Pub Date : 2022-04-10DOI: 10.33608/0236-1477.2022.02.69-85
T. Mykhailova
In a typological way, the paper considers the problem of preservation/loss of the writer’s individuality, with a focus on the national identity as its essential component, on the example of the self-published texts of Ukrainian and Polish literature, in particular the essay by Czesław Miłosz “Alpha, or Moralist” from the book “The Captive Mind” and literary-critical research work by Vasyl Stus “Phenomenon of the Age (Ascent to Calvary of Glory)”. Both for Vasyl Stus and Czesław Miłosz the native language is a matter of special importance as well as their attachment to the homeland, which is expressed in the awareness of the impossibility to fully realize their talents abroad. In the context of the totalitarian system, which perceived art as a means of asserting ideology, the paper analyzes image features of a famous prose writer Jerzy Andrzejewski and outstanding poet Pavlo Tychyna in the texts of their contemporaries Cz. Miłosz and V. Stus. The main issues are the motive of disguise and pretending to be another, the peculiarities of creative work aiming at pleasing the authorities as a conscious apostasy from one’s own “I”. The role of a state writer leads to the destruction of the writer’s individuality, in particular his national identity (in the “Phenomenon of the Age”), turning the artist into a ‘dead’ person-function. V. Stus and Cz. Miłosz are similar in their desire to understand the writers represented in their texts, to interpret them as victims of the system. Attention is drawn to the difference in the narration of the compared texts: if Cz. Miłosz presents the story about J. Andrzejewski keeping some emotional distance, V. Stus is deeply concerned about the loss of P. Tychyna’s poetic individuality, and with it – national identity, perceiving the tragedy of Ukrainian literature as personal harm. б e question of national identity in the work by Cz. Miłosz is not actually raised, while in V. Stus’s one it is presented quite clearly in its historical continuity as a fundamental problem of the Ukrainian culture.
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Pub Date : 2022-04-10DOI: 10.33608/0236-1477.2022.02.42-54
Sviatoslav Pylypchuk
The paper offers an analysis of Vasyl Stefanyk’s short story “The Old Melody”. This piece, first published in 1927 in the May edition of Kharkiv magazine “The Red Way” under the title “Brothers. The Old Melody”, is a highly artistic literary representation of the Christmas traditions in Pokuttia region. The author not only outlined the concept of the ritual behavior of the caroling community members but also enriched the piece with skillfully engraved passages from some glorifying carols addressed to an unmarried man. The history of this short story is worth special attention. The first attempt of reproducing a bright childhood memory in the form of an accomplished literary piece was undertaken by Stefanyk back in 1902. At that time, however, he limited himself to mere shaping of the plan. The final part of the incomplete essay “To My Mates” may be regarded as a kind of experimental version featuring the major Christmas motif, which was subsequently offered to the readers in the form of an accomplished short story. The folklore and ethnographic background of “The Old Melody” served as a context that allowed to trace out Stefanyk’s journey towards the perception of the Christmas spirit and scholarly consideration of the caroling repertoire (being a gymnasium student, he prepared an essay on carols). Very vivid passages from Christmas carols motivate to make an attempt to establish the exact folklore content that inspired the writer and name those samples of the lavish Ukrainian caroling tradition that were steadily present in the memory of the literary master. The short story reflects a kind of initiation ritual where a novice boy first communes with the archaic carol melody and enters the temple of the national millennial spiritual tradition.
