Pub Date : 2023-08-30DOI: 10.33608/0236-1477.2023.04.14-28
H. Burlaka
The subject of this research is the family correspondence of the Drahomanovs, a significant part of which remains unpublished. These archival materials have been prepared for publication in the upcoming issue of the annual journal “Heritage: Literary Source Studies. Textology”. They significantly enrich our knowledge of Mykhailo Drahomanov’s life and his circle, while also presenting some complex tasks for the commentator. In particular, the letters of M. Drahomanov’s youngest brother, Oleksandr, mention his daughters Oksana and Nina. The dates mentioned in these references contradict the commonly known information about their birth years. Therefore, there is a need to clarify their actual years of birth. Oksana Drahomanova was a lawyer, a participant in Ukraine’s liberation struggle in 1918—1921, an international women’s movement activist, a writer, and a translator. Various mentions provide different birth dates for Oksana, most often 1894 but occasionally 1892. The information about Oksana and Nina Drahomanova that has been circulated in the scholarly literature is based mostly on the distant relatives’ and acquaintances’ memories, which are often unreliable in terms of dating. In addition, Oksana herself may have altered her passport data, ‘rejuvenating’ herself by at least three years during her emigration overseas. The present research incorporates modern sources and archival materials, including memories, photographs, correspondence, and other documents. A decisive piece of evidence was a photograph of little Oksana, about one and a half years old, with a gift inscription from her father, dated June 1892. Thus, it is proved that Oksana Drahomanova was actually born in early 1891, but the exact date has yet to be established. Little is known about Nina Drahomanova, with her birth year commonly believed to be 1900 or 1901. However, based on the letters of her father Oleksandr from 1898—1912, it can confidently be stated that Nina was born in 1898. In addition, through the study of sources, the exact birth date of Oleksandr Drahomanov is determined to be August 4, 1859, according to the old style. The paper demonstrates how preparing texts for publication and scholarly commentary on archival materials (in this case, epistolary ones) lead to heuristic discoveries.
{"title":"DOUBLE MYSTIFICATION OF THE DRAHOMANOV SISTERS","authors":"H. Burlaka","doi":"10.33608/0236-1477.2023.04.14-28","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.04.14-28","url":null,"abstract":"The subject of this research is the family correspondence of the Drahomanovs, a significant part of which remains unpublished. These archival materials have been prepared for publication in the upcoming issue of the annual journal “Heritage: Literary Source Studies. Textology”. They significantly enrich our knowledge of Mykhailo Drahomanov’s life and his circle, while also presenting some complex tasks for the commentator. In particular, the letters of M. Drahomanov’s youngest brother, Oleksandr, mention his daughters Oksana and Nina. The dates mentioned in these references contradict the commonly known information about their birth years. Therefore, there is a need to clarify their actual years of birth. \u0000Oksana Drahomanova was a lawyer, a participant in Ukraine’s liberation struggle in 1918—1921, an international women’s movement activist, a writer, and a translator. Various mentions provide different birth dates for Oksana, most often 1894 but occasionally 1892. The information about Oksana and Nina Drahomanova that has been circulated in the scholarly literature is based mostly on the distant relatives’ and acquaintances’ memories, which are often unreliable in terms of dating. In addition, Oksana herself may have altered her passport data, ‘rejuvenating’ herself by at least three years during her emigration overseas. The present research incorporates modern sources and archival materials, including memories, photographs, correspondence, and other documents. A decisive piece of evidence was a photograph of little Oksana, about one and a half years old, with a gift inscription from her father, dated June 1892. Thus, it is proved that Oksana Drahomanova was actually born in early 1891, but the exact date has yet to be established. \u0000Little is known about Nina Drahomanova, with her birth year commonly believed to be 1900 or 1901. However, based on the letters of her father Oleksandr from 1898—1912, it can confidently be stated that Nina was born in 1898. \u0000In addition, through the study of sources, the exact birth date of Oleksandr Drahomanov is determined to be August 4, 1859, according to the old style. \u0000The paper demonstrates how preparing texts for publication and scholarly commentary on archival materials (in this case, epistolary ones) lead to heuristic discoveries.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121199632","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 : 2023-08-30DOI: 10.33608/0236-1477.2023.04.64-75
