Pub Date : 2022-06-20DOI: 10.33608/0236-1477.2022.03.03-15
Roksana Kharchuk
The paper clarifies the literary function of Shevchenko’s “Jeremiah’s prayer”. At the same time, it raises the question of the poet’s identification and self-identification with Prophet Jeremiah because these issues can only be addressed in conjunction. Based on the findings of many researchers on “Jeremiah’s prayer” function and the discussion between Shchurat and Franko in 1904 about Shevchenko and Jeremiah, the author concludes that “Jeremiah’s prayer” is an epigraph and not a rough workpiece as it is presented in the last collection of Shevchenko’s works. Th is fact is important because it may deepen the understanding of Shevchenko’s creative pursuits in 1843—1845, the reasons for his self-identification with Jeremiah, and the interpretation of his collection “Three years” where Moscow captivity is a metaphorical Babylonian one, the ruins of Chyhyryn remind the lost Jerusalem, and Russia is shown as a new Babylon. In this context, the researcher points out the image of Jeremiah at the beginning of the collection “Three years”; the use of “Jeremiah’s prayer” as an epigraph to it; the David’s Psalm 136 (137) about the first Babylonian captivity and the retribution upon Babylon, which may be considered a pretext for Jeremiah’s understanding of the second Babylonian captivity of Judea; the destruction of Jerusalem and its restoration; and finally the motive of atonement taken by Ukrainians for the sins of their fathers in Moscow’s captivity. Shevchenko developed the last theme following the sample of Jeremiah who saw the cause of all Judea’s misfortunes in its sins against the Lord. Th e motive of Ukrainian atonement for national sins, especially evident in the poems from “Three years” having historical connotations, as in the mystery poem “The Great Cellar”, shows that Shevchenko in 1843—1845 identified himself with Prophet Jeremiah and with King David because these biblical poets and their artistic models helped him create an original literary image of Ukrainian captivity in the Russian Empire and the Ukrainian future aft er overcoming the empire.
{"title":"THE LITERARY FUNCTION OF “JEREMIAH’S PRAYER”: A ROUGH WORKPIECE OR AN EPIGRAPH TO SHEVCHENKO’S MANUSCRIPT COLLECTION OF POEMS “THREE YEARS”?","authors":"Roksana Kharchuk","doi":"10.33608/0236-1477.2022.03.03-15","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.03.03-15","url":null,"abstract":"The paper clarifies the literary function of Shevchenko’s “Jeremiah’s prayer”. At the same time, it raises the question of the poet’s identification and self-identification with Prophet Jeremiah because these issues can only be addressed in conjunction. Based on the findings of many researchers on “Jeremiah’s prayer” function and the discussion between Shchurat and Franko in 1904 about Shevchenko and Jeremiah, the author concludes that “Jeremiah’s prayer” is an epigraph and not a rough workpiece as it is presented in the last collection of Shevchenko’s works. Th is fact is important because it may deepen the understanding of Shevchenko’s creative pursuits in 1843—1845, the reasons for his self-identification with Jeremiah, and the interpretation of his collection “Three years” where Moscow captivity is a metaphorical Babylonian one, the ruins of Chyhyryn remind the lost Jerusalem, and Russia is shown as a new Babylon. In this context, the researcher points out the image of Jeremiah at the beginning of the collection “Three years”; the use of “Jeremiah’s prayer” as an epigraph to it; the David’s Psalm 136 (137) about the first Babylonian captivity and the retribution upon Babylon, which may be considered a pretext for Jeremiah’s understanding of the second Babylonian captivity of Judea; the destruction of Jerusalem and its restoration; and finally the motive of atonement taken by Ukrainians for the sins of their fathers in Moscow’s captivity. \u0000Shevchenko developed the last theme following the sample of Jeremiah who saw the cause of all Judea’s misfortunes in its sins against the Lord. Th e motive of Ukrainian atonement for national sins, especially evident in the poems from “Three years” having historical connotations, as in the mystery poem “The Great Cellar”, shows that Shevchenko in 1843—1845 identified himself with Prophet Jeremiah and with King David because these biblical poets and their artistic models helped him create an original literary image of Ukrainian captivity in the Russian Empire and the Ukrainian future aft er overcoming the empire.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131231181","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 : 2022-06-20DOI: 10.33608/0236-1477.2022.03.88-99
O. Boron
