Pub Date : 2023-03-12DOI: 10.33608/0236-1477.2023.01.41-61
Ірина Приліпко
The paper analyzes V. Shevchuk’s story “Confession”, in particular tracing the peculiarities of literary representation of ideas and motives of existentialism on the substantive and figurative levels. The focus is on the relationship between the philosophical, mythological, Christian, and neo-baroque plot/content and idea/image contexts of the work. The image of a werewolf in the creative interpretation of V. Shevchuk combined demonological and philosophical content, embodied the idea of the mystery and ambivalence of human nature, the tragedy of existence in the world, and also became an original illustration of the path from absurd existence to a true one. The existential context of the story is highlighted by the analysis of the feelings and states experienced by the heroes: despair, longing, metaphysical horror, alienation, etc. The way taken by both heroes runs through suffering, self-discovery, remorse, and redemption. It is their way to themselves and a way out of the one-dimensional plane of absurd existence, a process of creating the meaning of their own existence. An important stage on this path is the choice, which acquires the significance of a special borderline situation, in which the theme of the tragedy of human existence is actualized and the essence of man, the strength and weakness of his spirit, the desire for freedom are being most fully revealed. The original plot, compositional, narrative, and figurative structure of the story contributes to the unfolding of different time layers, furthers in-depth reflection of the inner world of the heroes and their moods, which create the context for the themes of human knowledge of oneself, the others, the world, and the truth. The historical, mythological, and philosophical story “Confession” testifies to V. Shevchuk’s desire not only to know a person and the complex dialectics of a personal inner world but also to affirm the uniqueness and value of human existence; like in his other works, the writer tries to understand and therefore to justify a person.
{"title":"VALERII SHEVCHUK’S STORY “CONFESSION” THROUGH THE PRISM OF THE PHILOSOPHY OF EXISTENTIALISM","authors":"Ірина Приліпко","doi":"10.33608/0236-1477.2023.01.41-61","DOIUrl":"https://doi.org/10.33608/0236-1477.2023.01.41-61","url":null,"abstract":"The paper analyzes V. Shevchuk’s story “Confession”, in particular tracing the peculiarities of literary representation of ideas and motives of existentialism on the substantive and figurative levels. The focus is on the relationship between the philosophical, mythological, Christian, and neo-baroque plot/content and idea/image contexts of the work. The image of a werewolf in the creative interpretation of V. Shevchuk combined demonological and philosophical content, embodied the idea of the mystery and ambivalence of human nature, the tragedy of existence in the world, and also became an original illustration of the path from absurd existence to a true one. The existential context of the story is highlighted by the analysis of the feelings and states experienced by the heroes: despair, longing, metaphysical horror, alienation, etc. The way taken by both heroes runs through suffering, self-discovery, remorse, and redemption. It is their way to themselves and a way out of the one-dimensional plane of absurd existence, a process of creating the meaning of their own existence. An important stage on this path is the choice, which acquires the significance of a special borderline situation, in which the theme of the tragedy of human existence is actualized and the essence of man, the strength and weakness of his spirit, the desire for freedom are being most fully revealed. The original plot, compositional, narrative, and figurative structure of the story contributes to the unfolding of different time layers, furthers in-depth reflection of the inner world of the heroes and their moods, which create the context for the themes of human knowledge of oneself, the others, the world, and the truth. The historical, mythological, and philosophical story “Confession” testifies to V. Shevchuk’s desire not only to know a person and the complex dialectics of a personal inner world but also to affirm the uniqueness and value of human existence; like in his other works, the writer tries to understand and therefore to justify a person.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"131 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126278613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-16DOI: 10.33608/0236-1477.2022.06.34-50
M. Nazarenko
In the novel “I, Bogdan” ‘historical authenticity’ is achieved through intuitive, romantic penetration of the author/narrator into the ‘nation’s spirit’ — and through the citatory narrative on the verge of cento, which the narrator emphasizes time and again. The fictional, subjective image of the hetman is presented as the only true one. The author of the novel follows two historiographical traditions, within which the fiction is not just authentic but real and true — of course, if consistent with existing narratives. These are premodern and romantic traditions. Unsurprisingly, Zahrebelnyi is happy to use the texts created both in the premodern framework (fragments of “Cossack chronicles”) and in the framework of (pre)romanticism (“History of Ruthenians”; “Zaporozhian Antiquities” by Izmail Sreznevskyi). These texts are ‘created’ and not ‘falsified’, because for their authors the reconstruction of the possible was not falsification but only filling gaps. For the author of the novel “I, Bogdan”, as well as for the romantics, the criterion of truth is compliance with the national spirit. Researchers have repeatedly noted that the novel creates the combined voice of the ‘hero-author’: it is the voice of the people themselves, on whose behalf his representative can speak. Zahrebelnyi, when using historical sources, often turns to the palimpsest technique, rewriting or simply quoting without reference studies on Ukrainian history, especially by Mykola Kostomarov and Mykhailo Hrushevskyi, making certain ideological changes, and sometimes radically inverting the meaning of the quoted passages. Hidden intertext, therefore, may deny the explicit ideology of the text. It is obvious that the ‘encyclopedia of the model reader’ of the novel was much larger than the ‘encyclopedia’ of the empirical Soviet reader. So, in fact, the only possible ‘model reader’ was the author himself. This is a very modernist notion, and at the same time, the illusion of complete clarity on a superficial level moves Zahrebelnyi’s book closer to the poetics of postmodernism.
