Pub Date : 2021-12-02DOI: 10.33608/0236-1477.2021.06.21-37
Valentyna Saіenko
The paper deals with a historical novel in verse by the celebrated modern Ukrainian writer Lina Kostenko, for the first time analyzing it totally in a synesthetic way — through the component of musicality (namely barcarole principle of poetic creativity). The folklore origins of barcarole in the world culture have been traced, as well as the peculiarities of the absorption of the genre by professional music and literature, especially Ukrainian. Formation of the genre in the creative work of the author of “Berestechko”, who is the poet of a special musical feeling, deserves special attention. Barcarole is one of the forms of modernity in the creative thinking of Lina Kostenko; it is a natural writer’s way of perceiving reality and transforming it into an aesthetic system of artistic work (both in poems and the novel in verse). Being inclined to poetically adopt chamber and solo musical genres, the poetess creates a special voice polyphony in “Berestechko”, where each sense construct of a modern unity, i. e. novel lyric epos and barcarole, sounds both separately and complementarily, and the part of a protagonist merges into “I” of a speaker. The compositional function of barcarole in “Berestechko” is the modeling of a central character of the text. It is hetman Bohdan Khmelnytskyi, spiritually undermined by the recent defeat. The barcarole elements are used for constructing the author’s version of this failure and its consequences, which spread around Ukraine as circles on water; absorbing a soothing rhythm of a song, which can cure the soul with love; shaping the architectonics of the text in the form of 'splashes'-'circles' with poly-functional titles and subtexts. In the genre structure of the novel, barcarole is essential both in the development of the theme and its stylistic implementation. In the unity of the work, one may notice “prelude”, the main part, and “postlude”, each part with its artistic sense. The images typical for a barcarole — water, boat, song, woman, love, etc. — are designed in accordance with the agrarian microcosm of the main character and its symbolic senses. Time flow, self-immersion, and love do not only spiritually heal hetman Bohdan Khmelnytskyi, but give his life a direction and endow his figure with grandeur. The neoromantic potential of barcarole and the novel in verse correspond well and join in the final coda about the unshakable courage and heroism of the Ukrainian warriors.
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Pub Date : 2021-12-02DOI: 10.33608/0236-1477.2021.06.3-20
Olha Turhan
Based on Lesia Ukrainka’s dramas “Iphigenia in Tavrida”, “Cassandra”, “The Orgy”, “Ruphin and Priscilla”, and “The Stone Master”, the paper highlights peculiarities of cultural and historical codes of the Antiquity and the Middle Ages in the writer's works as well as literary manifestation of the world-view features of European and Ukrainian Modernism in the antique and medieval images and motifs. Lesia Ukrainka reconsidered the heritage of archaic and late Antiquity, Hellenistic period, Galilee at the time of Jesus, Early Christianity, and Medieval Spain. Each of these epochs has its own dichotomy of social and biological phenomena, parameters of the world model, and dominant fundamental points. Lesia Ukrainka’s dramas transform the material of various cultural epochs, providing polysemantic images that transfer the cosmos of a certain period into the neo-romantic and neo-classical system of images and symbols. In the dramas, the writer raised the issues recurrent in her works, such as love and sacrifice; beauty and ugliness; prophet, artist and ‘revolt of the masses’; reality and dream; good and evil; truth and benefit; nostalgia for chivalry; nostalgia for the Absolute; psychological and moral freedom and violence; spirit, soul, and body; spiritual nobility and the rule of brutes; nature and culture, etc. Numerous issues and characters, multifunctional ontological, cultural, and historical phenomena, cultural codes, symbols, and mythologems acquire an existential meaning in the author’s dramas fitting not only into various cultural contexts but also into the modern reconsideration of mythopoetics.
