"Nagrobki Fundatorom Laury" з книги Афанасія КальнафойскогоТЕРАТОУРГНМА LVBO CVDA (Київ 1638) як пам'ятка української релігійно-філософської поезії доби барокко

Author(s): Irena Betko / Language(s): Ukrainian / Issue: IX/2004

The subject of this article is The grave stones of contributors o f Lavra (the author means the one in Kiev) which presents epitaphs as one of the characteristic genres of the European baroque literature. Being religiously artistic the baroque epitaph is deeply contextual to the art of the depicted period; it is bonded to the monumental forms of art in the form, and to the Christian ritual of burial - in the content. It is the specific ritualism of epitaph that becomes the source of connotative meanings. The analysis of The grave stones mirrors the whole spectrum of the Ukrainian baroque epitaph characteristics: multilingual versions (poets wrote them in Old Ukrainian as well as in Church Slavonic, ancient Greek, Latin, Old Polish and Old Russian); stylistic peculiarities (epic, lyric and drama); poetic structure. The latter which takes place in a number of texts in The grave stones can be defined as an „epitaph within an epitaph”. The author distinguishes some general patterns of the language of the Ukrainian baroque epitaph: a wide use of Evangelic and antique motifs, antique mythological onomastics, etc.

"Pодовое гнездо" Здзъяхоўскіх

Author(s): Wiaczasław Rahojsza / Language(s): Russian / Issue: VI/2001

"Я перш за все думав про українську культуру…": Володимир Олександрович Щепотьєв

Author(s): Lyudmila Babenko / Language(s): Ukrainian / Issue: 2/2015

The article reveals the lifespan and professional activity of a well-known poltavian, professor VolodymyrShchepotiev. He is highly acknowledged in history as a talented pedagogue, who experienced the growth from a teacher of the Ukrainian literature to the professor, rector of Poltava institution of Folk Education. Being a person with encyclopedic knowledge, as well as being keen on the history of the Ukrainian language and folklore V. O. Shchepotiev applied the folklore patterns and samples in his work. V. O. Shchepotiev was a talented scholar, researcher, and organizer of scientific lifestyle of the region. He wasthe first who initiated establishing of Poltava scientific society, was on good terms with Ukrainian Academy of Science in Kiev, as well as with scientific establishments in Kharkiv. He was the one who organized and subsequently maintained the regional archive while systematizing documents and ordering personal archives. Professor initiated the onset of local history investigations. He personally headed the department of folklore and language in regional museum and at that time he developed the structures of expositions, and systematized the museum collections. He would numerously visited the villages of Poltava to discover historical and cultural as well as ethnographical items and to convert them into museum display objects. V. O. Shchepotiev played an extremely significant role in establishing and developing the theatre and music arts in Poltava region. He was in charge of one of the part of Poltava drama theatre and was one of the talented stage director. He gave his educational lectures to people before the concert programs of the choir "Boyan" which were devoted to folklore and local history. The contemporaries would estimate V. O. Shchepotiev’s music talent, who wrote music compositions, played different music instruments. He, ultimately, was the first who started the scientific investigation of M.V. Lysenko’s biography and creative heritage. The translations of poetry and prose from French, Polish, in particular the poetry by Beranger, libretto for several operas composed an integral part of his literary heritage. His creative and scientific activity was broken down with political repression of the power of the Soviet Union. He was arrested and convicted to administrative exile according to a trial case of SVU and afterwards he was shot away in 1937.

150 rocznica urodzin Mychajła Hruszewskiego. Kilka słów refleksji polskiego historyka

Author(s): Teresa Chynczewska-Hennel / Language(s): Polish / Issue: 3/2016

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.

95 години от рождението на Микола Демянович Малярчук

Author(s): Olha Soroka / Language(s): Bulgarian / Issue: 27/2013

A sort of magic realism

Author(s): Kateryna Pryshchepa / Language(s): English / Issue: 03 (46)/2021

The review of: Yupak. By: Serhiy Serhiyovych Saigon. Publisher: Bilka, Kyiv, 2020.

AKTYWNY ROMANTYZM. ESTETYKA LITERACKA WAPLITE W ŚWIETLE DOKUMENTÓW PROGRAMOWYCH

Author(s): Albert Nowacki / Language(s): Polish / Issue: 5/2017

WAPLITE is one of the literary groups, which took an active part in shaping the face of Ukrainian literature in the 1920s. On the one hand, their vision of literature was the literature con-elating with the socialist model, on the other hand, the literature resonating with the most important trends in European literature. The main ideologue of the new aesthetics called “a romance of vitslism” was a co-founder of the group, Mykola Khvylovy, but Oleksa Slisarenko, Oles Dosvitnii, Yuri Yanovsky and Alexander Dovzhenko contributed much as well. This article is based on the analysis of the programming documents and literary works.