T. Mykhailova
The paper examines four texts by V. Stus, published in the uncensored periodical “Ukrainskyi Visnyk” from January 1970 to January 1971 (“A Place in a Battle or in a Massacre?”, “Nowadays it is clear to everyone...”, “Every normally organized society...”, and the poem in memory of Alla Horska “Burn Bright, My Soul, Burn Bright, and Do Not Weep!”) taking into account the investigative files of the poet, who was convicted of self-publishing. Within the analyzed prose texts, Stus defends well-known representatives of the resistance movement (Ivan Dziuba, Valentyn Moroz, Vasyl Zakharchenko, Ivan Suk), emphasizes every person’s need for freedom, and draws attention to the necessity of dialogue between the state leadership and society as the latter also bears responsibility for the authorities’ criminal actions. The poet underlines the important role of the creative youth, in which he sees the ‘self-recovery’ of the Ukrainian nation. In the poem “Burn Bright, My Soul, Burn Bright, and Do Not Weep!”, Stus relates his personal profound tragedy, caused by the murder of A. Hors’ka, to the tragedy experienced by the entire generation of the sixtiers and the nation as a whole. There is a variety of colors in the poem (an allusion to painting, to which A. Horska devoted her life) with the dominance of red, embodied in the image of viburnum, the national symbol of Ukraine. The revised versions of the poem, published in the collections “The Merry Cemetery” and “Palimpsests”, were also considered. The issue of national identity in Stus’s texts is presented implicitly: he primarily defends a man and the values of freedom, which is associated with creative opportunities for the development of native culture. It is noteworthy that the national issue constitutes a significant point in the investigative files, forming the basis for accusations of 'anti-Soviet activities' against the poet.
{"title":"TO THE ISSUE OF NATIONAL IDENTITY IN THE SELF-PUBLISHED TEXTS BY VASYL STUS","authors":"T. Mykhailova","doi":"10.33608/0236-1477.2023.04.64-75","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.04.64-75","url":null,"abstract":"The paper examines four texts by V. Stus, published in the uncensored periodical “Ukrainskyi Visnyk” from January 1970 to January 1971 (“A Place in a Battle or in a Massacre?”, “Nowadays it is clear to everyone...”, “Every normally organized society...”, and the poem in memory of Alla Horska “Burn Bright, My Soul, Burn Bright, and Do Not Weep!”) taking into account the investigative files of the poet, who was convicted of self-publishing. Within the analyzed prose texts, Stus defends well-known representatives of the resistance movement (Ivan Dziuba, Valentyn Moroz, Vasyl Zakharchenko, Ivan Suk), emphasizes every person’s need for freedom, and draws attention to the necessity of dialogue between the state leadership and society as the latter also bears responsibility for the authorities’ criminal actions. The poet underlines the important role of the creative youth, in which he sees the ‘self-recovery’ of the Ukrainian nation. \u0000In the poem “Burn Bright, My Soul, Burn Bright, and Do Not Weep!”, Stus relates his personal profound tragedy, caused by the murder of A. Hors’ka, to the tragedy experienced by the entire generation of the sixtiers and the nation as a whole. There is a variety of colors in the poem (an allusion to painting, to which A. Horska devoted her life) with the dominance of red, embodied in the image of viburnum, the national symbol of Ukraine. The revised versions of the poem, published in the collections “The Merry Cemetery” and “Palimpsests”, were also considered. The issue of national identity in Stus’s texts is presented implicitly: he primarily defends a man and the values of freedom, which is associated with creative opportunities for the development of native culture. It is noteworthy that the national issue constitutes a significant point in the investigative files, forming the basis for accusations of 'anti-Soviet activities' against the poet.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134409119","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 : 2023-08-30DOI: 10.33608/0236-1477.2023.04.47-63
Oleksandr Artamonov
The paper aims to find an appropriate interpretative key for one of the central episodes in V. Domontovych’s novel “Without Foundation”. In this episode, the protagonist meets a woman for the first time and, solely based on his feelings and emotions, recognizes her as a person to whom a symphony by Karol Szymanowski was dedicated. The analysis of interpretations in the recent works of literary scholars leads to the conclusion that the explanations at hand do not clarify how this episode could actually occur, as they are limited by the Modern concept of relative truth. These interpretations either treat the episode as impossible or suggest a connection to psychoanalytic theory without any supporting evidence from the text. To avoid this limitation, the researcher seeks for a