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Pub Date : 2022-02-03DOI: 10.33608/0236-1477.2022.01.3-20
V. Vasylenko
The paper examines the literary-critical views of Yurii Sherekh of the Artistic Ukrainian Movement’s (MUR) period, clarifes his understanding of ‘visnykivstvo’ and ‘Kyiv neoclassicism’ as literary phenomena, the content and significance of the theory of ‘national organic style’, and the idea of antaeism. The worldview and aesthetic positions of Yurii Sherekh are considered in the context of ideological and literary discussions of the late 1940s. The research involved the literary-critical and historical literary studies written by Yurii Sherekh in the postwar period and interpreted their textual connections with the works by Yurii Sherekh himself and by his intellectual associates and opponents. Yurii Sherekh’s idea of the ‘national organic style’ was not only one of the stages of the literary researcher’s worldview evolution, but also a certain result of the development of Ukrainian literary-critical thought in the mid-20th century. This idea grew out of the literary experience of the 1920s and was associated with the process of updating the national artistic tradition and adopting Western Europe literature’s achievements in the 1940s. The approval of the idea of ‘national-organic style’ in the ideological and aesthetic concepts of Yurii Sherekh was accompanied by the rejection of the ‘Vistnyk’s’ and ‘neoclassical’ traditions. The analysis of the main points of Yurii Sherekh’s polemic with Dmytro Dontsov as a symbolic representative of the “Vistnyk’s” ideology and Volodymyr Derzhavyn as the main supporter of the ‘neoclassicism’ theory reveals some inconsistency of Yurii Sherekh’s definitions of neoclassicism. Yurii Sherekh’s idea of antaeism was a certain Ukrainian equivalent of European existentialism, rooted in the history and philosophy of Ukrainian resistance. The paradox of Yuri Sherekh’s theory was in combining the desire for modernity with the return to tradition, while the dogmatism of his ‘national organic’ approach to certain phenomena and works somewhat ideologized his assessments and views. There are reasons to tell about the conventionality of Yurii Sherekh’s division of the Ukrainian mid-20th century writers into ‘organists’ and ‘Europeists’, who visualized, on his opinion, two main directions of Ukrainian literature’s development. In fact, the various types of ‘Europeanism’ and ‘organicity’ were inevitably intertwined.
{"title":"INTELLECTUAL UTOPIA OF YURII SHEREKH","authors":"V. Vasylenko","doi":"10.33608/0236-1477.2022.01.3-20","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.01.3-20","url":null,"abstract":"The paper examines the literary-critical views of Yurii Sherekh of the Artistic Ukrainian Movement’s (MUR) period, clarifes his understanding of ‘visnykivstvo’ and ‘Kyiv neoclassicism’ as literary phenomena, the content and significance of the theory of ‘national organic style’, and the idea of antaeism. The worldview and aesthetic positions of Yurii Sherekh are considered in the context of ideological and literary discussions of the late 1940s. The research involved the literary-critical and historical literary studies written by Yurii Sherekh in the postwar period and interpreted their textual connections with the works by Yurii Sherekh himself and by his intellectual associates and opponents. Yurii Sherekh’s idea of the ‘national organic style’ was not only one of the stages of the literary researcher’s worldview evolution, but also a certain result of the development of Ukrainian literary-critical thought in the mid-20th century. This idea grew out of the literary experience of the 1920s and was associated with the process of updating the national artistic tradition and adopting Western Europe literature’s achievements in the 1940s. The approval of the idea of ‘national-organic style’ in the ideological and aesthetic concepts of Yurii Sherekh was accompanied by the rejection of the ‘Vistnyk’s’ and ‘neoclassical’ traditions. The analysis of the main points of Yurii Sherekh’s polemic with Dmytro Dontsov as a symbolic representative of the “Vistnyk’s” ideology and Volodymyr Derzhavyn as the main supporter of the ‘neoclassicism’ theory reveals some inconsistency of Yurii Sherekh’s definitions of neoclassicism. Yurii Sherekh’s idea of antaeism was a certain Ukrainian equivalent of European existentialism, rooted in the history and philosophy of Ukrainian resistance. \u0000The paradox of Yuri Sherekh’s theory was in combining the desire for modernity with the return to tradition, while the dogmatism of his ‘national organic’ approach to certain phenomena and works somewhat ideologized his assessments and views. There are reasons to tell about the conventionality of Yurii Sherekh’s division of the Ukrainian mid-20th century writers into ‘organists’ and ‘Europeists’, who visualized, on his opinion, two main directions of Ukrainian literature’s development. In fact, the various types of ‘Europeanism’ and ‘organicity’ were inevitably intertwined.