{"title":"THE AMBIGUITY OF INTERTEXT: TEXTUALITY OF HISTORY IN PAVLO ZAHREBELNYI’S NOVEL “I, BOHDAN (CONFESSION IN GLORY)”. PART TWO","authors":"M. Nazarenko","doi":"10.33608/0236-1477.2022.06.34-50","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.06.34-50","url":null,"abstract":"In the novel “I, Bogdan” ‘historical authenticity’ is achieved through intuitive, romantic penetration of the author/narrator into the ‘nation’s spirit’ — and through the citatory narrative on the verge of cento, which the narrator emphasizes time and again. The fictional, subjective image of the hetman is presented as the only true one. The author of the novel follows two historiographical traditions, within which the fiction is not just authentic but real and true — of course, if consistent with existing narratives. These are premodern and romantic traditions. Unsurprisingly, Zahrebelnyi is happy to use the texts created both in the premodern framework (fragments of “Cossack chronicles”) and in the framework of (pre)romanticism (“History of Ruthenians”; “Zaporozhian Antiquities” by Izmail Sreznevskyi). These texts are ‘created’ and not ‘falsified’, because for their authors the reconstruction of the possible was not falsification but only filling gaps. For the author of the novel “I, Bogdan”, as well as for the romantics, the criterion of truth is compliance with the national spirit. Researchers have repeatedly noted that the novel creates the combined voice of the ‘hero-author’: it is the voice of the people themselves, on whose behalf his representative can speak. \u0000Zahrebelnyi, when using historical sources, often turns to the palimpsest technique, rewriting or simply quoting without reference studies on Ukrainian history, especially by Mykola Kostomarov and Mykhailo Hrushevskyi, making certain ideological changes, and sometimes radically inverting the meaning of the quoted passages. Hidden intertext, therefore, may deny the explicit ideology of the text. It is obvious that the ‘encyclopedia of the model reader’ of the novel was much larger than the ‘encyclopedia’ of the empirical Soviet reader. So, in fact, the only possible ‘model reader’ was the author himself. This is a very modernist notion, and at the same time, the illusion of complete clarity on a superficial level moves Zahrebelnyi’s book closer to the poetics of postmodernism.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131552498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-16DOI: 10.33608/0236-1477.2022.06.69-86
Borys Shalahinov
The text of the “Italian journey” analyzes the main objects of Goethe’s attention from the point of view of aesthetic systematization: natural phenomena (sea, mountains, vegetation, volcanoes), geological and botanical features of the area, various results of human activity and human behavior, abandoned and dilapidated architectural monuments of antiquity, ‘unconventional’ personalities. Panoramic contemplation of the area is seen as the main way of the author’s observations and the development of a specific worldview, which includes an attempt not only to separately consider the contradictory diversity of phenomena but also to harmonize it esthetically. Artistic allusions serve as one of the ways of such harmonization. The behavior of the human crowd and traces of human activity are presented by the author in the same stream with the natural phenomena of nature. As to the cultural assessment of modern Italians, the author describes them as happy, naive, simple-minded, and carefree but indifferent to the requirements of modern civilization and the cultural achievements of their ancestors. Aesthetically, the poet-observer relies on Winkelmann’s artistic postulate of “noble simplicity and calm greatness” and tries to reveal the contradictions of this system in terms of the aesthetics of the emerging new age. However, in general, Goethe’s aesthetics remains within the framework of the eighteenth century and includes universal concepts of contemporary art: integrity, harmony, revitalization, diversity, balance, and others. Therefore, the terminological apparatus and range of concepts tend not to Hegel (heroic, dramatic, lyrical, comic, etc.) but rather to the previous era.