{"title":"СULTURAL EPOCHS AS TEXT IN LESIA UKRAINKA’S DRAMAS","authors":"Olha Turhan","doi":"10.33608/0236-1477.2021.06.3-20","DOIUrl":"https://doi.org/10.33608/0236-1477.2021.06.3-20","url":null,"abstract":"Based on Lesia Ukrainka’s dramas “Iphigenia in Tavrida”, “Cassandra”, “The Orgy”, “Ruphin and Priscilla”, and “The Stone Master”, the paper highlights peculiarities of cultural and historical codes of the Antiquity and the Middle Ages in the writer's works as well as literary manifestation of the world-view features of European and Ukrainian Modernism in the antique and medieval images and motifs. \u0000Lesia Ukrainka reconsidered the heritage of archaic and late Antiquity, Hellenistic period, Galilee at the time of Jesus, Early Christianity, and Medieval Spain. Each of these epochs has its own dichotomy of social and biological phenomena, parameters of the world model, and dominant fundamental points. \u0000Lesia Ukrainka’s dramas transform the material of various cultural epochs, providing polysemantic images that transfer the cosmos of a certain period into the neo-romantic and neo-classical system of images and symbols. In the dramas, the writer raised the issues recurrent in her works, such as love and sacrifice; beauty and ugliness; prophet, artist and ‘revolt of the masses’; reality and dream; good and evil; truth and benefit; nostalgia for chivalry; nostalgia for the Absolute; psychological and moral freedom and violence; spirit, soul, and body; spiritual nobility and the rule of brutes; nature and culture, etc. \u0000Numerous issues and characters, multifunctional ontological, cultural, and historical phenomena, cultural codes, symbols, and mythologems acquire an existential meaning in the author’s dramas fitting not only into various cultural contexts but also into the modern reconsideration of mythopoetics. ","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"116 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":"116378833","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: 10.33608/0236-1477.2021.06.66-81
Mariia Tkachenko
The paper highlights the features of ‘industrial’ prose in the Ukrainian Soviet literature of the 1930s clarifying the main formal and semantic characteristics of “industrial” genres, their reception in criticism, and such characteristics of this genre as style, plot, figurative and thematic principles. Based on D. Buzko’s text “Blast Furnaces”, the paper shows the transitional period between the free avant-garde artistic movement in Ukraine of the 1920s and the implementation of socialist realism as the only official style in Soviet art in the 1930s. As a representative of the futurist movement, deeply engaged in the elaboration of early cinema theories, Dmytro Byzko wrote a novel “Holiandiia”, which deconstructed official narratives and topics of the late 1920s. The comparison of the “Blast furnaces” with this novel helps not only to see the mentioned transition but also to notice the divergence of the “Blast furnaces” and more canonical pieces of this genre. Dmytro Buzko’s “Blast furnaces” extremely accurately reflects the expectations from literature at that time: the heroes explain the main stages of work at the metallurgical plant, and by their example, in words and deeds, agitate readers to become conscious builders of socialism. Although a large number of similar techniques, ideas, and even views of the author can be found in “Holiandiia” and “Blast furnaces”, the first novel is a sharp critique of the contemporary reality, while “Blast furnaces” is a text complementary to reality. The analysis of “Blast furnaces” shows the process of the search for an ideal and canonical protagonist as well as an antagonist for the Soviet literature. The last one in this text is represented by the typical for the whole Ukrainian literature covetous farmer who, in a new political reality, plays a role of a small evil ready to harm ordinary workers and socialistic future.