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115309501","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 : 2022-02-03DOI: 10.33608/0236-1477.2022.01.52-68
B. Krysa
The aim of the paper is to justify the correlation between polemical motifs in verses and the metaphysical principle of causation. It is possible due to revealing that the mainstay of polemical discourse lies in the images by which God, as the Cause of all things, manifests His presence in the world, according to the teachings of medieval metaphysics. This gives grounds for interpreting the emotional tension of polemical discourse and its inherent figures of reduction or simplification not as an alternative to the inner metaphysical sense but only as a kind of decentralizing and translating it into the language of other circumstances or the language of personal spiritual experience. The metaphysical dimension of polemical poems correlates with the prospect of restoring their broader literary context and broader reception. The paper is to investigate the extent to which the structure as a choice, focused on the publication and perception of texts in certain historical circumstances, makes it possible to manifest certain metaphysical factors by causing a special nonlinear nature of interrelationship, the reverberation of individual motifs and voices between the texts, which are quite different from each other. This historical-literary and hermeneutic approaches let us observe the manifestation forms of metaphysical sense not only in relation to the literary subtext but also in terms of the development and functioning of sovereign metaphysical motifs. Interpretation of the praxis of religious life and the nature of church confrontations and heresies discloses the ‘inner’ image of the individual in the light of Christology and the Christian concept of the Word. The study of the metaphysical foundation of polemical verse complex determines general tendencies in Ukrainian poetry and their transformation in certain milieus. At the same time, it testifies to the changes and development of poetic discourse, the awareness of God’s Word, and human responsibility for the said and written.
{"title":"METAPHYSICAL FOUNDATIONS IN THE POLEMICAL VERSE COMPLEX OF THE 1580—90S","authors":"B. Krysa","doi":"10.33608/0236-1477.2022.01.52-68","DOIUrl":"https://doi.org/10.33608/0236-1477.2022.01.52-68","url":null,"abstract":"The aim of the paper is to justify the correlation between polemical motifs in verses and the metaphysical principle of causation. It is possible due to revealing that the mainstay of polemical discourse lies in the images by which God, as the Cause of all things, manifests His presence in the world, according to the teachings of medieval metaphysics. This gives grounds for interpreting the emotional tension of polemical discourse and its inherent figures of reduction or simplification not as an alternative to the inner metaphysical sense but only as a kind of decentralizing and translating it into the language of other circumstances or the language of personal spiritual experience. The metaphysical dimension of polemical poems correlates with the prospect of restoring their broader literary context and broader reception. \u0000The paper is to investigate the extent to which the structure as a choice, focused on the publication and perception of texts in certain historical circumstances, makes it possible to manifest certain metaphysical factors by causing a special nonlinear nature of interrelationship, the reverberation of individual motifs and voices between the texts, which are quite different from each other. This historical-literary and hermeneutic approaches let us observe the manifestation forms of metaphysical sense not only in relation to the literary subtext but also in terms of the development and functioning of sovereign metaphysical motifs. Interpretation of the praxis of religious life and the nature of church confrontations and heresies discloses the ‘inner’ image of the individual in the light of Christology and the Christian concept of the Word. The study of the metaphysical foundation of polemical verse complex determines general tendencies in Ukrainian poetry and their transformation in certain milieus. At the same time, it testifies to the changes and development of poetic discourse, the awareness of God’s Word, and human responsibility for the said and written.