{"title":"“ITALIAN JOURNEY” BY J. W. GOETHE: BETWEEN WINCKELMANN AND HEGEL","authors":"Borys Shalahinov","doi":"10.33608/0236-1477.2022.06.69-86","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.06.69-86","url":null,"abstract":"The text of the “Italian journey” analyzes the main objects of Goethe’s attention from the point of view of aesthetic systematization: natural phenomena (sea, mountains, vegetation, volcanoes), geological and botanical features of the area, various results of human activity and human behavior, abandoned and dilapidated architectural monuments of antiquity, ‘unconventional’ personalities. Panoramic contemplation of the area is seen as the main way of the author’s observations and the development of a specific worldview, which includes an attempt not only to separately consider the contradictory diversity of phenomena but also to harmonize it esthetically. Artistic allusions serve as one of the ways of such harmonization. \u0000The behavior of the human crowd and traces of human activity are presented by the author in the same stream with the natural phenomena of nature. As to the cultural assessment of modern Italians, the author describes them as happy, naive, simple-minded, and carefree but indifferent to the requirements of modern civilization and the cultural achievements of their ancestors. Aesthetically, the poet-observer relies on Winkelmann’s artistic postulate of “noble simplicity and calm greatness” and tries to reveal the contradictions of this system in terms of the aesthetics of the emerging new age. However, in general, Goethe’s aesthetics remains within the framework of the eighteenth century and includes universal concepts of contemporary art: integrity, harmony, revitalization, diversity, balance, and others. Therefore, the terminological apparatus and range of concepts tend not to Hegel (heroic, dramatic, lyrical, comic, etc.) but rather to the previous era.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125184740","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-16DOI: 10.33608/0236-1477.2022.06.51-68
Yevhenii Lepokhin
The scholarly debate over the writer’s outlook and individual literary style of Les Martovych (1871—1916) is still relevant. The ironic mood of his works and its genesis, the psychological and cultural foundation of his writings, the vision of Martovych’s narration in the context of examining his psychological ground – this is what modern researchers, in particular, Roman Pikhmanets, Olena Hnidan, Oleh Ilnytskyi, and Hanna Marchuk, most often reflected on. Just as topical is the interpretation of the compositional and semantic level of the writer’s texts along with the study of the peculiarities of using linguistic and stylistic means for the realization of the author’s intention in the translations of his works into foreign languages. This paper focuses on the man-woman relationship in the short story “The Sinner” (1904) in terms of post-structural psychoanalytic, narratological, and feminist perspectives. Obvious is the gap between the notion of a woman as a feminine character and as a sociohistorical subject in a patriarchal world. The interpretation of the psychological portraits of the characters strives for defining the elusive nature of a reality that is driven by the ideology of patriarchy on the one hand, and the emancipation of women on the other. Using the method of ‘suture’, the paper demonstrates the process of creating female and male subjectivity at the level of narrative discourse. The findings may serve those who research the Ukrainian literary trends of the late 19th — early 20th centuries, peculiarities of the development of Ukrainian prose of the mentioned period in relation to the general European context, feminist-psychoanalytic discourse in literature, and the mechanisms of creating female and male images in prose works.