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Pub Date : 2021-10-17DOI: 10.33608/0236-1477.2021.05.101-117
M. Shuvalova
The paper is focused on the perception of the short story genre in the western literary theory of the 20th —21st centuries. At the end of the 19th and the beginning of the 20th century, the term 'short story' was a neologism, and its appearance indicated the rethinking of established literary forms. This process led to the development of new literary theories. The works of Brander Matthews (“The Philosophy of the Short Story”, 1901) and Frank O’Connor (“The Lonely Voice”, 1962), prominent writers and literary scholars of the 20th century, established academic short story studies in the English-speaking countries. Charles E. May, Susan Lohafer, Mary Rohrberger, Austin Wright, Ian Reid, Clare Hanson, Florence Goyet, Hanna Meretoja, whose major publications are also within the scope of the paper, provided further investigation of numerous issues of the short story genre and other types of short fiction. The works of the mentioned scholars are widely known and serve as a basis for academic courses and as an introduction to the short story theory. Nevertheless, they are rarely considered as one of the possible theoretical perspectives in the relevant Ukrainian research works on a short story, and it gives a reason for a closer look at them. Due to rising attention to the short literary forms, involving different theoretical frames might be beneficial to the development of the discourse. The paper describes the key issues of modern discussions concerning the distinctive features of the short story, its scope, definitions, establishment as an independent genre, and meaning in axiological and ontological contexts. The issue is explored by comparing different theoretical experiences with the use of comparative and discursive analysis.
本文主要研究20 - 21世纪西方文论对短篇小说体裁的认识。在19世纪末和20世纪初，“短篇小说”一词是一个新词，它的出现表明了对既定文学形式的重新思考。这一过程导致了新文学理论的发展。20世纪杰出的作家和文学学者布兰德·马修斯(《短篇小说的哲学》，1901年)和弗兰克·奥康纳(《孤独的声音》，1962年)的作品奠定了英语国家短篇小说学术研究的基础。Charles E. May, Susan Lohafer, Mary Rohrberger, Austin Wright, Ian Reid, Clare Hanson, Florence Goyet, Hanna Meretoja，他们的主要出版物也在本文的范围内，他们对短篇小说类型和其他类型的短篇小说的许多问题提供了进一步的研究。上述学者的作品广为人知，并作为学术课程的基础和短篇小说理论的介绍。然而，在乌克兰有关短篇小说的研究工作中，它们很少被视为可能的理论视角之一，这给了我们更仔细研究它们的理由。随着人们对短篇文学形式的日益关注，引入不同的理论框架可能有利于话语的发展。本文论述了短篇小说的特点、范围、定义、作为独立体裁的确立以及在价值论和本体论语境中的意义等现代讨论的关键问题。这一问题是通过比较不同的理论经验，并使用比较和话语分析来探讨的。
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Pub Date : 2021-10-11DOI: 10.33608/0236-1477.2021.05.75-100
O. Pashko
The paper aims to reconstruct the research activity of the Ukrainian literary scholar Ahapii Pylypovych Shamrai (1896—1952) in the period from 1922 to 1929. For this purpose, the works of the scholar, his personal files, materials from the newspapers and journals of the time, as well as correspondence have been examined. It was necessary to describe A. Shamrai’s postgraduate studies at the Research Department of History of Ukraine (literary and ethnographic section) (1922—1924). Much attention is given to the textbook “Ukrainian Literature. A Brief Survey” (1927, 1928) that was among the first structured presentations of the history of Ukrainian literature. The paper analyzes the perception of the textbook by contemporary readers and outlines the specifics of Shamrai’s sociological method of this period. Considering the research work of A. Shamrai in the context of literary criticism of the 1920s, the author of the paper reconstructs the scholar’s dialogue with M. Zerov and the polemic with “New Generation” magazine. One of the central topics for A. Shamrai in the 1920s is examined in detail: it is his study of H. Kvitka-Osnovianenko’s work. In particular, the discussion between A. Shamrai and Ye. Aizenshtok on the publication of H. Kvitka’s works in 1928 has been highlighted. A. Shamrai’s scholarly concepts of the 1920s characterize him as a textual critic (‘text of the work’, ‘canonical text’) and historian of literature (‘literary fact’, ‘work’, ‘environment’, ‘style’, ‘literary school’, ‘template’, ‘minor writers’, ‘influence’). The category ‘reader’ was also very important for Shamrai’s works of this period. A range of examples shows how Shamrai used the methodology of comparative studies.
