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The author discusses Ivan Franko’s poem Moses, regarded by Yurii Sherekh as the „Second Testament” of Ukrainian literature. This positive opinion of the Moses stimulates research interests. Using the methods of comparative contextual hermeneutics, the author analyses Ivan Franko’s specific “theology of hope” in the historical literary and philosophical theological context. He argues that the basis for hope in Franko’s philosophical reflection upon history was the Old Testament eschatology, born from God’s covenant with Israel and from the faith in a liberating-salvation mission of Moses. He draws special attention to the prophetic meaning of the Prologue and the poet’s references to the figure of Moses.
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Mykhailo Hrushevsky, a Ukrainian historian and politician, was born at Chełm on 29 September 1866, died on 25 November 1934 at Kislovodsk. He is the author of a ten-volume synthesis of History of Ukraine-Rus’, published in Lwow and Kiev in 1898–1936. In his work, he separated the history of Ukraine from the history of Russia. Living and working in specific national and social conditions of Ukraine at the turn of the 20th century, he disapproved of the role of Poland and Polish people in the history of Ukraine. The response of the Polish historiography of that time to Hrushevsky’s work was very negative – he was accused of having politicised history. Those opinions and polemics concerning Hrushevsky and his publication have been gathered and presented in a book by Ł. Adamski Nacjonalizm postępowy. Mychajło Hruszewski i jego poglądy na Polskę i Polaków [Progressive Nationalism. Mykhailo Hrushevsky and His Opinions of Poland and Poles], published in Warsaw in 2011. There is also a debate among Ukrainian historians. Since 1997 the History of Ukraine-Rus’ is being published in English (The Hrushevsky Translation Project), thanks to The Peter Jacyk Centre for Ukrainian Historical Research Canadian Institute of Ukrainian Studies. The project is headed by Professor Frank E. Sysyn. The last, tenth volume, is entitled: From the Death of Khmelnytsky to the Union of Hadiach (Edmonton–Toronto 2014). The English edition is supplemented with a full and comprehensive critical apparatus and rich literature on the subject.
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The article presents the opinions about Mykhailo Hrushevsky’s life and work presented in the Polish historical and journalistic literature of the late 19th and early 20th century. Two periods in the development of Polish Hrushevskiana have been determined. The first one (the second half of the 1890s) is represented by a generally objective and scientific approach – specific research issues were actualised at that time, and a discussion that took place at the time was steered in the direction of finding the most appropriate solutions to the problem. The next one (the beginning of the 20th century) brought about a significant radicalization of the Ukrainian and Polish national movements, and hence the aggravation of Polish-Ukrainian relations, which was reflected in the nature of the historiographical debates towards their politicisation. The basic characteristics and trends of the Polish Hrushevskiana have been revealed. The total dependence on historiographical assessments of the changed political landscape had been specified. It is concluded that Hrushevsky’s historiographical concepts in Polish historians’ interpretations embodied the conceptual basis of entire Ukrainian Clio. The process of politicisation of the Ukrainian-Polish historiographical debate at the beginning of the 20th century, to the aggravation to which the both parties have contributed, reflected a general tension in the relations between the neighbouring nations on the eve of the Great War. The revival of the dialogue of the previous period and its transformation into a monologue focused entirely on the collecting of national grievances brought about significant difficulties in seeking the international understanding during the war and after the emergence of the Second Polish Republic.
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The author of the present article analyses the Neo-Baroque strategies employed by Todos’ Os’machka in his translation of Shakespeare’s Henry IV and Macbeth. A translation process in the Ukrainian emigration literature of the 1940s–1960s was oriented toward the explication of the Neo-Baroque stylistic and rhetoric figures (paronymic attraction, lexical dissemination, etc.) in representing and transforming Shakespearean imagery in the Ukrainian language. The author attempts to analyse the reception of Shakespeare in the translations by Os’machka, to define the nature of the Neo-Baroque translation method. Translations of Shakespeare played an important role in the formation of the new stylistic features of the Ukrainian language. Moreover, the Ukrainian reception of Shakespeare in the discourse of the Ukrainian emigration literature of the 1940s–1960s has some Baroque and Neo-Baroque forms that influenced in a special way the Ukrainian Shakespearean discourse.