theory that aligns with V. Petrov’s philosophical and artistic interests, treats the episode as possible, and offers the necessary conceptual tools to explain the relationship between a piece of art and a source of inspiration. The comparative analysis showed that the use of scholastic exemplarism as an interpretative key significantly aids in explaining the episode. Scholastic exemplarism as a teaching about the correspondence between all the created things and the eternal ‘exemplars’ present in divine intellectus, enables the establishment of an objective link between the woman and the symphony, which is inevitably missing in the analysis of the novel through any of the Modern empirical approaches. Thus, the process of human cognition of God, described by Bonaventure, looks like a blueprint for describing the protagonist's recognition of the woman in “Without Foundation”. Moreover, explanation of the specific ontological and epistemological relationships between God and His creature, provided by Thomas Aquinas in “Compendium Theologiae”, clarifies many obscure aspects of the episode and the novel in general. The paper demonstrates the heuristic efficiency of employing scholastic exemplarism for the interpretation of “Without Foundation”.
{"title":"“WITHOUT FOUNDATION” BY V. DOMONTOVYCH IN THE LIGHT OF SCHOLASTIC EXEMPLARISM","authors":"Oleksandr Artamonov","doi":"10.33608/0236-1477.2023.04.47-63","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.04.47-63","url":null,"abstract":"The paper aims to find an appropriate interpretative key for one of the central episodes in V. Domontovych’s novel “Without Foundation”. In this episode, the protagonist meets a woman for the first time and, solely based on his feelings and emotions, recognizes her as a person to whom a symphony by Karol Szymanowski was dedicated. The analysis of interpretations in the recent works of literary scholars leads to the conclusion that the explanations at hand do not clarify how this episode could actually occur, as they are limited by the Modern concept of relative truth. These interpretations either treat the episode as impossible or suggest a connection to psychoanalytic theory without any supporting evidence from the text. To avoid this limitation, the researcher seeks for a theory that aligns with V. Petrov’s philosophical and artistic interests, treats the episode as possible, and offers the necessary conceptual tools to explain the relationship between a piece of art and a source of inspiration. \u0000The comparative analysis showed that the use of scholastic exemplarism as an interpretative key significantly aids in explaining the episode. Scholastic exemplarism as a teaching about the correspondence between all the created things and the eternal ‘exemplars’ present in divine intellectus, enables the establishment of an objective link between the woman and the symphony, which is inevitably missing in the analysis of the novel through any of the Modern empirical approaches. Thus, the process of human cognition of God, described by Bonaventure, looks like a blueprint for describing the protagonist's recognition of the woman in “Without Foundation”. Moreover, explanation of the specific ontological and epistemological relationships between God and His creature, provided by Thomas Aquinas in “Compendium Theologiae”, clarifies many obscure aspects of the episode and the novel in general. The paper demonstrates the heuristic efficiency of employing scholastic exemplarism for the interpretation of “Without Foundation”.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130830860","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 : 2023-08-30DOI: 10.33608/0236-1477.2023.04.3-13
Anatolii Moisiienko
A sonnet poem, typically consisting of a thesis, an antithesis, and a conclusion, is a dynamic entity by its very nature. In the sonnets by Lesia Ukrainka, various aspects of such dynamics can be observed at both the proper textual and intertextual levels. At the textual level, an important role in the dynamization of the text system is primarily played by numerous lexical and syntactic repetitions. While tradition has long prevented the use of lexical repetitions in sonnet texts, the experience of outstanding masters, such as Lesia Ukrainka, proves that disregarding this tradition occurs due to the author’s creative approach to the issue. The figurative and semantic dynamics of Lesia Ukrainka’s sonnets are often initiated with the very first word, which is further actualized through anaphoric and other repeated elements. In the first version of the “Fa” sonnet, the highly expressive dynamics of gradation in rhetorical interrogative sentences, introduced in the second quatrain, reach their intense paradigmatic expression in the tercet endings. To a large extent, a different character of the figurative and intonation course, corresponding to the meaningful intra-dialogical unfolding of the literary canvas, can be traced in the compositional system of the sonnet “The Last Song of Maria Stewart”, where