions, allows dening the communicative frames that dominated in the family. The researcher traces the formation of a specic Olena Pchilka’s cult, which concerned her roles of a writer, public person, and mother. It is conrmed by numerous enthusiastic and thankful words in the letters of her children. However, the main attention is paid to the synthesis of self-sacrice and authoritarianism in Olena Pchilka’s family pedagogy. Communication at distance between Lesia Ukraiinka and her mother turned into an experiment of modeling the image of a national writer. At the same time, the letters testify to the fact that Olena Pchilka recognised the unique gift and powerful intelligence of her daughter Lesia Ukraiinka. The mother managed to establish quite friendly relations with her elder children, but Pchilka’s desire to control the emotional world of young Kosaches, her insistent interpretation of it, and the fear of other people’s excessive influence on her children caused long-lasting conflicts, accompanied by ‘tactics of silence’. These destructive tactics resulted in emotional traumas, which, in particular, were sublimated in the literary world of Lesia Ukraiinka as a discourse of communicative rupture (“Advocate Martian”, “Johanna, Chusa’s Wife”, “Aisha and Mohammed”, “Babylonian Captivity”, etc.). It should be noted that children tried to tolerate their mother’s dependence on her psychological complexes and insistent self-isolation, understanding the unique role of Olena Pchilka in their personal development.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115541898","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 : 2019-10-16DOI: 10.33608/0236-1477.2019.10.59-68
O. Boron
The author of the article analyzed the arguments of other researchers and finally disproved the version that Shevchenko’s “letter to unknown woman” could be addressed to Lykera Polusmak. He also offers a few clarifications in the comments to this and several other related letters. The Russian language is the main and indisputable argument against addressing the letter to Lykera, despite the fact that, although badly, she could read in Russian and was even able to write a few words with great difficulty. The author suggests publishing several Shevchenko’s household notes, contained on the pages of Lykera’s notebook, in the new “Complete Works”. The version of the researchers who compiled Shevchenko’s “Complete Works” in 10 volumes that the letter was intended for Anna Sharikova has been recognized as inconsistent. The published archival materials, previously unavailable to the general public, do not give ground to speak even about Shevchenko’s acquaintance with A. Sharikova. Her petitions to various authorities are full of fantastic allegations, none of which was confirmed. According to the documents, officials were inclined to consider her insane. Having offered Lykera to marry on July 27 1860, and having obtained her prior consent on the 28th (subject to the absence of a denial from her former master M. Makarov), Shevchenko on the same day, i.e. July 28, wrote a letter to a person associated with him, obviously being in intimate relationship, which had to be completely broken off. The author substantiated the hypothesis that an unfinished note was addressed to Amalia Kloberg, which was a seller at F. Avanzo’s art store in St. Petersburg. He also supposes that A. Kloberg could be a model for several Shevchenko’s drawings. At the same time, it is probable that the note was intended for the person still unknown to us, therefore the previous decision of the researchers compiling academic editions of Shevchenko’s works remains valid: to print the text as a letter to the unknown.
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Pub Date : 2019-09-08DOI: 10.33608/0236-1477.2019.09.69-80
I. Prylipko
The paper deals with the specific features of describing foreign countries and nations in O. Honchar’s “Diaries”. The presented research shows particular details of foreign realities in the author’s perception, classifies the factors of forming ethnic images, and evaluates the originality of their representation in “Diaries”. In the context of the Own and Alien space correlation O. Honchar’s position becomes visible. He underlines the absence of stereotypes and domination of shared spiritual people’s values in forming the conception of a stranger. Foreign cultural realities and ethnic images, represented in “Diaries”, were the results of the author’s detailed observation and deep penetration into the facts of spiritual and material culture, mental peculiarities, history and present situation of different nations (Georgians, Jews, Russians, Portuguese, Indians, Americans, Japanese and others). The concept Other/Alien is formed involving such points as projection on the Own space, comparison of different foreign cultural facts with the realities of Ukrainian context. The diary notes represent the evolution of the author’s reception. The war period notes demonstrate domination of the Alien in the process of perceiving foreign culture, which is caused by the tragic war situation and longing for the native land. The post-war period notes show O. Honchar’s reflections on his war experience, the writer’s interest in cultural, historical, and social peculiarities of certain people. The reproduction of foreign cultural realities evolved. Ethnic images were designed on the basis of observation, impressions, generalization, and comparison of topographic, ideological, artistic, and historical peculiarities. They all formed an ethnomental image of a separate nation. The ethnic images, represented in O. Honchar’s “Diaries”, are based on humanistic values. They emphasize the idea of spiritual universality of different people, underlining the facts that unite representatives of different countries.
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Pub Date : 2019-09-08DOI: 10.33608/0236-1477.2019.09.81-100
V. Vasylenko
The paper analyzes the tetralogy of novels by Dokiia Humenna “Children of the Milky Way” in the context of the postwar Ukrainian diaspora fiction. The researcher raises such issues as the genre nature, narrator’s position, problem of the relationship between the categories of time and space, and the alternative autobiography of the novel. The process of writing the novel is considered as an attempt to normalize the writer’s own traumatic experience, caused by two decades of totalitarian terror and repressions. Dokiia Humenna’s novel is regarded in the context of such genres as family chronicle and ‘novel of generations’, which was updated in Ukrainian literature of the post-war period as an attempt to overcome the threatening tendencies of the entropy. At the same time, considering the fact that the novel was written on the verge of fiction and documentaries, the researcher suggested reviewing the work in the context of testimonial literature. It is emphasized that ideas of generational consciousness and generational dimension of time shape the novel, and the concept of generation is associated with categories of ancestry, memory, trauma, and identity. The generation of Ukrainian 1920s, which Dokiia Humenna considers as her own, emerges in the novel as a complex and heterogeneous socio-cultural phenomenon, represented by historical fi gures that became symbols and signs of their time (Mykola Khvylovyi, Mykola Zerov, and others), by literary stories of their alter ego, and fictional characters, sometimes based on several real prototypes. The myth of primordialism is one of the most important in the novel. It is represented by the archetype of a hamlet, a patriarchal micromodel of Ukraine, traditional in classical Ukrainian literature. In addition, the author of the paper raised a question about the presence of the writer’s alternative autobiographies in the novel, which might be the ways of constructing her own identity.