{"title":"INTERPRETIVE PARADOXES OF TEXTUAL OPENNESS: NARRATOLOGICAL, PSYCHOANALYTIC, AND FEMINIST DISSECTION OF THE SHORT STORY “THE SINNER” BY LES MARTOVYCH","authors":"Yevhenii Lepokhin","doi":"10.33608/0236-1477.2022.06.51-68","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.06.51-68","url":null,"abstract":"The scholarly debate over the writer’s outlook and individual literary style of Les Martovych (1871—1916) is still relevant. The ironic mood of his works and its genesis, the psychological and cultural foundation of his writings, the vision of Martovych’s narration in the context of examining his psychological ground – this is what modern researchers, in particular, Roman Pikhmanets, Olena Hnidan, Oleh Ilnytskyi, and Hanna Marchuk, most often reflected on. Just as topical is the interpretation of the compositional and semantic level of the writer’s texts along with the study of the peculiarities of using linguistic and stylistic means for the realization of the author’s intention in the translations of his works into foreign languages. \u0000This paper focuses on the man-woman relationship in the short story “The Sinner” (1904) in terms of post-structural psychoanalytic, narratological, and feminist perspectives. Obvious is the gap between the notion of a woman as a feminine character and as a sociohistorical subject in a patriarchal world. The interpretation of the psychological portraits of the characters strives for defining the elusive nature of a reality that is driven by the ideology of patriarchy on the one hand, and the emancipation of women on the other. \u0000Using the method of ‘suture’, the paper demonstrates the process of creating female and male subjectivity at the level of narrative discourse. The findings may serve those who research the Ukrainian literary trends of the late 19th — early 20th centuries, peculiarities of the development of Ukrainian prose of the mentioned period in relation to the general European context, feminist-psychoanalytic discourse in literature, and the mechanisms of creating female and male images in prose works.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128934561","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-16DOI: 10.33608/0236-1477.2022.06.17-33
V. Vasylenko
The paper analyzes the novel “Th e Last Prophet” by Leonid Mosendz focusing on its sources, the genre nature and structure, and the genesis of John the Baptist’s image. There were objective and individual reasons for Mosendz’s appeal to the biblical myth of John the Baptist, which have been explained. Attention is drawn to problematic areas in the interpretation of the novel by Mosendz’s critics. Among the sources that the writer turned to while working on the novel were “Jewish Antiquties” by Josephus Flavius, “The Life of Jesus” by Ernest Renan, and “Christ Unknown” by Dmitry Merezhkovsky. The traces of these books are recognizable in the text of Mosendz’s novel. “The Last Prophet” combines the elements of several genres, the most important of which are three: apocryphal, historical, and didactic. Mosendz’s work has a complex multifaceted structure. Th e novel’s three parts have their parallels with the biblical text: the Old Testament poetic model corresponds to the first part, the biographical model of the Gospels to the second, and the historical model of the Acts of the Apostles to the third. Special attention is paid to the connection of the novel to the literary biography of Joan the Baptist, an iconic figure in the European tradition. The interpretation of this image by the author is peculiar and unique to European literature. Thus, Mosendz’s “The Last Prophet” is a lengthy multifaceted epic story about John the Baptist, based on historical sources and religious texts and reproduced at high ideological and literary levels.
{"title":"“THE LAST PROPHET” NOVEL BY LEONID MOSENDZ: SOURCES, GENRE, STRUCTURE, IMAGE","authors":"V. Vasylenko","doi":"10.33608/0236-1477.2022.06.17-33","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.06.17-33","url":null,"abstract":"The paper analyzes the novel “Th e Last Prophet” by Leonid Mosendz focusing on its sources, the genre nature and structure, and the genesis of John the Baptist’s image. There were objective and individual reasons for Mosendz’s appeal to the biblical myth of John the Baptist, which have been explained. Attention is drawn to problematic areas in the interpretation of the novel by Mosendz’s critics. Among the sources that the writer turned to while working on the novel were “Jewish Antiquties” by Josephus Flavius, “The Life of Jesus” by Ernest Renan, and “Christ Unknown” by Dmitry Merezhkovsky. The traces of these books are recognizable in the text of Mosendz’s novel. \u0000“The Last Prophet” combines the elements of several genres, the most important of which are three: apocryphal, historical, and didactic. Mosendz’s work has a complex multifaceted structure. Th e novel’s three parts have their parallels with the biblical text: the Old Testament poetic model corresponds to the first part, the biographical model of the Gospels to the second, and the historical model of the Acts of the Apostles to the third. Special attention is paid to the connection of the novel to the literary biography of Joan the Baptist, an iconic figure in the European tradition. The interpretation of this image by the author is peculiar and unique to European literature. Thus, Mosendz’s “The Last Prophet” is a lengthy multifaceted epic story about John the Baptist, based on historical sources and religious texts and reproduced at high ideological and literary levels.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131011322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-16DOI: 10.33608/0236-1477.2022.06.3-16
Ihor Nabytovych