the initial interrogative construction finds a logical continuation in the final lines of the exclamatory sentence. The sonnet “Breath of the Desert”, the figurative dynamics of which are realized mostly due to the intertextual situation, shows still another character of the compositional course. Based on the perception of Lesia Ukrainka’s poem “Khamsin”, written, by the way, on the same day as the sonnet (both poems belong to the “Spring in Egypt” cycle), the image of the free and capricious wind (‘khamsin’) acquires a deep meaning. Intertextual and apperceptive dynamics can also be observed in the Bakhchysarai triptych from the cycle “Crimean Memories”, which undoubtedly alludes to Adam Mickiewicz’s “Crimean Sonnets”. However, the perception of the literary heritage here is highly individual: unlike Mickiewicz’s generally romantic interpretation of events, Lesia Ukrainka discusses the affairs of long-gone days in her sonnet from the standpoint of a narrator ‒ a contemporary of the new age, who interprets historical processes in relation to present realities.
{"title":"LESIA UKRAINKA’S SONNET POEM AS A DYNAMIC SYSTEM","authors":"Anatolii Moisiienko","doi":"10.33608/0236-1477.2023.04.3-13","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.04.3-13","url":null,"abstract":"A sonnet poem, typically consisting of a thesis, an antithesis, and a conclusion, is a dynamic entity by its very nature. In the sonnets by Lesia Ukrainka, various aspects of such dynamics can be observed at both the proper textual and intertextual levels. At the textual level, an important role in the dynamization of the text system is primarily played by numerous lexical and syntactic repetitions. While tradition has long prevented the use of lexical repetitions in sonnet texts, the experience of outstanding masters, such as Lesia Ukrainka, proves that disregarding this tradition occurs due to the author’s creative approach to the issue. \u0000The figurative and semantic dynamics of Lesia Ukrainka’s sonnets are often initiated with the very first word, which is further actualized through anaphoric and other repeated elements. In the first version of the “Fa” sonnet, the highly expressive dynamics of gradation in rhetorical interrogative sentences, introduced in the second quatrain, reach their intense paradigmatic expression in the tercet endings. To a large extent, a different character of the figurative and intonation course, corresponding to the meaningful intra-dialogical unfolding of the literary canvas, can be traced in the compositional system of the sonnet “The Last Song of Maria Stewart”, where the initial interrogative construction finds a logical continuation in the final lines of the exclamatory sentence. \u0000The sonnet “Breath of the Desert”, the figurative dynamics of which are realized mostly due to the intertextual situation, shows still another character of the compositional course. Based on the perception of Lesia Ukrainka’s poem “Khamsin”, written, by the way, on the same day as the sonnet (both poems belong to the “Spring in Egypt” cycle), the image of the free and capricious wind (‘khamsin’) acquires a deep meaning. Intertextual and apperceptive dynamics can also be observed in the Bakhchysarai triptych from the cycle “Crimean Memories”, which undoubtedly alludes to Adam Mickiewicz’s “Crimean Sonnets”. However, the perception of the literary heritage here is highly individual: unlike Mickiewicz’s generally romantic interpretation of events, Lesia Ukrainka discusses the affairs of long-gone days in her sonnet from the standpoint of a narrator ‒ a contemporary of the new age, who interprets historical processes in relation to present realities.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114797438","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 : 2023-08-30DOI: 10.33608/0236-1477.2023.04.29-46
V. Vasylenko
The paper examines the literary technique of Ihor Kostetskyi and the innovative forms and content of his prose from the late 1940s. It focuses on the author’s attempts to update the genre nature of a short story. The analysis covers the principles of creating a figurative system, the structure of a prose narrative, the use of cinematic constructions, the ‘stream of consciousness’ technique, the situation of a lacuna, ‘text within a text’, etc. The research involved the works included in the collection “Stories about the Winners”, as well as the short stories “You Own the Whole World”, “Before the Upcoming Day”, “Divine Lies”, and samples of their critical reception (in particular, the studies by Victor Petrov, Volodymyr Derzhavyn, Yurii Sherekh, and others). Kostetskyi’s collection of short prose “The Story of the Winners” is regarded as a kind of laboratory in which the writer explored the possibilities of language and literary techniques, experimenting with the concepts of genre and image. It is argued that the writer sought to create a technical picture of the world that has nothing to do with the physical world, and the images he created are