The creation of a new scholarly biography of Shevchenko is impossible without testing plausible assumptions and hypotheses prevalent in the mass consciousness. Most of them do not stand up to criticism and miss any detailed analysis, while others seem at first glance so convincing that they are perceived almost as a truth. Shevchenko‘s alleged paternity used to be one of the taboo issues but now it is fervently debated, attracting many — both admirers of his word and ill-wishers. In the media, popular editions, and even outlines of the lessons available on the Internet, the idea that the poet was the father of Hanna Zakrevska’s (1822—1857) daughter, Sofiia Platonivna, married Felen (1845—?), is being replicated. Volodymyr Syrotenko (Verbytskyi), Candidate of Technical Sciences, actively defends this view. Another hypothesis belongs to the writer Antonina Tsvyd who tries, in her research paper, to substantiate legendary folk stories about the alleged Shevchenko’s son Fedir whose mother was an unknown resident of Sedniv. The statements and assumptions made in the publications of these authors have been critically verified by comparison with dependable information, which showed that both versions do not have any real basis and contradict properly proven facts and documents. V. Syrotenko presents his conjectures as the purest truth, while A. Tsvyd, trying to find evidence for dubious legends, resorts to assumptions devoid of logic and common sense while leaving well-known circumstances without attention. Memoirs are also misinterpreted, in particular the ones of Oleksandr Chuzhbynskyi, and it once again testifies to the urgent need for a critical edition of a corpus of memoirs about Shevchenko. It is especially unfortunate that V. Syrotenko’s inventions are recklessly picked up by the community of teachers who ‘legalize’ them in publications and the educational process.
{"title":"MODERN VERSIONS OF SHEVCHENKO’S ALLEGED PATERNITY","authors":"O. Boron","doi":"10.33608/0236-1477.2022.03.88-99","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.03.88-99","url":null,"abstract":"The creation of a new scholarly biography of Shevchenko is impossible without testing plausible assumptions and hypotheses prevalent in the mass consciousness. Most of them do not stand up to criticism and miss any detailed analysis, while others seem at first glance so convincing that they are perceived almost as a truth. Shevchenko‘s alleged paternity used to be one of the taboo issues but now it is fervently debated, attracting many — both admirers of his word and ill-wishers. \u0000In the media, popular editions, and even outlines of the lessons available on the Internet, the idea that the poet was the father of Hanna Zakrevska’s (1822—1857) daughter, Sofiia Platonivna, married Felen (1845—?), is being replicated. Volodymyr Syrotenko (Verbytskyi), \u0000Candidate of Technical Sciences, actively defends this view. Another hypothesis belongs to the writer Antonina Tsvyd who tries, in her research paper, to substantiate legendary folk stories about the alleged Shevchenko’s son Fedir whose mother was an unknown resident of Sedniv. \u0000The statements and assumptions made in the publications of these authors have been critically verified by comparison with dependable information, which showed that both versions do not have any real basis and contradict properly proven facts and documents. V. Syrotenko presents his conjectures as the purest truth, while A. Tsvyd, trying to find evidence for dubious legends, resorts to assumptions devoid of logic and common sense while leaving well-known circumstances without attention. Memoirs are also misinterpreted, in particular the ones of Oleksandr Chuzhbynskyi, and it once again testifies to the urgent need for a critical edition of a corpus of memoirs about Shevchenko. It is especially unfortunate that V. Syrotenko’s inventions are recklessly picked up by the community of teachers who ‘legalize’ them in publications and the educational process.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"22 17","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120966355","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 : 2022-06-20DOI: 10.33608/0236-1477.2022.03.78-87
Oksana Nikolaieva
The paper focuses on the innovative reception of the archaic genre of mystery in the works by Oleksandr Irvanets. Based on the play “Th e Electric Train for Easter”, the researcher explores literary techniques that allow creatively transforming the gospel plot of Christ’s passions within the structure of modern drama. Special authorial interpretation of the mysterious matrix is studied in the context of complex tendencies that characterize the development of modern drama (actualization of mythological thinking, genre interaction, combination of styles). A number of modern researchers’ works give grounds for specifying the thematic and poetic features of the mystery genre. Combining mundane life with sacred meanings, O. Irvanets’ play reveals genre convergence rather than diffusion. Due to the processes of convergence, the dramatic genre becomes colorful, stereoscopic, and polyphonic. Clearly realistic techniques used in the play border on elements of the theatre of the absurd and features of the symbolist drama. The powerful tendencies of remythologization, being characteristic of the world and