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133470445","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 : 2022-02-03DOI: 10.33608/0236-1477.2022.01.21-37
Tetiana M. Riazantseva
The article analyses the peculiarities of cyclization in Oleksa Stefanovych’s (1899—1970) poetry. Based on the theoretical definitions of a lyrical cycle (cycle of poems, sequence of poems) formulated in the works of Rolf Fieguth, Mikhail Darvin, Larisa Liapina, Ronald Vroon, Leonid Yanitskii, et al., the research outlines the main compositional, stylistic, thematic, and functional traits of Stefanovych’s lyrical cycles and demonstrates the evolution of certain key images in them. The material for analysis is taken from the collection of Stefanovych’s poetry published posthumously in Toronto (“Zibrani Tvory” / “Collected Works”, 1975). The special attention is paid to his apocalyptic cycle “Kintsesvitnie” (“The World’s End”) that demonstrates the whole complex of architectonic and stylistic features inherent to a cycle of poems, particularly the presence of the ‘cyclic subject’ defined by R. Fieguth as “the subject of all creative, especially compositional, acts which are the basis of this poetic cycle” [13, 19]. The composition of “Kintsesvitnie” is based on the combination of the chronological and the plot development principles allowing to encompass Stefanovych’s creative work as a whole. The poems from various periods are selected and arranged so that they form a clear cyclic structure with steady imagery and a distinct thematic echo between its beginning and its end. Their dating reflects the consistency of the poet’s catastrophic worldview declared by the cycle’s title. It also demonstrates the evolution of its key metaphors (an evil bird, a thunderstorm, a trumpet) that arise in Stefanovych’s early works as visual or acoustic images and gradually evolve into the apocalyptic symbols of “Kintsesvitnie”.
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Pub Date : 2022-02-03DOI: 10.33608/0236-1477.2022.01.69-81
Liliia Bomko
This paper is an attempt to comprehend the theoretical preconditions of the genre structure of the Ukrainian baroque sermon in the process of its formation and development starting from “Teaching Gospel” of the early baroque period written by Kyrylo Trankvilion Stavrovetskyi till the homiletic treatise “The Art or the Method of Composing the Sermon” by Ioanykii Galiatovskyi. The forms and principles of coexistence of two homiletical patterns, Greco-Slavic and Latin-Polish, are considered as a channel of rhetorical and stylistic changes that determine genre modifications and varieties. Viewed in this way, the author’s introductions, topics of sermons, and their consistency with different composite parts of the text give grounds to observe the consecutive actualization of the whole conception within the ambit of the whole book and individual sermon samples. One of the key issues is the interaction of oral and written (book) forms of a sermon, which reveals a double level of communication with the recipient: listening and reading. This is demonstrated by the oral practices of preaching by Kyrylo Trankvilion Stavrovetskyi, Ioanykii Galiatovskyi, Antonii Radyvylovskyi, and Lazar Baranovych, on the one hand. On the other hand, in their collections of sermons named “Key of Understanding”, “Virgin Mary’s Garden”, “Spiritual Sword”, “Trumpets of Sermon Words”, the authors, in addition to the practical part, give some theoretical comments and reflections on their creative process, endowed with divine power. The development of the theory of Ukrainian baroque preaching was greatly influenced by the homiletic treatise by Ioanykii Galiatovskyi “The Art or the Method of Composing the Sermon”, in which the author consistently elaborates the main issues concerning the theme, composition, examples, and amplification.