signs and symbols that need to be deciphered. In the short story “You Own the Whole World”, which is perceived as a “telegraphic mini-version of a psychological novel” or a “mini-novel with a mini-prologue”, one can find the ‘stream of consciousness’ technique and the situation of a gap, that is, a gap between the story of traumatic event and reality when the reader does not receive an unambiguous answer to the question of where the event occurs and whether it occurs at all. The compositional technique of ‘text within a text’, tested by Kostetskyi in the short story “Before the Upcoming Day”, performs the function of a hidden ‘message’ and allows inserting ‘internal’ actions and dialogues into ‘external’ ones. In general, Kostetskyi’s works appeal to the subconscious, enhanced associativity and imagination, and the play factor is important in them as one of the elements of the author’s poetics.
{"title":"THE PROSE OF IHOR KOSTETSKYI","authors":"V. Vasylenko","doi":"10.33608/0236-1477.2023.04.29-46","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.04.29-46","url":null,"abstract":"The paper examines the literary technique of Ihor Kostetskyi and the innovative forms and content of his prose from the late 1940s. It focuses on the author’s attempts to update the genre nature of a short story. The analysis covers the principles of creating a figurative system, the structure of a prose narrative, the use of cinematic constructions, the ‘stream of consciousness’ technique, the situation of a lacuna, ‘text within a text’, etc. \u0000The research involved the works included in the collection “Stories about the Winners”, as well as the short stories “You Own the Whole World”, “Before the Upcoming Day”, “Divine Lies”, and samples of their critical reception (in particular, the studies by Victor Petrov, Volodymyr Derzhavyn, Yurii Sherekh, and others). \u0000Kostetskyi’s collection of short prose “The Story of the Winners” is regarded as a kind of laboratory in which the writer explored the possibilities of language and literary techniques, experimenting with the concepts of genre and image. It is argued that the writer sought to create a technical picture of the world that has nothing to do with the physical world, and the images he created are signs and symbols that need to be deciphered. In the short story “You Own the Whole World”, which is perceived as a “telegraphic mini-version of a psychological novel” or a “mini-novel with a mini-prologue”, one can find the ‘stream of consciousness’ technique and the situation of a gap, that is, a gap between the story of traumatic event and reality when the reader does not receive an unambiguous answer to the question of where the event occurs and whether it occurs at all. The compositional technique of ‘text within a text’, tested by Kostetskyi in the short story “Before the Upcoming Day”, performs the function of a hidden ‘message’ and allows inserting ‘internal’ actions and dialogues into ‘external’ ones. \u0000In general, Kostetskyi’s works appeal to the subconscious, enhanced associativity and imagination, and the play factor is important in them as one of the elements of the author’s poetics.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125567959","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 : 2023-06-30DOI: 10.33608/0236-1477.2023.03.35-49
N. Herasymenko
The paper deals with the typology of modern Ukrainian military prose based on the analysis of relevant novels. According to the structural and functional features of the works, it is reasonable to classify them using division into high/mass/intermediate literature. The first type includes complex and multidimensional texts (with allusions, literary reminiscences, irony, parody, etc.), and their action takes place mainly in a mental sphere. Heroes are characterized by understanding of social processes and war realities (significant is the presence of two identities, “properly Ukrainian” and “Soviet”); they rethink their mistakes and transform in response to new challenges. These texts are mostly focused on the acquisition of individual subjectivity. They require a trained erudite reader who can discern the writer’s narratives behind their multi-layered nature. Mass literature includes works where action dominates, and such elements as shooting, chase, superman hero, excessive emotions, love triangle, etc. are widely used. The adventure genre, military detective, melodrama, and action novel are currently most fully represented. Intermediate prose may combine, on the one hand, topical social issues, character evolution, logical and consistent presentation of events (as a feature of “high literature”) with a simplified plot and images, the lack of attention to the psychology of the characters, and various means of mass literature. Contemporary Ukrainian writers have managed to create a large-scale cultural discourse, offering works that cover the problem of war, its causes and consequences, and the topic of a person at war from different perspectives and contexts.