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Pub Date : 2021-10-11DOI: 10.33608/0236-1477.2021.05.3-21
A. Shvets
Franko’s poetic cycle “Mourning Songs” became the third in his collection “From the Heights and Lowlands” (1893), however, this cycle was not included in the first edition of the collection in 1887. Nine lyrical poems of the cycle “Mourning Songs” mainly belong to the genre of reflective-meditative lyrics, in which the author (lyrical subject) reflects on social structure, ontological and existential problems. The articulation of the mental state of the lyrical hero, his inner suffering, loneliness, social vacuum, feeling of being unwanted in the world are important motives here. Franko purposely doesn’t arrange poems in chronological order but instead develops the inner plotline of the cycle with the following motives: guilt for the mournful mood of his muse, inner rebellion against social evil, apocalyptic vision of destroying the old world order, declaration of his solidarity with the humiliated, obsession with the idea of service, emotional despair, resignation and passive reconciliation with one’s own misfortune, statement of one’s social credo, the experience of loneliness and marginality, optimistic vision of the earthly paradise against the background of prison-like gloom. As a result, eschatological motives appear: the domination of evil on earth inevitably will lead to its destruction for the sake of a new life and restoration of just law and order. In mood and stylistically, Franko’s jail poetry corresponds to the prison lyrics by Taras Shevchenko. Each of the nine poems in the cycle has been considered in terms of poetics, genre, imagery, literary means, versification, as well as intertextual parallels at the level of reminiscences and allusions. The researcher paid attention to the character of the lyrical hero, the internal plot of the cycle, chronotopic organization, leitmotifs, folklore structures. The philosophical meditations of the cycle “Mourning Songs”, perceived in the context of Franko’s biography, reflect the parallelism of the lyrical hero’s existence and the author’s psychobiography of the period marked by the first two arrests.
佛朗哥的诗作《哀歌》成为他1893年出版的诗集《来自高地和低地》(From the Heights and Lowlands)中的第三首诗作，但在1887年出版的第一版诗集中并没有收录这首诗作。《哀歌》九首抒情诗主要属于反思冥想抒情诗体裁，作者(抒情主体)在抒情诗中对社会结构、本体论和存在问题进行反思。抒情诗中主人公的精神状态、内心的痛苦、孤独、社会真空、被世界所遗弃的感觉都是重要的动机。弗兰科故意不按时间顺序排列诗歌而是发展了这个循环的内部情节，动机如下:对缪斯悲伤情绪的内疚，对社会邪恶的内心反叛，毁灭旧世界秩序的末日愿景，与受辱者团结一致的宣言，对服务理念的痴迷，情感绝望，对自己不幸的顺从和被动和解，对社会信条的陈述，孤独和边缘化的经历，对监狱般的黑暗背景下的人间天堂的乐观看法。因此，末世论的动机出现了:邪恶在地球上的统治将不可避免地导致它的毁灭，为了一个新的生命和恢复公正的法律和秩序。在情绪和风格上，弗兰科的监狱诗歌与塔拉斯·舍甫琴科的监狱歌词相呼应。我们从诗学、体裁、意象、文学手段、诗体以及在回忆和典故层面上的互文平行等方面对这九首诗进行了考察。研究人员关注了抒情英雄的性格、循环的内部情节、时间顺序组织、主题、民俗结构。在弗兰科传记的背景下，“哀悼之歌”的哲学思考反映了抒情英雄的存在和作者对前两次被捕时期的心理传记的平行性。
{"title":"FRANKO’S POETIC CYCLE “MOURNING SONGS”: ASPECTS OF POETICS","authors":"A. Shvets","doi":"10.33608/0236-1477.2021.05.3-21","DOIUrl":"https://doi.org/10.33608/0236-1477.2021.05.3-21","url":null,"abstract":"Franko’s poetic cycle “Mourning Songs” became the third in his collection “From the Heights and Lowlands” (1893), however, this cycle was not included in the first edition of the collection in 1887. Nine lyrical poems of the cycle “Mourning Songs” mainly belong to the genre of reflective-meditative lyrics, in which the author (lyrical subject) reflects on social structure, ontological and existential problems. The articulation of the mental state of the lyrical hero, his inner suffering, loneliness, social vacuum, feeling of being unwanted in the world are important motives here. \u0000Franko purposely doesn’t arrange poems in chronological order but instead develops the inner plotline of the cycle with the following motives: guilt for the mournful mood of his muse, inner rebellion against social evil, apocalyptic vision of destroying the old world order, declaration of his solidarity with the humiliated, obsession with the idea of service, emotional despair, resignation and passive reconciliation with one’s own misfortune, statement of one’s social credo, the experience of loneliness and marginality, optimistic vision of the earthly paradise against the background of prison-like gloom. \u0000As a result, eschatological motives appear: the domination of evil on earth inevitably will lead to its destruction for the sake of a new life and restoration of just law and order. In mood and stylistically, Franko’s jail poetry