domestic drama of the 20th century, are noticeable in the drama “The Electric Train for Easter”, which combines elements of mystery, symbolist drama, and “drama of the absurd”. These components coexist in the artistic system of the work on the principle of genre convergence, as each of them has its corresponding plotline. Th e most powerful mysterious element of the work determines a special concept of time: applying a linear temporal model to everyday scenes, the author clearly fixes in the dramatic action the point of transforming the profane time into sacred, cyclical, and related to the Passion of Christ. Th e theme of Jesus’ suffering is introduced through the biblical intertext, organically linked to the lines of the two central characters that may be seen as the modern invariant of the dialogue between Christ and Pontius Pilate.
{"title":"INTERPRETATION OF THE MYSTERY GENRE IN THE PLAY “ELECTRIC TRAIN FOR EASTER” BY OLEKSANDR IRVANETS","authors":"Oksana Nikolaieva","doi":"10.33608/0236-1477.2022.03.78-87","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.03.78-87","url":null,"abstract":"The paper focuses on the innovative reception of the archaic genre of mystery in the works by Oleksandr Irvanets. Based on the play “Th e Electric Train for Easter”, the researcher explores literary techniques that allow creatively transforming the gospel plot of Christ’s passions within the structure of modern drama. Special authorial interpretation of the mysterious matrix is studied in the context of complex tendencies that characterize the development of modern drama (actualization of mythological thinking, genre interaction, combination of styles). A number of modern researchers’ works give grounds for specifying the thematic and poetic features of the mystery genre. \u0000Combining mundane life with sacred meanings, O. Irvanets’ play reveals genre convergence rather than diffusion. Due to the processes of convergence, the dramatic genre becomes colorful, stereoscopic, and polyphonic. Clearly realistic techniques used in the play border on elements of the theatre of the absurd and features of the symbolist drama. \u0000The powerful tendencies of remythologization, being characteristic of the world and domestic drama of the 20th century, are noticeable in the drama “The Electric Train for Easter”, which combines elements of mystery, symbolist drama, and “drama of the absurd”. \u0000These components coexist in the artistic system of the work on the principle of genre convergence, as each of them has its corresponding plotline. Th e most powerful mysterious element of the work determines a special concept of time: applying a linear temporal model to everyday scenes, the author clearly fixes in the dramatic action the point of transforming the profane time into sacred, cyclical, and related to the Passion of Christ. Th e theme of Jesus’ suffering is introduced through the biblical intertext, organically linked to the lines of the two central characters that may be seen as the modern invariant of the dialogue between Christ and Pontius Pilate.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"208 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132897476","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 : 2022-06-20DOI: 10.33608/0236-1477.2022.03.64-77
Olha Punina
The paper reviews the image of Vasyl Stus in Roman Brovko’s feature film “The Proscribed” (“Zaboronenyi”, 2019). The researcher aims to find out how the director embodies the psychological structure of the writer’s personality in the film for a wide audience. To do this, the author of the paper uses interviews with the director, the leading actor, and contemporaries of Vasyl Stus, analyzing the feature film from the perspective of its form, content, and meaning. The members of the production team emphasized the reactions of the creative person to untruth and injustice; they focused on such traits of Stus’s character as being extremely honest, caring, and emotionally explosive. Stus’s contemporaries, watching the film first, noted the emotional side as successfully embodied on the screen. The psychological component of Vasyl Stus’s cinematographic personality is based on the character traits, reactions, and behavior inherent to real Stus: the protagonist is prone to impetuous reactions, not suited to compromises, self-sufficient, and strong-willed. To create such a psychological structure of Vasyl Stus’s character in “The Proscribed”, the director works both with the form (he uses the principles of gradation and opposition, the means of image-experience, and a wide shot) and content (imaginary episodes, reading poetry behind the scenes, condensed meaning of the epigraph, some fictional characters, the author’s text in a new context, etc.). These efforts give the opportunity to see the movie character of Vasyl Stus with his inherent emotional reactions (impetuous) and feelings (protest, anger, justice), moral and ethical guidelines (to give much, to be humane and do good), and the high level of self-awareness.