{"title":"MODERN MILITARY PROSE: GENRE AND STYLE TYPOLOGY","authors":"N. Herasymenko","doi":"10.33608/0236-1477.2023.03.35-49","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.03.35-49","url":null,"abstract":"The paper deals with the typology of modern Ukrainian military prose based on the analysis of relevant novels. According to the structural and functional features of the works, it is reasonable to classify them using division into high/mass/intermediate literature. The first type includes complex and multidimensional texts (with allusions, literary reminiscences, irony, parody, etc.), and their action takes place mainly in a mental sphere. Heroes are characterized by understanding of social processes and war realities (significant is the presence of two identities, “properly Ukrainian” and “Soviet”); they rethink their mistakes and transform in response to new challenges. These texts are mostly focused on the acquisition of individual subjectivity. They require a trained erudite reader who can discern the writer’s narratives behind their multi-layered nature. Mass literature includes works where action dominates, and such elements as shooting, chase, superman hero, excessive emotions, love triangle, etc. are widely used. The adventure genre, military detective, melodrama, and action novel are currently most fully represented. Intermediate prose may combine, on the one hand, topical social issues, character evolution, logical and consistent presentation of events (as a feature of “high literature”) with a simplified plot and images, the lack of attention to the psychology of the characters, and various means of mass literature. Contemporary Ukrainian writers have managed to create a large-scale cultural discourse, offering works that cover the problem of war, its causes and consequences, and the topic of a person at war from different perspectives and contexts.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115474573","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 : 2023-06-30DOI: 10.33608/0236-1477.2023.03.66-80
V. Zavadska
The paper examines literary features of Maryna Hrymych’s novel “Klavka” (2019). The variety of methods used in the work is interesting for literary analysis. These are the use of the historical background with a detailed description of the realities of the time; introduction of the writers’ personalities as characters; continuation of the urbanistic “Kyiv” theme using contemporary toponyms; urban folklore; a hero multi-narrator; quoting the poetry of that time in order to create a flavor of the writer’s life, etc. Hrymych uses the literary form of the novel to show the acts of harassment of writers in the era of Stalinism. The plenum of the Union of Writers of Ukraine, organized in 1947, aimed to criticize prominent Ukrainian writers of that time: Maksym Rylskyi, Yurii Yanovskyi, Ivan Senchenko, and others. This action had a tactical goal but strategically, Ukrainian literature was doomed to complete assimilation and “denationalization” along with the physical destruction of the writers. The documents confirming this process have not been made public yet, so Hrymych presents them in the form of quotes or transcripts made by the main character, the secretary of the Union of Writers. The novel has the passages of scholarly content, which play an important role. The writer presents an analysis of literary works of the cult of Stalin era. Being unable to accept these works, modern readers tend to completely reject them. Maryna Hrymych provides a way to perceive these writings by acknowledging that the authors wrote them on state orders, but they tried to do it masterfully by using various literary techniques and presenting their individual style. The genre affiliation of the novel is ambiguous. “Klavka” can be perceived both as a historical novel, as a “novel about a profession” (a parody of similar works of that time), as an urban novel, and a documentary prose. A variety of techniques and methods used in the novel allows talking about “Klavka” as a postmodern work.