本文试图从斯塔夫洛夫茨基早期巴洛克时期的《训导福音》到加利亚托夫斯基的讲道专著《训导的艺术或创作方法》，了解乌克兰巴洛克布道体例结构形成和发展过程中的理论前提。希腊斯拉夫语和拉丁波兰语两种说教模式共存的形式和原则被认为是修辞和风格变化的一个渠道，决定了体裁的修改和变化。这样看来，作者的介绍，讲道的主题，以及它们与文本的不同组成部分的一致性，使我们有理由在整本书和个别讲道样本的范围内观察到整个概念的连续实现。其中一个关键问题是讲道的口头和书面(书)形式的相互作用，这揭示了与接受者的双重交流:听和读。一方面，这可以通过Kyrylo Trankvilion Stavrovetskyi, Ioanykii galaliatovskyi, Antonii Radyvylovskyi和Lazar Baranovych口头布道的实践来证明。另一方面，在《领悟之钥》、《圣母的花园》、《灵剑》、《讲道词的号角》等讲道集中，作者在实践部分的基础上，对自己的创作过程进行了一些理论上的评论和反思，被赋予了神力。乌克兰巴洛克说教理论的发展很大程度上受到了Ioanykii galliatovskyi的说教论文《The Art or The Method of composition The Sermon》的影响，在这篇论文中，作者始终如一地阐述了关于主题、组成、例子和放大的主要问题。
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Pub Date : 2022-02-03DOI: 10.33608/0236-1477.2022.01.82-98
A. Averbuch
The paper examines the interconnectedness of feminity with ethnonational otherness in Ukrainian modernist literature in the context of European misogyny and ethnophobia. It demonstrates how the representation of female sinful otherness, impurity, and disloyalty was cemented in misogynistic imagery, in which women appeared as witches and heterodox temptresses through sexual and cultural differentiation. The otherizing of Orientalized ethnic groups in Eastern Europe — typically Jews, Roma, and Tatars — involved their conceptual feminization as well. Specifically, the paper analyzes the topic of the decay of the Slavic/Orthodox/masculine ‘race’ and the range of concomitant tropes and ideas found in Ukrainian modernist literature, such as castration, celibacy, and obsession with ‘tainted’ blood, which reflected ‘racial’ anxieties that went hand in hand with misogynistic ideas of the feminine role in spiritual and physical decline. The study performs close readings of works by Olha Kobylianska, Mykhailo Yatskiv, and Natalia Livytska-Kholodna, in which women appear as demonic-vampiric, heterodox seductresses and heresiarchesses, who threaten to ruin the ethno-androcentric culture of the modernist epoch. Orientalized femininity and the ambivalence it brought to Ukrainian modernism harbored the ethnoreligious fears and inherent sinfulness that encompassed traditional descriptions of the femme fatale, as well as such associated figures as the fallen angel and seductive adulteress – the initiatrix of moral, sexual, national, and religious transgression, which invariably alluded to a perceived crisis in patriarchy and reproductivity. The analysis focuses on the three thematic aspects of sin and sinfulness: temptation, heterodoxy, and betrayal.
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Pub Date : 2022-02-03DOI: 10.33608/0236-1477.2022.01.38-51
Olha Shaf
Emma Andiievska’s poetic manner is quite experimental in modern literary milieu due to dense metaphoric imagology, daring alliteration, specific subject’s representation, cosmogonic transformation motive, etc., so it hardly correlates with European art styles (modernism and postmodernism in particular), albeit her early oeuvre (1950—1960) is being consequently considered as surrealistic one. It is also hard to outline stylistic and mental links between Emma Andiievska’s poetry and Ukrainian or European one since she has been moving in her art creativity strictly towards poetic originality. At the same time, the poetess’ works can’t be excluded from the world literary process — that is the reason for a comparative search. Some literary parallels have been found in Ukrainian (Bohdan Ihor Antonych) and American (Emily Dickinson) poetry. Both authors could influence Emma Andiievska’s poetic manner. There is a similar attitude to reality and own creativity in Emma’s Andiievska’s poetic oeuvre and Emily Dickinson’s one, caused by a desire for solitude and priority of the author’s subjectivity in the lyrical view. There are also some similar syntactic means in the poetics of both female authors. The poetic manner of Emma Andiievska’s works written in the 1950s—1960s also resembles Bohdan Ihor Antonych’s poetical style, represented in his collections “Salute to Life”, “Three Rings” and “The Green Gospel”. The two authors have a similar phenomenological focus of lyrical reflection, surrealistic metaphors, and acoustic mode of connecting words in an utterance. The childlike features of a worldview and oneiric elements of narrative in the literary works realize the surrealistic mode of writing attributable both to Bohdan Ihor Antonych and Emma Andiievska.