{"title":"“THE PROSCRIBED”: CINEMATOGRAPHIC STUS","authors":"Olha Punina","doi":"10.33608/0236-1477.2022.03.64-77","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.03.64-77","url":null,"abstract":"The paper reviews the image of Vasyl Stus in Roman Brovko’s feature film “The Proscribed” (“Zaboronenyi”, 2019). The researcher aims to find out how the director embodies the psychological structure of the writer’s personality in the film for a wide audience. To do this, the author of the paper uses interviews with the director, the leading actor, and contemporaries \u0000of Vasyl Stus, analyzing the feature film from the perspective of its form, content, and meaning. \u0000The members of the production team emphasized the reactions of the creative person to untruth and injustice; they focused on such traits of Stus’s character as being extremely honest, caring, and emotionally explosive. Stus’s contemporaries, watching the film first, noted the emotional side as successfully embodied on the screen. \u0000The psychological component of Vasyl Stus’s cinematographic personality is based on the character traits, reactions, and behavior inherent to real Stus: the protagonist is prone to impetuous reactions, not suited to compromises, self-sufficient, and strong-willed. To create such a psychological structure of Vasyl Stus’s character in “The Proscribed”, the director works both with the form (he uses the principles of gradation and opposition, the means of image-experience, and a wide shot) and content (imaginary episodes, reading poetry behind the scenes, condensed meaning of the epigraph, some fictional characters, the author’s text in a new context, etc.). These efforts give the opportunity to see the movie character of Vasyl Stus with his inherent emotional reactions (impetuous) and feelings (protest, anger, justice), moral and ethical guidelines (to give much, to be humane and do good), and the high level of self-awareness.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127453501","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 : 2022-06-20DOI: 10.33608/0236-1477.2022.03.45-63
O. Omelchuk
The paper covers unknown pages of Yevhen Kasianenko’s creative activity. Yevhen Kasianenko (1889—1937) was one of the pioneers of Ukrainian aircraft construction, a translator, and an active participant in the socio-political and literary movement of the 1910s—1930s. The study reconstructs the literary and business relations between Yevhen Kasianenko, Vasyl Ellan-Blakytnyi, and Valerian Polishchuk. The author analyzes their views on organizational and conceptual forms of Ukrainian literature. The analysis of the projects and polemics initiated by the writers tackles the question of the cultural and historical origins of the ‘Red Renaissance’ and the specifi cal formation of the Ukrainian proletarian literature. This paper explores Yevhen Kasianenko’s involvement in the press of the Ukrainian People’s Republic period, his participation in the emergence of Ukrainian-language Soviet periodicals, the first associations of proletarian writers, and Ukrainian publishing houses, as well as his role in communication between Soviet writers and emigre artists. The study analyses for the first time the criminal case against Kasianenko and outlines his extensive connections within the Ukrainian literary environment. Kasianenko was one of those whose activity the Russian Communist Party leadership used for Sovietization policies in Ukraine as well as for the Ukrainization of the Bolshevik policy. He contributed to legitimizing the party’s political practices and symbolic images. Kasianenko’s biography shows that in ideological, scholarly, and cultural aspects, the Soviet civilization project was not radically innovative, largely existing in the orbit of the pre-revolutionary socio-cultural movement.