corresponds to the prison lyrics by Taras Shevchenko. \u0000Each of the nine poems in the cycle has been considered in terms of poetics, genre, imagery, literary means, versification, as well as intertextual parallels at the level of reminiscences and allusions. The researcher paid attention to the character of the lyrical hero, the internal plot of the cycle, chronotopic organization, leitmotifs, folklore structures. \u0000The philosophical meditations of the cycle “Mourning Songs”, perceived in the context of Franko’s biography, reflect the parallelism of the lyrical hero’s existence and the author’s psychobiography of the period marked by the first two arrests.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114337381","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 : 2021-10-11DOI: 10.33608/0236-1477.2021.05.22-39
O. Salii
The paper deals with the poem by Ivan Franko “My soul! The soul of my soul!”, which wasn’t published during the poet’s lifetime. As one of the poems from Franko’s poetic cycle “The First Bunch” it might have been included in the forthcoming collection “The Withered Leaves”. That’s why the general context of this collection is relevant. The researcher reviews the genre and creative history of the poem and gives attention to its psychobiographical context. The comparison of the published text with the autograph revealed a discrepancy that modifies interpretation. The basis of this poetic reflection is the poet’s intimate feelings for Celina Żurowska (married name Zygmuntowska), so the paper focuses on this Polish woman, in particular her attitude to the poet and her influence on his work. The research focus also includes other works of the writer, which somehow relate to Celina. Her pride, stubbornness, and sometimes even contempt caused pain in the poet’s soul, which gave rise to poetic masterpieces. The memories of Franko’s contemporaries, as well as the ones of Celina herself, help to interpret the poem. The researcher analyzed the work in terms of its structure, poetic composition, emotional tone, and iconosphere. The images of the pearl (shell) and the soul, which are the central symbols of this work, show semantic similarity. The pearl is a symbol of love that grows and becomes stronger due to patience, and at the same time, it is a metaphor for the soul. The poetic language and versification have been examined as well.
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Pub Date : 2021-10-11DOI: 10.33608/0236-1477.2021.05.58-74
Khrystyna Vorok
The paper deals with the story “About a Nobleman Looking for а Trouble” (1887) by Ivan Franko and highlights its genre peculiarities. The major attention is drawn to the dominant features indicating the fairy-tale nature of the story. The literary sources of the plot, the system of characters, biblical allusions, main issues as well as the reception of the work by contemporary criticism have been explored. The story by Ivan Franko was based on Ukrainian folk tales about the search for trouble performed by a nobleman or a priest. In the field of struggle between the forces of good and evil, the images of the young magician — Messiah — Jesus Christ and the Тrouble become the central symbols of the tale. The Misfortune archetype, which is directly linked to Franko’s perception of the people, suffering under circumstances of total dependence on the landlords, must be analyzed with attention to the people’s outlook and the author’s individual thinking. The young magician appears as Messiah, and it helps to bring a nobleman closer to something eternal and make him reevaluate his own life. These images perform important functions in the plot and composition of the work, revealing active changes in the character of a nobleman and forming the philosophical and psychological discourse of the author. There is a variety of associations between the light in the Bible and in Franko’s tale. The “light that enlightens everyone” causes enlightenment of а nobleman. The inner state of the hero at the moment of enlightenment is revealed in prayer. The prayer monologue demonstrates openness, sincerity, the immediacy of self-expression and despair, and at the same time hopelessness. The plot of the tale “About a Nobleman Looking for а Trouble” is related to Franko’s unfinished poem “About a Richman Who Went to Buy а Trouble” (written in 1887). The research also involves some other prose works by the writer.