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Pub Date : 2019-09-08DOI: 10.33608/0236-1477.2019.09.52-68
Y. Barabash
“Story of Sanatorium Zone” by Mykola Khvylovyi, fi rst published in 1924 under the title “Sanatorium Zone”, has been considered in two interconnected contexts – the one of European modernism of the initial decades of the 20th century and that of the so-called Ukrainian ‘latent’ modernism of the 1920s – 1930s. The mentioned fact of the story’s relation to the ‘sanatorium’ theme in the works of European writers (“The Magic Mountain” by T. Mann, “The Last Chapter” by K. Hamsun, “Sanatorium” by S. Maugham, “Sanatorium under Clepsydra” by B. Schultz, “Health-Resort Visitor” by H. Hesse) is considered as a testimony of the writer’s concentration on the confi ned area, which is one of the conceptual signs of the modernist aesthetics. The analysis of the confined space, shown in the story, is carried out in several aspects: a) a metaphor of ‘zone’ as a factor of forming the semantic field of the confined space; b) typology of confined spaces: pragmatic, prophanic, social and historical, space of memory, existential, mythological, absurdist; c) relation of the sanatorium space to the out-of-sanatorium one, frontiers and borders, verticals and horizontals, collision ‘inside/outside’; d) composition of the textual space of the story (frame composition, the beginning and the end as compositional elements, assembly, principle of counterpoint, doubling of the narration subject; e) the structure of the confined space as a Text (‘beginning/end’ as structural component, binary oppositions, intertextuality – ‘autointertext’, intertextual ‘Dostoyevsky’ palimpsest). The analysis of poetics, structure, and semantics of the confined space in “Sanatorium Zone” gives the basis for marking the innovative role of the story by Mykola Khvylovyi in the establishment of the Ukrainian model of modernism.
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Pub Date : 2019-09-08DOI: 10.33608/0236-1477.2019.09.3-10
Тарас Шмігер
Panteleimon Kulish’s views on translation were based on his own experience of translations and shaped under the infl uence of contemporary Ukrainian translation practice and scholarly thought (observations by H. Kvitka-Osnovianenko, P. Hulak-Artemovskyi, Ya. Holovatskyi, and M. Maksymovych; biblical texts in translation of P. Hulak-Artemovskyi, M. Maksymovych, V. Aleksandrov, and P. Morachevskyi), as well as the German translation studies (ideas of J. Herder, W. Humboldt, F.Schleiermacher, and A. Schlegel). The Ukrainian critic’s understanding corresponds to the views of other Slavonic authors: some Czech critics considered translation as a significant power for creating a new literature and nation and saw the roots of this strength in the language, but more detailed criteria for evaluating translation quality weren’t discussed yet; Russian researchers emphasized the significance of the author’s approach for the correct translation of his/her writings. P. Kulish considered the problems of reproducing the identity of the text much deeper, drawing attention to what makes any translation a different literary work and how the text may or should be modified with respect to the specific features of the reader’s perception. In terms of translation studies of the time, P. Kulish regarded the “poetic spirit and composition” of the text as the main criteria of the equivalent translation. However, the term ‘composition’ does not only designate the formal structure of a text. It is related to the concept that the form is shaped by the language and specific lingual means as well. P. Kulish was aware of the semantic problems of translation, but available linguistic knowledge of the time didn’t offer proper terms for their description. In addition, P. Kulish was actually one of the first (if not the first) to introduce into Ukrainian translation studies the term ‘untranslatable’, which became very popular in the theoretical and critical discussions of the 20th century.
潘捷列蒙·库利什的翻译观是基于他自己的翻译经历，并受到当代乌克兰翻译实践和学术思想的影响而形成的(H. Kvitka-Osnovianenko, P. Hulak-Artemovskyi, Ya)。霍洛瓦茨基和马克西莫维奇先生;圣经文本的翻译(P. Hulak-Artemovskyi, M. Maksymovych, V. Aleksandrov和P. Morachevskyi)，以及德国翻译研究(J. Herder, W. Humboldt, F.Schleiermacher和A. Schlegel的观点)。乌克兰评论家的理解与其他斯拉夫作家的观点相一致:一些捷克评论家认为翻译是创造新文学和国家的重要力量，并在语言中看到了这种力量的根源，但尚未讨论更详细的评价翻译质量的标准;俄罗斯研究者强调作者的翻译方法对其作品的正确翻译的重要性。P. Kulish更深入地考虑了再现文本身份的问题，引起了人们对什么使任何翻译成为不同的文学作品以及文本可以或应该如何根据读者感知的具体特征进行修改的关注。在当时的翻译研究中，库利什把文本的“诗性精神和诗性构成”作为等效翻译的主要标准。然而，“作文”一词并不仅仅指一篇文章的形式结构。这与“形式是由语言和特定的语言手段塑造的”这一概念有关。P. Kulish意识到翻译的语义问题，但当时可用的语言学知识并没有提供适当的术语来描述它们。此外，P. Kulish实际上是第一个(如果不是第一个)将“不可译”一词引入乌克兰翻译研究的人之一，这个词在20世纪的理论和批评讨论中非常流行。
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