{"title":"WITH VASYL BLAKYTNYI AGAINST VALERIAN POLISHCHUK: FRAGMENTS OF THE SOCIAL AND LITERARY ACTIVITY OF YEVHEN KASIANENKO","authors":"O. Omelchuk","doi":"10.33608/0236-1477.2022.03.45-63","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.03.45-63","url":null,"abstract":"The paper covers unknown pages of Yevhen Kasianenko’s creative activity. Yevhen Kasianenko (1889—1937) was one of the pioneers of Ukrainian aircraft construction, a translator, and an active participant in the socio-political and literary movement of the 1910s—1930s. \u0000The study reconstructs the literary and business relations between Yevhen Kasianenko, Vasyl \u0000Ellan-Blakytnyi, and Valerian Polishchuk. The author analyzes their views on organizational \u0000and conceptual forms of Ukrainian literature. The analysis of the projects and polemics initiated \u0000by the writers tackles the question of the cultural and historical origins of the ‘Red Renaissance’ and the specifi cal formation of the Ukrainian proletarian literature. \u0000This paper explores Yevhen Kasianenko’s involvement in the press of the Ukrainian People’s Republic period, his participation in the emergence of Ukrainian-language Soviet periodicals, the first associations of proletarian writers, and Ukrainian publishing houses, as well as his role in communication between Soviet writers and emigre artists. The study analyses for the first time the criminal case against Kasianenko and outlines his extensive connections within the Ukrainian literary environment. Kasianenko was one of those whose activity the Russian Communist Party leadership used for Sovietization policies in Ukraine as well as for the Ukrainization of the Bolshevik policy. He contributed to legitimizing the party’s political practices and symbolic images. Kasianenko’s biography shows that in ideological, scholarly, and cultural aspects, the Soviet civilization project was not radically innovative, largely existing in the orbit of the pre-revolutionary socio-cultural movement.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121508671","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 : 2022-04-10DOI: 10.33608/0236-1477.2022.02.15-29
Hryhorii Klochek
The author offers the new interpretative version of reading Taras Shevchenko’s triptych “Prayer” (“Molytva”). Based on the memoirs, the process of creating the triptych is shown in detail. Taras Shevchenko created three variants of the poetry in sequence, and each one had the character of a prayer to God with requests to make life happier and social order fairer. In order to trace the changes, which took place in the evolution of poetic meanings in each new piece of the triptych, to understand their logic and intention, all three poems were analyzed. The poet’s prayer concerns the process of shaping an ideal society on the basis of its internal harmonization. In the first two poems of the cycle, Shevchenko appealed to God with requests of punishment for the exploiters (‘tsars’ and ‘taverners’), and then in the third poetry, he abandoned such radicalism and asked to stop those who do evil things. He believed that social reconciliation could be achieved. The third poetry of the cycle is a complete, final version. We can assume that the previous two poems of the triptych are drafts that have survived thanks to Oleksandr Lazarevskyi, who wrote them down in “Bigger Book”. However, the presence of these “drafts” allows us to trace the creative process of forming a vision of a perfect, internally harmonized social order. The pathos of the assertion of the universal harmony has acquired a special rise in the last poem of the triptych. The prayer sounded like a hymn glorifying the beauty of society in which social justice, diligence, and education of the people, high morality and love are harmoniously combined. The analysis revealed one of the facets of Taras Shevchenko’s ingenious intellectual insight into the essence of things and phenomena. Several days of literary work in May 1860 ended up with the creation of a prayer for the society of the future, the internal harmony of which is absolute.