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Pub Date : 2023-06-30DOI: 10.33608/0236-1477.2023.03.19-34
I. Prylipko
The paper examines the representation of war in Oles Honchar’s diary and traces its peculiarities. The analysis of diary entries from the period of the Second World War and the post-war years reveals the chronological and psychological duality of the author’s perception of war as a reality and as a memory. The diary has its specifics of the presentation and understanding of the autobiographical, social, political, historical, and philosophical aspects of war as an inhumane, criminal, and absurd phenomenon, in the context of which life values become reinterpreted and the true nature of a man revealed. The author’s peculiar representation of the war realities is based on the perception of an eyewitness and a participant in the events, reflecting on historical, anthropological, and transcendental dimensions of the phenomenon of war. It was found that in the post-war diary entries, the phenomenon of war is transformed within the confines of personal experience. The temporal projection also brings new meanings, ultimately transforming it into a form of memory. To O. Honchar, every return of thoughts to the past is not just reminiscence; it is a new experience of something that has never been forgotten. Through his vivid memories of the war in new time coordinates, the author of the diary reinterpreted past and present realities, while his love for life, people, and Ukraine became deeper and stronger. The diary entries of O. Honchar hold particular significance in today’s conditions, offering valuable insights into the experience of a notable individual. They provide us with a deeper understanding of the tragedy of the Second World War and the role played by nations and individuals. Moreover, they may expand our comprehension of the modern Russian military aggression against Ukraine and aid us in interpreting the global anti-humane nature of war within specific historical and existential dimensions.
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Pub Date : 2023-06-30DOI: 10.33608/0236-1477.2023.03.50-65
Larysa Horbolis
Focused on the works “Oformliandiia”, “Scrap metal” (“Chormet”), and “Duckweed” (“Riaska”) by the modern Ukrainian writer Markiian Kamysh, the paper clarifies the peculiarities of the literary representation of the Chornobyl disaster at various levels of the fictional text, such as narratological, pictorial, thematic, and architectonic. While each work has its distinct structure, hero type, and set of issues, they all share a common thread of characters being involved in the exclusion zone. Kamysh takes a bold approach to developing the Chornobyl theme, emphasizing the dark aspects of life in the zone, the complex existential process of self-understanding, and long-term stays in the zone as a way to alleviate pain and talk effectively about trauma. Every visit to the exclusion zone is an important event in the inner life of the characters. The confessional nature of the narrative, reflections on the exclusion zone as a territory for self-understanding, self-therapy, relief from trauma, and therefore general spiritual healing, allow for “Oformliandia” to be considered an alternative existential post-traumatic text within the modern Ukrainian nuclear discourse. M. Kamysh emphasizes that staying in the exclusion territory opens opportunities for the hero of “Oformliandia” to deeper understand his belonging to the country, its history, traditions, and the emerging culture of ties with the zone. In the form of fiction, the writer illustrates the impact of the accident on the morals and values of the whole society and a particular person and offers his recipe for life after the Chornobyl accident and with the Chornobyl tragedy. The narrator-witness from “Oformliandia” is the author’s alter ego; this fact increases the degree of emotionality and truthfulness of the presented fictional material. Through his works “Oformliandiia”, “Chormet”, and “Riaska”, M. Kamysh marked a new direction for the understanding of the Chornobyl theme in Ukrainian literature in the 21st century.