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Pub Date : 2021-10-11DOI: 10.33608/0236-1477.2021.05.40-58
Kateryna Dron
The paper analyzes the poetics of Ivan Franko’s story “Poluika” — the work that was included in the second thematic collection on the oil industry of Boryslav named “‘Poluika’ and other stories about Boryslav” (Lviv, 1899). The researcher focuses on the modern, in particular impressionistic, principles of displaying the working and industrial environment. The narration is performed through the life story of an old oilman who, being at the end of his life, recalls a custom of ‘poluika’, which existed among Boryslav oilmen thirty years ago. The new elements of “Poluika” poetics help in the deeper revealing of the inner world of a character, his values, and psychology. The story shows a number of new changes at the level of formal features of poetics. It presents still unknown aspects of Boryslav life and reflects the eloquent features of the modernistic type of I. Franko’s creative work. The story is based on retrospection of the events that happened thirty years ago, and this approach also makes its plot and composition peculiar. The origin, primary meaning, and expressive content of the word “poluika”, used as a title, have been clarified. The industrial landscape wasn’t new in contemporary literature but the writer tended to use it in an innovative way. The workers presented by Franko gain such new features as social, moral, and professional maturity. The researcher also pays attention to the peculiarities of applying the first-person form of narration tested by Ivan Franko in his works from 1870―1880. In general, “Poluika” has the genre features of a story but the structure of the work also reveals evident elements of a short story. Thus, the genre of “Poluika” is defined as a short story of social psychological content.
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Pub Date : 2021-08-03DOI: 10.33608/0236-1477.2021.04.76-96
Anatolii Moisiienko
The article focuses on one of the visual types of syncretic poetry — chess poems. Years ago Anatolii Moisiіenko initiated the chess poetry genre in Ukrainian literature; in a number of critical papers, he presented the specifics of construction and functioning of such artistic structures, which are basically characterized by the symbiosis of proper poetry and chess composition. In this article, the author uses Viktor Kapusta’s books of poems “The Checkered Continent” and “Unguaranteed Migrations” to analyze the chess sonnets of the poet who added a new page to the history of Ukrainian visual literary art by proposing a peer-to-peer combination of a strictly structured literary form and a chess problem. The aim is to conceptualize the figurative and compositional relations within the sonnet structure itself, which relies on the artistic palette of the chess game, with its diversity of geometric abstractions, local mise-en-scénes of unpredictable theatrical performances played out on the chess-board by wooden pieces — or on the chessboard of readers’ imagination. Attention is drawn to the transformational peculiarities of the sonnet line, read in a palindromic and pantorhymic way. The pantorhyme is the versificational and compositional basis for the chess sonnet sequence “Castling. A Herbarium of Stars”, which is analyzed here with regard to the transposition of some characteristics to the realm of chess composition. A diagrammed chess problem becomes a specific chess component of a sonnet sequence, where, for example, the variants of the solution (Black’s defensive moves and White’s attacking responses) correspond to the poetic lines making up the fourteen sonnets whereas the problem’s threat, like a principal poem, concentrates all the mentioned chess movements in a single variant.
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