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Pub Date : 2021-12-02DOI: 10.33608/0236-1477.2021.06.38-51
L. Moroz
One of the most dramatic writers of the 2nd half of the 20th century Hryhir Tiutiunnyk was remembered by all his contemporaries who worked in the cultural sphere as a person endowed with a keen sense of humor, rare wit, and unique artistry (in various genres, both dramatic and comedic). This paper is a reflection on how in the works by Hryhir Tiutiunnyk, killed by the totalitarian system in 1980, the well-known dominants of “love and pain” are deepened by irony, in all the immensity of its shades and meanings. The writer did not use any words from the political lexicon but instead unmasked the totalitarian system by depicting (mostly through apt expressions and details) the behavior and destinies of people oppressed or destroyed by it. His irony is mild, lenient, or even somewhat sympathetic. In the stories reviewed in the paper, namely “Screw”, “Niura”, “The Feast in Memory of Markiian”, “The Son Has Arrived”, the mentioned nuances of the means of irony are used in rather complex, sometimes weird combinations (“The Literate”, “Laughter”), revealing the ardent indifference of the author who tried (sometimes successfully) to pretend to be an outsider – an unworried or even superior narrator. In such works as “The Feast in Memory of Markiian” and “Medal”, the death itself or its obvious approach causes the appearance of tragicomic elements. However, in the latter, the tragic irony is not related to the character, but to the props of the stage action, in which the people resembling mannequins represent the village and district authorities and pretend to award a starving man as “the best animal breeder”. Some of Hryhir Tiutiunnyk’s characters, as in the short story “Oddity” and the story “My Saturday”, rise to a sarcastic mockery of oppressors: the specificity of the Soviet-communist officials lies in the fact that they don’t even realize the absurdity of their activities, which lack any humanistic principles. The literary world of the writer, despite its seeming simplicity, is extremely complex in terms of inner subtleties of thoughts, emotions, and conflicts.
{"title":"IRONIC ΗRYHIR TIUTIUNNYK (SOME OBSERVATIONS)","authors":"L. Moroz","doi":"10.33608/0236-1477.2021.06.38-51","DOIUrl":"https://doi.org/10.33608/0236-1477.2021.06.38-51","url":null,"abstract":"One of the most dramatic writers of the 2nd half of the 20th century Hryhir Tiutiunnyk was remembered by all his contemporaries who worked in the cultural sphere as a person endowed with a keen sense of humor, rare wit, and unique artistry (in various genres, both dramatic and comedic). This paper is a reflection on how in the works by Hryhir Tiutiunnyk, killed by the totalitarian system in 1980, the well-known dominants of “love and pain” are deepened by irony, in all the immensity of its shades and meanings. The writer did not use any words from the political lexicon but instead unmasked the totalitarian system by depicting (mostly through apt expressions and details) the behavior and destinies of people oppressed or destroyed by it. His irony is mild, lenient, or even somewhat sympathetic. In the stories reviewed in the paper, namely “Screw”, “Niura”, “The Feast in Memory of Markiian”, “The Son Has Arrived”, the mentioned nuances of the means of irony are used in rather complex, sometimes weird combinations (“The Literate”, “Laughter”), revealing the ardent indifference of the author who tried (sometimes successfully) to pretend to be an outsider – an unworried or even superior narrator. In such works as “The Feast in Memory of Markiian” and “Medal”, the death itself or its obvious approach causes the appearance of tragicomic elements. However, in the latter, the tragic irony is not related to the character, but to the props of the stage action, in which the people resembling mannequins represent the village and district authorities and pretend to award a starving man as “the best animal breeder”. \u0000Some of Hryhir Tiutiunnyk’s characters, as in the short story “Oddity” and the story “My Saturday”, rise to a sarcastic mockery of oppressors: the specificity of the Soviet-communist officials lies in the fact that they don’t even realize the absurdity of their activities, which lack any humanistic principles. The literary world of the writer, despite its seeming simplicity, is extremely complex in terms of inner subtleties of thoughts, emotions, and conflicts.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121586370","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 : 2021-12-02DOI: 10.33608/0236-1477.2021.06.52-65