{"title":"SHEVCHENKO’S VISIONS OF THE IDEAL SOCIETY (BASED ON THE TRIPTYCH “PRAYER”)","authors":"Hryhorii Klochek","doi":"10.33608/0236-1477.2022.02.15-29","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.02.15-29","url":null,"abstract":"The author offers the new interpretative version of reading Taras Shevchenko’s triptych “Prayer” (“Molytva”). Based on the memoirs, the process of creating the triptych is shown in detail. Taras Shevchenko created three variants of the poetry in sequence, and each one had the character of a prayer to God with requests to make life happier and social order fairer. \u0000In order to trace the changes, which took place in the evolution of poetic meanings in each new piece of the triptych, to understand their logic and intention, all three poems were analyzed. The poet’s prayer concerns the process of shaping an ideal society on the basis of its internal harmonization. In the first two poems of the cycle, Shevchenko appealed to God with requests of punishment for the exploiters (‘tsars’ and ‘taverners’), and then in the third poetry, he abandoned such radicalism and asked to stop those who do evil things. He believed that social reconciliation could be achieved. The third poetry of the cycle is a complete, final version. We can assume that the previous two poems of the triptych are drafts that have survived thanks to Oleksandr Lazarevskyi, who wrote them down in “Bigger Book”. However, the presence of these “drafts” allows us to trace the creative process of forming a vision of a perfect, internally harmonized social order. \u0000The pathos of the assertion of the universal harmony has acquired a special rise in the last poem of the triptych. The prayer sounded like a hymn glorifying the beauty of society in which social justice, diligence, and education of the people, high morality and love are harmoniously combined. The analysis revealed one of the facets of Taras Shevchenko’s ingenious intellectual insight into the essence of things and phenomena. Several days of literary work in May 1860 ended up with the creation of a prayer for the society of the future, the internal harmony of which is absolute.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130320830","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 : 2022-04-10DOI: 10.33608/0236-1477.2022.02.55-68
Vasyl Budnyi
The paper traces the perception of Vasyl Stefanyk’s works in Czechia, from the first mention of him by Ivan Franko in the monthly “Slovanský přehled” in 1898 to the obituaries of the writer, who passed away at the end of 1936. The research outlines the genre spectrum of Czech publications concerning Stefanyk’s works (translations; reviews in periodicals; scholarly, educational, and reference editions) and the circle of authors that paid attention to Stefanyk’s writings. In particular, it specifies the authorship of A. Proházka’s and V. Prach’s works assigned by cryptonyms. Stefanyk’s writings aroused the interest of the authors representing various literary directions and groups: Czech Modernism (František Šalda), the decadent periodical “Moderní revue” (Arnošt Proházka), a group of anarchist rebels (Stanislav K. Neumann), and the Masaryk’s movement of ‘realists’. The decadents and ‘rebels’ even showed a special affection for the Ukrainian author, as they were the first to translate him in their magazines and published the writer’s earliest and most complete lifetime Czech collection “Povídky” (“Stories”) in 1905. There were five Stefanyk’s books published in the writer’s homeland during his lifetime, but the biggest attention of the Czech translators was drawn to the collection “The Little Blue Book”, and among the short stories — “The News”, “He Committed a Suicide”, “Maple Leaves”, and “My Word”. Among well-known translators were Karel Rypáček, Jaroslav Rozvoda, and Rudolf Hůlka. Alois Koudelka, Jan Máchal, Vincenc Charvát published critical works exploring the expressionist style and existential issues of Stefanyk’s works. Czech critics often took guidance from the discourse on Stefanyk represented by I. Franko, B. Lepkyi, and Lesia Ukrainka. Perception of Stefanyk’s writings developed into an engaging study of the writer’s works in the institutionally branched and aesthetically dierentiated cultural environment of Czechia in the interwar 20th century. This interest helped to establish a closer Czech-Ukrainian literary dialogue.