Historical novel, as a special genre formation born of Romanticism, has become an artistic tool for the reproduction of the past, its discovery and invention. Historical prose is the literary space where two worldview narrative strategies intersect, overlap, and sometimes collide: these are history that (in its academic sense) seeks to recreate the ‘true past’, and literature, which is a particular representation and development of the world. Historical prose of Ukrainian emigration appears as a fairly integral literary and aesthetic phenomenon during two interwar decades of the 20th century and ends at the border of the 1990s — aft er Ukraine gained its independence. For nations that lost their statehood, the return of the past, its glorification is an important means of forming national identity and self-consciousness. The historical novel of the Ukrainian emigration is a relentless attempt to root its next generations in the national tradition of collective memory. In general, for societies in which the state tradition has been interrupted, historical prose can be an essential factor in restoring / maintaining national memory, as well as a means of creating national myths, projecting the past into modern problems of a stateless nation, and preserving national traditions. The historical prose of the Ukrainian emigration was actually focused on these aims, taking responsibility for the nationalist and philosophic perspective rooted in the past in order to preserve and increase it in the future. The aspiration and experience of Ukrainian emigration in other countries carries a number of tasks that it set for itself. Th ese were, in particular, the preservation of the native language, culture, and creative activity, including historical prose on the themes prohibited in the mainland literature, the formation of the strategy of collective memory through historical prose.
{"title":"LITERATURE OF EMIGRATION. EXPERIENCE OF HISTORICAL PROSE IN THE FIELD OF FOREIGN CULTURE","authors":"Ihor Nabytovych","doi":"10.33608/0236-1477.2022.06.3-16","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.06.3-16","url":null,"abstract":"Historical novel, as a special genre formation born of Romanticism, has become an artistic tool for the reproduction of the past, its discovery and invention. Historical prose is the literary space where two worldview narrative strategies intersect, overlap, and sometimes collide: these are history that (in its academic sense) seeks to recreate the ‘true past’, and literature, which is a particular representation and development of the world. Historical prose of Ukrainian emigration appears as a fairly integral literary and aesthetic phenomenon during two interwar decades of the 20th century and ends at the border of the 1990s — aft er Ukraine gained its independence. For nations that lost their statehood, the return of the past, its glorification is an important means of forming national identity and self-consciousness. The historical novel of the Ukrainian emigration is a relentless attempt to root its next generations in the national tradition of collective memory. \u0000In general, for societies in which the state tradition has been interrupted, historical prose can be an essential factor in restoring / maintaining national memory, as well as a means of creating national myths, projecting the past into modern problems of a stateless nation, and preserving national traditions. The historical prose of the Ukrainian emigration was actually focused on these aims, taking responsibility for the nationalist and philosophic perspective rooted in the past in order to preserve and increase it in the future. The aspiration and experience of Ukrainian emigration in other countries carries a number of tasks that it set for itself. Th ese were, in particular, the preservation of the native language, culture, and creative activity, including historical prose on the themes prohibited in the mainland literature, the formation of the strategy of collective memory through historical prose.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115079496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-28DOI: 10.33608/0236-1477.2022.05.26-42
B. Krysa
The aim of the paper is to explore the line of Ukrainian Modernity which is expressed in the writings of Hryhorii Skovoroda by combining the Christian concept of human life and the experience of Antiquity, perceived through the prism of Christianity. In this context, the motive of spiritual renewal is directly conditioned by the understanding of the interaction of God’s Word with the human one, which is manifested in the persistent work of revealing the biblical meaning and creating a new form for its preservation and transmission. In this way, the timeless nature of the human ideal and its function in distinguishing the temporal forms of the new and the old, the real and the false, is affirmed. It is noticed that Skovoroda's concepts and images agree with the theories of modernism and modern identity of the 20th and early 21st centuries. Against the background of the elongated, even irritating discourse of Ukrainian Modernism caused by external and internal transformations of national existence, Skovoroda’s markers prove that spiritual, moral, and expressive priorities may be conflicting but not deny each other. This is mostly true for language and correlation of religion and metaphysics. According to Skovoroda, the art of the form serves as a shell, amulet, and translator of the divine meaning revealing life-giving depths. In this sense, the whimsical clothing of the word draws attention to the process of cognition, gives an opportunity to see the inner behind the external. In this regard, the continuity between the Baroque and Romanticism determines primarily their common spiritual space, due to the whirlpool of the same sources. It is concluded that Skovoroda’s creative figure always becomes a landmark for Ukrainian Modernism, because due to him even modernity is understood not only as a certain era or ideology but as the inner state and inner world of an author. This state can coexist with the patriarchal way of life and with the phenomena of real or conditional progress. In this sense, the thesis of the unfinished project of Ukrainian modernism must be understood from the perspective of eternal travel and distant horizons, which may not always equally reveal but do equally contain sources of Antiquity and Christianity.