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The article analyses the relationship between Shevchenko’s creation with socio-cultural factors and socio-political trends of the era of the Romantic national revival. It describes the feminine and masculine tendencies of Ukrainian culture of the first half of the 19th century, and analyses the influence these tendencies had on the formation of a gender picture of the poet’s artistic world. It has been established that the Ukrainian Romanticism created the preconditions for the harmonization of masculine and feminine in the Ukrainian context. In Shevchenko’s creation the concepts of masculine and feminine harmonise as the basis of national identity. The article ends with the conclusion that Shevchenko created a highly humane idea of gender balance by taking the experience of Ukrainian ethnic and cultural context of the European romantic tradition.
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The article is devoted to the painting “Cossack Mamai”, the most popular figure in Ukrainian folk arts of the Romanticism period. In particular, it describes the Cossack’ courage, his image presented as the knight, praised in numerous Ukrainian Baroque panegyrics, his fights against the infidels, and other Cossack attributes, which correlate with verbal and painted images. It is difficult, however, to determine exactly what was first – paintings of “Mamai” of the early 19th century or Romanticist texts, since there was, obviously, a mutual influence. Poetry of Ukrainian Romanticism contains the collective image of nameless Cossack, reconsidered Cossack Mamai, featuring some typical Romanticist characteristics.
More...Мирослав Трофимук, Латиномовна література України XV–XIX ст.: жанри, мотиви, ідеї, Видавництво ЛНУ ім. Франка, Львів 2014, сс. 380
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This article is about a short story entitled Wilga (The Oriole) (1925). This work was written shortly before the writer’s death and is his elegiac farewell to his home in Konstancin, an expression of love to his daughter Monica and a kind of his literary summary and a testament. An important part of the discussion is focused on how the writer used his own autobiography in his artistic works and how he is relying on his memory while creating the literary image. This article also focuses on ornithological knowledge of the writer which is an important fact that has not been given enough attention in relation to Żeromski’s works. It was reconstructed on the basis of his Diaries, Memoirs and literary works. The presented findings can serve as an aid in developing a monograph on the birds themes in the works of the author of The Labors of Sisyphus.
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The articles presents an interpretation of selected topics from the Stefan Żeromski’s novel which form an articulation of the nineteenth century changes taking place within the metaphysics. The scene in which the protagonists from Żeromski’s novels experienced communication with the dead and lived through the inner enlightenment have been analyzed. The article also describes the poetics of articulation of metaphysical experience in the prose of Żeromski paying particular attention to the theme of light equivalentizing the internal initiation of heroes, leading them mainly to cross the barriers of death. From this perspective, the articles interprets such motives as birch, earth and kiss as functionalizing metaphysical experience of the heroes described in the novels. The analysis of these metaphysical enclaves in the prose of Żeromski allowed to put forward the thesis that the metaphysics of the writer is not inspired by philosophy or theology of the late nineteenth and early twentieth century, but by faith in the strength of family and native ties and by the power of human community which leads man into another dimension of reality.
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The article presents the problems faced by a modern editor of Stefan Żeromski’s dramas. In the case of the drama „Sułkowski” an editor has at their disposal extremely rich material enabling a detailed editorial commentary (connected with the origin of the drama, the historical sources used by Żeromski, subsequent stages of working on the text, publishing history, etc.), they do not however have the possibility to describe the original final draft of Sułkowski because it has not endured. In the case of „Ponad śnieg bielszym się stanę” (“Whiter Than Snow Shall I Be”), an editor does not have any concrete information which would show the birth of the idea of the drama and would give the testimony of working on the text; the editor does not also have any information about the first printing. Although the lack of extratextual information makes carrying out a critical editing of „Ponad śnieg bielszym się stanę” (“Whiter Than Snow Shall I Be”) more difficult, the endured original final draft and several pages of drama do recompense it in a way.
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