Daryna Gladun
The paper focuses on poetry-based video performances conducted by the participants of the “Creative Youths Seminar” (CYS), which was founded in 1995. Adaptability is one of the most essential features of all seminar clusters. It leads to constant transformations in a general program and within poetry performance laboratory (existing as a part of CYS since 2015) in particular, due to socio-cultural and political context. In 2020, because of the quarantine restrictions, CYS for the first time changed its regular face-to-face form to a remoteone and took place online. Live performance cluster transformed into a three-day marathon of video performances. During that time 24 participants made over 70 video performances that lasted for more than 100 minutes in total (there was a record number in every category of a CYS performance cluster). Nearly half of the performances were poetry-based. Almost a third part was based on the poems by Ukrainian Futurist writers Oleksa Vlyzko, Mykhail Semenko, Oleksa Slisarenko, Andrii Chuzhyi, Geo Shkurupii, and Yulian Shpol. The article analyzes five poetry-based video performances that refer to the poems by Geo Shkurupii as pretexts: “A Talk with a Future Self ” by Yaroslav Boruta, “I Want to Be a Furniture” by Vladyslava Demianchuk (Dadi), “Oh Little Boy” by Natalia Matsybok-Starodub, “Czech Scotch Tape” by Iryna Pavlenko (Ira Pamiatai), and “The Future of Cherry Orchards” by Viktoriia Feshchuk. The pretexts, poetry performance texts (if any), and their intermedial connections with video performances have been examined. The researcher concludes that poetry-based performances let the artists not only experience the text traditionally but also ‘live through the text’, or, in other words, create a personal physical experience of the pretext and offer the audience another perspective on the pretext with the help of non-literary media.
{"title":"INTERMEDIAL RECODING OF GEO SHKURUPII'S WORKS IN THE VIDEO PERFORMANCES AT THE SEMINAR OF CREATIVE YOUTHS 2020","authors":"Daryna Gladun","doi":"10.33608/0236-1477.2021.06.52-65","DOIUrl":"https://doi.org/10.33608/0236-1477.2021.06.52-65","url":null,"abstract":"The paper focuses on poetry-based video performances conducted by the participants of the “Creative Youths Seminar” (CYS), which was founded in 1995. Adaptability is one of the most essential features of all seminar clusters. It leads to constant transformations in a general program and within poetry performance laboratory (existing as a part of CYS since 2015) in particular, due to socio-cultural and political context. In 2020, because of the quarantine restrictions, CYS for the first time changed its regular face-to-face form to a remoteone and took place online. Live performance cluster transformed into a three-day marathon of video performances. During that time 24 participants made over 70 video performances that lasted for more than 100 minutes in total (there was a record number in every category of a CYS performance cluster). Nearly half of the performances were poetry-based. Almost a third part was based on the poems by Ukrainian Futurist writers Oleksa Vlyzko, Mykhail Semenko, Oleksa Slisarenko, Andrii Chuzhyi, Geo Shkurupii, and Yulian Shpol. The article analyzes five poetry-based video performances that refer to the poems by Geo Shkurupii as pretexts: “A Talk with a Future Self ” by Yaroslav Boruta, “I Want to Be a Furniture” by Vladyslava Demianchuk (Dadi), “Oh Little Boy” by Natalia Matsybok-Starodub, “Czech Scotch Tape” by Iryna Pavlenko (Ira Pamiatai), and “The Future of Cherry Orchards” by Viktoriia Feshchuk. The pretexts, poetry performance texts (if any), and their intermedial connections with video performances have been examined. \u0000The researcher concludes that poetry-based performances let the artists not only experience the text traditionally but also ‘live through the text’, or, in other words, create a personal physical experience of the pretext and offer the audience another perspective on the pretext with the help of non-literary media.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123673754","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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