{"title":"HRYHORII SKOVORODA AND DISCOURSE OF UKRAINIAN MODERNISM","authors":"B. Krysa","doi":"10.33608/0236-1477.2022.05.26-42","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.05.26-42","url":null,"abstract":"The aim of the paper is to explore the line of Ukrainian Modernity which is expressed in the writings of Hryhorii Skovoroda by combining the Christian concept of human life and the experience of Antiquity, perceived through the prism of Christianity. In this context, the motive of spiritual renewal is directly conditioned by the understanding of the interaction of God’s Word with the human one, which is manifested in the persistent work of revealing the biblical meaning and creating a new form for its preservation and transmission. In this way, the timeless nature of the human ideal and its function in distinguishing the temporal forms of the new and the old, the real and the false, is affirmed. It is noticed that Skovoroda's concepts and images agree with the theories of modernism and modern identity of the 20th and early 21st centuries. \u0000Against the background of the elongated, even irritating discourse of Ukrainian Modernism caused by external and internal transformations of national existence, Skovoroda’s markers prove that spiritual, moral, and expressive priorities may be conflicting but not deny each other. This is mostly true for language and correlation of religion and metaphysics. According to Skovoroda, the art of the form serves as a shell, amulet, and translator of the divine meaning revealing life-giving depths. In this sense, the whimsical clothing of the word draws attention to the process of cognition, gives an opportunity to see the inner behind the external. In this regard, the continuity between the Baroque and Romanticism determines primarily their common spiritual space, due to the whirlpool of the same sources. \u0000It is concluded that Skovoroda’s creative figure always becomes a landmark for Ukrainian Modernism, because due to him even modernity is understood not only as a certain era or ideology but as the inner state and inner world of an author. This state can coexist with the patriarchal way of life and with the phenomena of real or conditional progress. In this sense, the thesis of the unfinished project of Ukrainian modernism must be understood from the perspective of eternal travel and distant horizons, which may not always equally reveal but do equally contain sources of Antiquity and Christianity.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131531737","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-28DOI: 10.33608/0236-1477.2022.05.43-54
Yuliia Hryhorchuk
The paper analyzes the images of Jesus Christ and the Mother of God in the poetry by Hryhorii Skovoroda and Wira Wowk. Until now, this topic has not been the object of scholarly research although the creativity of writers has many common features: aphoristic style, philosophical mood, and biblical figurative elements. The purpose of the paper is to characterize the specifics of interpreting the images of Christ and the Mother of God in the authors’ poetry. The analysis is based on the collections “The Garden of Divine Songs” by H. Skovoroda and “The Rosary for Christ”, “The Rosary for the Mother of God” by Wira Wowk. Peculiar in the reception of the figure of Christ in the poetry of both authors is its outer featurelessness and deep semantic content. H. Skovoroda used the concepts of ʻlifeʼ, ʻjoyʼ, ʻpure heartʼ and the biblical symbols of fire, stone, word, and grain; Wira Wowk preferred the symbols of word, light, heart, and ear of corn. Each author is characterized by the original interpretation of the biblical image of the Savior. He is embodied in the figures of a guest, an astronomer, a doctor hurt for human faults (poetry by H. Skovoroda) and a doctor, a heavenly gardener, a helmsman on Cheremosh (poetry by Wira Wowk). The image of the Virgin in H. Skovoroda’s work is less pronounced than the image of Jesus and is revealed only in three poems, while Wira Wowk dedicated three separate collections to the Virgin Mary. There are different symbolic hypostases of the Mother of God in the poems by H. Skovoroda, which have been singled out. Wira Wowkʼs interpretation of this image is characterized by such features as iconographic specification, biblical dynamics of unfolding, and symbolic content (images of the Winged Mother of God, the Mother Princess, Lilia, Oranta). The image of Mother Mary is common to both authors (Mary, Mother of Jesus — in Skovoroda’s poems and Mother of humanity, the world, and Ukraine — in Wira Wowk’s ones). Special attention has been paid to the biblical prototext in the poetic works by H. Skovoroda and Wira Wowk, important in the interpretation of the figures of Christ and the Mother of God, as well as to the moral and axiological depth of these images and their conceptual significance.