{"title":"CHORNOBYL AS TEXT IN THE WORKS BY MARKIIAN KAMYSH","authors":"Larysa Horbolis","doi":"10.33608/0236-1477.2023.03.50-65","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.03.50-65","url":null,"abstract":"Focused on the works “Oformliandiia”, “Scrap metal” (“Chormet”), and “Duckweed” (“Riaska”) by the modern Ukrainian writer Markiian Kamysh, the paper clarifies the peculiarities of the literary representation of the Chornobyl disaster at various levels of the fictional text, such as narratological, pictorial, thematic, and architectonic. While each work has its distinct structure, hero type, and set of issues, they all share a common thread of characters being involved in the exclusion zone. \u0000Kamysh takes a bold approach to developing the Chornobyl theme, emphasizing the dark aspects of life in the zone, the complex existential process of self-understanding, and long-term stays in the zone as a way to alleviate pain and talk effectively about trauma. Every visit to the exclusion zone is an important event in the inner life of the characters. The confessional nature of the narrative, reflections on the exclusion zone as a territory for self-understanding, self-therapy, relief from trauma, and therefore general spiritual healing, allow for “Oformliandia” to be considered an alternative existential post-traumatic text within the modern Ukrainian nuclear discourse. \u0000M. Kamysh emphasizes that staying in the exclusion territory opens opportunities for the hero of “Oformliandia” to deeper understand his belonging to the country, its history, traditions, and the emerging culture of ties with the zone. In the form of fiction, the writer illustrates the impact of the accident on the morals and values of the whole society and a particular person and offers his recipe for life after the Chornobyl accident and with the Chornobyl tragedy. \u0000The narrator-witness from “Oformliandia” is the author’s alter ego; this fact increases the degree of emotionality and truthfulness of the presented fictional material. Through his works “Oformliandiia”, “Chormet”, and “Riaska”, M. Kamysh marked a new direction for the understanding of the Chornobyl theme in Ukrainian literature in the 21st century.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117009933","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 : 2023-06-30DOI: 10.33608/0236-1477.2023.03.3-18
N. Boiko
The paper examines how the concept of Own-Other-Alien is represented in Western Ukrainian prose depicting the events of the First World War, with a particular focus on the works by Marko Cheremshyna, Vasyl Stefanyk and Tymotei Borduliak. The selection of authors and texts is determined by the objective of conducting a thorough analysis of how civilians, rather than military personnel, perceive the horrors of war. An encounter with the Other or the Alien is always a challenge to one’s identity determined by different worldviews and cultural traditions. Western Ukrainian authors do not exaggerate antagonisms and conflicts but note that the opposition among the components of the mentioned triad deepens. The Alien is portrayed as a source of constant danger. Alienation is primarily intercultural differences causing misunderstandings and challenges that cannot be eliminated or at least mitigated. The paper highlights processes of apprehending the Other, differentiating One’s Own and the Other, and recognizing One’s Own in the Other. The miseries of war can dramatically change people's behavior, especially when it comes to choosing between life and death. The war causes a change in the moral and ethical scale of values: as a result, the world that was native yesterday may also become the space of the Other or even the Alien, and it may be increasingly difficult to find One’s Own in it. As shown by Marko Cheremshyna, Vasyl Stefanyk and Tymotei Borduliak, the process of alienation from one’s native can be based either on the desire to survive, or on old and deep personal grievances. The writers avoid idealization of self-images, recognizing that lowering the moral scale can lead to alienation and pose a threat to the Own.
{"title":"SILHOUETTES OF ETHNIC IMAGES IN WESTERN UKRAINIAN WAR PROSE OF THE FIRST HALF OF THE 20TH CENTURY","authors":"N. Boiko","doi":"10.33608/0236-1477.2023.03.3-18","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.03.3-18","url":null,"abstract":"The paper examines how the concept of Own-Other-Alien is represented in Western Ukrainian prose depicting the events of the First World War, with a particular focus on the works by Marko Cheremshyna, Vasyl Stefanyk and Tymotei Borduliak. The selection of authors and texts is determined by the objective of conducting a thorough analysis of how civilians, rather than military personnel, perceive the horrors of war. An encounter with the Other or the Alien is always a challenge to one’s identity determined by different worldviews and cultural traditions. Western Ukrainian authors do not exaggerate antagonisms and conflicts but note that the opposition among the components of the mentioned triad deepens. The Alien is portrayed as a source of constant danger. Alienation is primarily intercultural differences causing misunderstandings and challenges that cannot be eliminated or at least mitigated. The paper highlights processes of apprehending the Other, differentiating One’s Own and the Other, and recognizing One’s Own in the Other. The miseries of war can dramatically change people's behavior, especially when it comes to choosing between life and death. The war causes a change in the moral and ethical scale of values: as a result, the world that was native yesterday may also become the space of the Other or even the Alien, and it may be increasingly difficult to find One’s Own in it. As shown by Marko Cheremshyna, Vasyl Stefanyk and Tymotei Borduliak, the process of alienation from one’s native can be based either on the desire to survive, or on old and deep personal grievances. The writers avoid idealization of self-images, recognizing that lowering the moral scale can lead to alienation and pose a threat to the Own.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126452360","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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