本文追溯了捷克人对Vasyl Stefanyk作品的看法，从1898年伊万·弗兰科(Ivan Franko)在《Slovanský přehled》月刊上第一次提到他，到这位作家的讣告(他于1936年底去世)。该研究概述了捷克出版物的体裁谱有关斯特凡尼克的作品(翻译;期刊评论;学术版、教育版和参考版)以及关注斯蒂芬尼克作品的作家圈子。特别地，它指定了A. Proházka和V. Prach作品的作者署名。Stefanyk的作品引起了代表不同文学方向和群体的作者的兴趣:捷克现代主义(František Šalda)，颓废期刊“Moderní revue”(Arnošt Proházka)，一群无政府主义叛军(Stanislav K. Neumann)，以及马萨里克的“现实主义者”运动。颓废者和“反叛者”甚至对这位乌克兰作家表现出特殊的感情，因为他们是第一个在自己的杂志上翻译他的作品的人，并于1905年出版了这位作家最早也是最完整的捷克文集“Povídky”(“故事”)。斯特凡尼克生前在捷克出版了五部作品，其中最受捷克翻译家关注的是《小蓝皮书》，以及短篇小说《新闻》、《他自杀了》、《枫叶》和《我的话》。著名的翻译家有卡雷尔Rypáček、雅罗斯拉夫·罗兹沃达和鲁道夫Hůlka。Alois Koudelka, Jan Máchal, Vincenc Charvát发表评论作品，探讨Stefanyk作品的表现主义风格和存在主义问题。捷克的批评家们经常从弗兰科(I. Franko)、莱普吉(B. Lepkyi)和莱西亚·乌克兰卡(Lesia Ukrainka)所代表的关于斯蒂凡克的论述中获得指导。在两次世界大战之间的20世纪，对斯蒂芬尼克作品的感知发展成为对作家作品在制度分支和审美分化的捷克文化环境中的引人入胜的研究。这种兴趣有助于建立更密切的捷克-乌克兰文学对话。
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Pub Date : 2022-04-10DOI: 10.33608/0236-1477.2022.02.86-99
I. Vasylyshyn
The article considers the paradigm of the concept of death in the lyrics by Ostap Tarnavsky as a subject of his poetic philosophical thinking and interpretations.O. Tarnavsky’s lyrical poetry, in which the poet highlights the problems of human existence, moral and psychological aspects of the finiteness of earthly existence, reveals the dualism of the author's thoughts. The poet sought to comprehend death, on the one hand, as the end of human existence, which implied facing its tragic irreversibility and then overcoming the fear of death for achieving the authenticity of being. On the other hand, he admitted coexistence with death, which is the guide of a man on the path to eternity. The philosophical concept of coexistence as a common being of the human self with others and with the world was substantiated by the Italian existentialist philosopher Nicola Abbagnano in his work “Introduzione all'esistenzialismo” (1942). Poetic and philosophical understanding of the concept of death as a transition from earthly existence to eternity was unfolded by O. Tarnavsky in a wreath of sonnets within the collection “Life”. In the 11th sonnet “The order of the world creates in the head…” the author equates death with immortality because only after the completion of the earthly path a person approaching God in life – “perceives the One who creates” and gets Him. In his poems, O. Tarnavsky comprehends the earthly space and time as a certain section of moving to eternity and seeks to outline its coordinates (“Phantoms in Emptiness”). Death is only a coexistent form of eternity that changes one stage into another. The situation of birth and death, according to the Italian philosopher-existentialist N. Abbaniano, is the very depth of coexistence. In the poem “Where do you call to go, princess?..” the paradigm of the concept of death is narrowed and existentially personalized to ‘my death’, which eventually transforms into the author’s vision of death. In his philosophical lyrics, O. Tarnavsky covers the problems of human existence – earthly and eternal, psycho-spiritual and moral-psychological aspects of the last stage of earthly life. The poet represents the dialectic of life and death and, in particular, the paradigm of death, from religious, philosophical, and axiological points of view. At the same time, he demonstrates purely psychological reflections, expressed in spiritual and emotional experiences.
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Pub Date : 2022-04-10DOI: 10.33608/0236-1477.2022.02.30-41
I. Prylipko
The paper highlights the formation of the main text of T. Shevchenko’s poems “My Thoughts, My Thoughts...” from 1840 and 1848. The research focuses on the literary features of the poems, clarifies the coherence of their ideas and design, emphasizes the significance of these pieces within the poet’s works. Both poems, differing in volume, time, and place of writing, are related not only in title but also in the key motives, images, and their weight in the ideological and aesthetic context of all Shevchenko’s writings. The changes made on the way from the first edition to the main text of the poem from 1840, although insignificant, testify to the author’s desire to improve his text both on the grammatical and semantic levels. The textual history of the poem from 1848 more clearly represents the peculiarities of the creative process, since on the way from the draft autograph to the main text one can trace not cardinal but significant semantic changes that reveal the specifics of the poet’s creative pursuits, his careful treatment for the form and content of the works, and their proper preparation for print. Both poems testify to the invariability of the artist’s ideas and aesthetic guidelines and, at the same time, the creative evolution of his worldview, based on life experience and living conditions. If the importance of the poem from 1840 lies primarily in shaping the author’s literary strategy, as it accumulates key motives and images of Shevchenko’s work, reveals the specifics of the artist’s worldview and creative personality, the poem from 1848 is a result of the experience that made creativity and freedom axiological dominants of the artist’s life.