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Pub Date : 2022-10-28DOI: 10.33608/0236-1477.2022.05.76-93
M. Hirniak
The primary aim of the paper is to clarify the main approaches to the philosophy of love, represented in the intellectual novel “The Desease” by Yevhen Pluzhnyk, to outline the sociocultural footing of the issues, raised in the work, as well as to bring to light the relationship of reflections on multidimensionality of love and the characters’ attempts to comprehend the peculiarities of human existence in the world. The methodological premises and theoretical frameworks for the research were provided by the studies on psychoanalysis, hermeneutics, philosophical and literary anthropology. While trying to understand the essence of love, the characters of Pluzhnyk’s novel, like the philosophers from different epochs, distinguish among love-passion, love-friendship, family love, which is developed in the matrimony, and ‘true love’ that is close to the divine one. The ‘true love’ is a willingness to sacrifice as well as realizing the uniqueness of other person; it motivates to feel responsibility for Other and to see him/her not from a selfish but from a values-based perspective. However, the relationships between the characters along with their reflections on love in the novel by Pluzhnyk are not an ordinary illustration of the different philosophical concepts. The writer also actualizes the ideological context of the 1920s and encourages his characters to think whether love between the representatives of the hostile social ‘classes’ is possible and whether the ‘new’ human has the right to love at all. Comprehension of the phenomenon of love in the novel “The Desease” is intertwined with the reflections on the identity of the person, on his/her internal crisis, provoked by the rationalistic approach to life, as well as on the peculiarities of the dialogue with the Other. The characters of the novel also seek to understand ‘the science of life’, to solve the problem of separating private and public spaces of existence, to grasp the contradistinction of the value positions ‘to take’, aimed at the self, and ‘to give’, which is laid in the basis of love and appears to be an important feature of the human entity.
{"title":"BETWEEN FEELING AND INTELLECT: THE PHILOSOPHY OF LOVE IN THE NOVEL “THE DISEASE” BY YEVHEN PLUZHNYK","authors":"M. Hirniak","doi":"10.33608/0236-1477.2022.05.76-93","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.05.76-93","url":null,"abstract":"The primary aim of the paper is to clarify the main approaches to the philosophy of love, represented in the intellectual novel “The Desease” by Yevhen Pluzhnyk, to outline the sociocultural footing of the issues, raised in the work, as well as to bring to light the relationship of reflections on multidimensionality of love and the characters’ attempts to comprehend the peculiarities of human existence in the world. The methodological premises and theoretical frameworks for the research were provided by the studies on psychoanalysis, hermeneutics, philosophical and literary anthropology. While trying to understand the essence of love, the characters of Pluzhnyk’s novel, like the philosophers from different epochs, distinguish among love-passion, love-friendship, family love, which is developed in the matrimony, and ‘true love’ that is close to the divine one. The ‘true love’ is a willingness to sacrifice as well as realizing the uniqueness of other person; it motivates to feel responsibility for Other and to see him/her not from a selfish but from a values-based perspective. \u0000However, the relationships between the characters along with their reflections on love in the novel by Pluzhnyk are not an ordinary illustration of the different philosophical concepts. The writer also actualizes the ideological context of the 1920s and encourages his characters to think whether love between the representatives of the hostile social ‘classes’ is possible and whether the ‘new’ human has the right to love at all. Comprehension of the phenomenon of love in the novel “The Desease” is intertwined with the reflections on the identity of the person, on his/her internal crisis, provoked by the rationalistic approach to life, as well as on the peculiarities of the dialogue with the Other. The characters of the novel also seek to understand ‘the science of life’, to solve the problem of separating private and public spaces of existence, to grasp the contradistinction of the value positions ‘to take’, aimed at the self, and ‘to give’, which is laid in the basis of love and appears to be an important feature of the human entity.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123041436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-28DOI: 10.33608/0236-1477.2022.05.17-25
M. Bartolini
The paper explores Hryhorii Skovoroda’s dialogue “Archistratigus Michael's Fight with Satan” (“Bran Arkhystratyha Mykhaila so Satanoiu”, 1783), which contains several quotations from two authors — Teofan Prokopovych and Varlaam Liashchevskyi – who belonged to Skovoroda’s Alma Mater, the Kyiv Mohyla Academy. Being a unique occurrence in Skovoroda’s writings, these quotations from contemporary authors have been analyzed as an instance of a peculiar “Mohylian subtext” that sheds light on the relationship between the Ukrainian philosopher and his Alma Mater. In “Bran Arkhystratyha”, the angelic ranks battling against demonic forces sing a song taken from Liashchevskyi’s tragicomedy “The Chased Church” (“Honymaia tserkov”) and from Prokopovych’s 1709 epinikion in honor of tsar Peter’s victory near Poltava. While Prokopovych’s verses have been slightly changed (Antichrist replaces ‘apostate’ — ‘otstupnyk’) to reflect the major theme of “Bran Arkhystratyha” — the fight against Satan — the presence of two fragments from Liashchevskyi's tragicomedy in the text is even more important, as “Bran Arkhystratyha” is the only available source for reconstructing the textual content of this tragicomedy, of which we do not possess any extant copies. Of particular interest are also the paratextual materials attached to the quotations from Liashchevskyi and Prokopovych. All three citations are accompanied by an explanatory note stating: 1) the author to whom the citation belongs; 2) the authors’ affiliation to the Kyiv-Mohyla Academy; 3) information about the fire that destroyed the library of the Kyiv-Mohyla Academy on February 29, 1780. This choice testifies to a specific urge on Skovoroda’s part to honor Alma Mater and its representatives three years after the fire that threatened its book collection and cultural legacy. In this personal tribute, the notion of memory acquires a specific meaning for, in the case of Liashchevskyi, “Bran Arkhystratyha” preserves a text that would not otherwise have been transmitted. Thus, the ‘victory’ glorified in the dialogue becomes first and foremost a victory against oblivion, through the projection of the Word into the realm of eternity.
本文探讨了Hryhorii Skovoroda的对话“Archistratigus Michael's Fight with Satan”(“Bran Arkhystratyha Mykhaila so Satanoiu”，1783)，其中包含了来自Skovoroda母校基辅Mohyla学院的两位作者Teofan Prokopovych和Varlaam Liashchevskyi的几句引文。在斯科沃罗达的作品中，这些当代作家的语录是独一无二的，被分析为一种独特的“莫赫里亚潜台词”的例子，揭示了这位乌克兰哲学家和他的母校之间的关系。在《Bran Arkhystratyha》中，与恶魔势力战斗的天使队伍唱了一首取自利亚什切夫斯基的悲喜剧《被追逐的教堂》(Honymaia tserkov)和普罗科波维奇1709年的作品，以纪念沙皇彼得在波尔塔瓦附近的胜利。虽然Prokopovych的诗句略有改变(Antichrist取代了叛教者- otstupnyk)，以反映“Bran Arkhystratyha”的主题-与撒旦的斗争-在文本中出现了liashchevsky的悲喜剧的两个片段，这更加重要，因为“Bran Arkhystratyha”是重建这个悲喜剧文本内容的唯一可用来源，我们没有任何现存的副本。特别令人感兴趣的还有附在利亚什切夫斯基和普罗科波维奇引文后面的附文材料。所有三篇引文都附有解释性说明:1)引文所属的作者;2)作者隶属于基辅-莫希拉学院;3) 1780年2月29日基辅-莫希拉学院图书馆被大火烧毁的信息。这一选择证明了Skovoroda在火灾威胁到其藏书和文化遗产三年后对母校及其代表的特殊渴望。在这个个人的致敬中，记忆的概念获得了一个特定的意义，在Liashchevskyi的案例中，“Bran Arkhystratyha”保留了一个本来不会被传播的文本。因此，在对话中被赞美的“胜利”首先成为战胜遗忘的胜利，通过将圣言投射到永恒的领域。
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