{"title":"SHEVCHENKO’S POEMS NAMED “MY THOUGHTS, MY THOUGHTS...”: HISTORY OF THE TEXT AND FEATURES OF POETICS","authors":"I. Prylipko","doi":"10.33608/0236-1477.2022.02.30-41","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.02.30-41","url":null,"abstract":"The paper highlights the formation of the main text of T. Shevchenko’s poems “My Thoughts, My Thoughts...” from 1840 and 1848. The research focuses on the literary features of the poems, clarifies the coherence of their ideas and design, emphasizes the significance of these pieces within the poet’s works. \u0000Both poems, differing in volume, time, and place of writing, are related not only in title but also in the key motives, images, and their weight in the ideological and aesthetic context of all Shevchenko’s writings. The changes made on the way from the first edition to the main text of the poem from 1840, although insignificant, testify to the author’s desire to improve his text both on the grammatical and semantic levels. The textual history of the poem from 1848 more clearly represents the peculiarities of the creative process, since on the way from the draft autograph to the main text one can trace not cardinal but significant semantic changes that reveal the specifics of the poet’s creative pursuits, his careful treatment for the form and content of the works, and their proper preparation for print. \u0000Both poems testify to the invariability of the artist’s ideas and aesthetic guidelines and, at the same time, the creative evolution of his worldview, based on life experience and living conditions. If the importance of the poem from 1840 lies primarily in shaping the author’s literary strategy, as it accumulates key motives and images of Shevchenko’s work, reveals the specifics of the artist’s worldview and creative personality, the poem from 1848 is a result of the experience that made creativity and freedom axiological dominants of the artist’s life. ","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132086439","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 : 2022-04-10DOI: 10.33608/0236-1477.2022.02.3-14
O. Boron
The paper develops comparative studies of Shevchenko’s story “The Convict” (“Varnak”) in a typological series with Western European works about the ‘noble robber’, namely in comparison with the novella “Michael Kohlhaas” by Heinrich von Kleist and the novel “Jean Sbogar” by Charles Nodier. Tere is no mention of these writers in Shevchenko‘s heritage; neither of the works had been translated into Russian during his lifetime, although he could get limited information about the authors from literary periodicals of the time. Accordingly, a comparative-typological approach is used in the analysis of texts. Several coincidences and parallels have been traced, mainly due to the elaboration of traditional robbery themes in the works. At the same time, the comparison of the story with other works made it possible to illustrate the degree of originality in Shevchenko‘s interpretation of the image of the ‘noble robber’ in the middle of the 19th century. The story “The Convict” is permeated by Christian ideas of forgiveness and redemption, uncharacteristic for Kleist and Nodier. In addition, Kyrylo does not fit entirely into the established scheme of the ‘noble robber’, although the work follows the main structural elements of such a story. In this work, Shevchenko distanced himself from the common robber novels, well known to him and his readers. Feeling, probably, certain obsolescence of the robbery literary tradition, he used it as a material for elaborating the character of the serf intellectual, and combined it, in turn, with his crosscutting theme of seducing a slave girl. The narrator exposed the literary motive of the ‘noble robbery’ subordinating it to the leading theme of the repentant sinner. Against the back-ground of Kleist’s and Nodier’s works, Shevchenko’s slightly belated story is characterized by its natural rootedness in the social circumstances of the contemporary Russian Empire and the life of the Ukrainian countryside, the unpretentious style of the depicted episodes, and a radically different outcome of the conflict.
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