AN ATTEMPT TO RECONSTRUCT THE HISTORICAL CONSCIOUSNESS OF UKRAINIANS IN V. KOZHELIANKO'S PROSE

Author(s): Antoniy Moysey,Antonina Anistratenko / Language(s): English / Issue: 1/2018

В исторической науке и художественной литературе все чаще реализуется стремление человека изменить чтото в истории, чтобы понимая логику событий, успешно создавать альтернативную историю. Цель исследования заключается в попытке проследить способы воздействия на сознание реципиента в прозе В. Кожелянко, используемые писателем для реконструкции самосознания украинского народа. Поэтому, методологическая основа статьи заключается в использовании одновременно историко-сопоставимого метода и метода контекстуального анализа. Научная новизна работы сосредоточена в сочетании сравнительного подхода в анализе явлений художественной литературы и экстраполяции их на историографические события. Выводы. Творчество Василия Кожелянко рассмотрено в ключе жанровостилевого анализа и отдельных аспектов, таких как концепция урбанистической прозы, ироничный и приключенческий романы в творческом наследии писателя, исторически-социальный роман и особенности малой прозы на фоне современного рассказа и традиций неомодернизма.

An Endeavor of Freedom: Modern Anthologies of Ukrainian Free Verse

Author(s): Nataliia Naumenko / Language(s): English / Issue: 98/2018

The main problem of researching the semantics of free verse and its translations is that every literary critic is free to look at this intricate genre, choosing one’s own set of tropes and figures to interpret it in written form. These facts were considered in this study of original Ukrainian free verse works and their interpretations, regarding the specific treats of languages to use. The anthology Вільний вітер. Волен вятър published in Kharkiv in 2017 became a material for this research. This issue makes a good opportunity for one reader to get acquainted with Bulgarian culture, and for another to actualize their knowledge about this country on Black Sea coast. The 20th century free verse writing represents quite active and flexible use of natural philosophical imagery in the artistic texture of the poems. These are different functions for it to fulfill (from decorating the lyrical narration up to expression of an essence of the work), stylistic means, and formation of the new connotations on the base of traditional meanings. Studying the interpretations of traditional genres and their poetics in compositional and lingual dimensions of both Ukrainian and Bulgarian free verses (those included into Вільний вітер) allowed seeing the fact: the more the author gets into the internal world of the character and one’s relationships with nature, the wider becomes the circle of meanings for the cultural conceit, image, and symbol. Furthermore, the larger research field gets opened for comparison of aforesaid meanings in various languages, not only Ukrainian and Bulgarian.

Andrzej Gil, Ihor Skoczylas, Kościoły Wschodnie w państwie polsko – litewskim w procesie przemian i adaptacji: Metropolia Kijowska w latach1458-1795, Instytut Europy Środkowo – Wschodniej, Lublin – Lwów 2014, ss. 683

Author(s): Teresa Chynczewska-Hennel / Language(s): Polish / Issue: 2/2015

Apple Blossoms and The Apple Tree: Two Perspectives. Typological and Ideological Similarities in Short Stories by Mykhailo Kotsiubynsky and John Galsworthy

Author(s): Oksana Halchuk / Language(s): English / Issue: 38(43)/2020

The article provides comparative analysis of Apple Blossoms by Mykhailo Kotsiubynsky and The Apple Tree by John Galsworthy. Both authors explore human morality in a crisis of confrontation between sensuality and death, the beauty of life and the beauty of art. At the structural level, the works share an element of paratext, novelistic nature, polysemic images-landscapes, and methods of psychologization. Galsworthy engages the antinomy of the city – province, resorts to irony, and combines elements of impressionist writing with the traditions of realistic socio-psychological prose. In contrast, Kotsiubynsky systematically implements the impressionist fragmentary nature of the composition, symbolism of visual and auditory images, in-depth psychoanalysis, and the conventionality of the chronotope. The issues of short stories are diversified and aesthetic – as is distinct for modernist literature – implicitly in Kotsiubynsky’s work, and most explicitly through the connections with the Antiquity and English intertext in Galsworthy’s prose.

Autobiografi czny tekst Andruchowycza Tajemnica. Zamiast powieści. Kultura ukraińska w przekładzie

Author(s): Lesia Korostatevych / Language(s): Polish / Issue: 7/2020

The aim of this article is to describe the definition of a “cultural element” and to provide an analysis of the methods used in the translation of Yurii Andrukhovych’s autobiographical text The Secret. Instead of a Novel. The work was published in 2007 by the publishing house Folio in Kharkiv (Ukraine), and it was translated into the Polish language by Michał Petryk. “Cultural elements” mean here those elements of the text that are a part of the culture of a given country. These include such elements as personal and generic titles, phrases, fragments of texts from a country’s literature, statements by famous people related to the important events that happened in the country. They also include the social, political, scientific, and cultural environment, including music, cinematography, and more. Yurii Andrukhovych outlines many of the details that were characteristic for the USSR and tries not to distort the facts. The Secret is an autobiographical novel; therefore, it contains many reminiscences about the Soviet Union, Ukrainian culture, and literature. An autobiography becomes a kind of time machine for him, an attempt to reconstruct the past. Therefore, he pays a lot of attention to the smaller things and tries to convey the details of the atmosphere of the time described. Because of this, the work is saturated with cultural elements that may cause untranslatability. The cultural elements mentioned in Yurii Andrukhovych’s text and the correlation of translation have not been oft en analysed in the past scientific studies; hence, this creates a need for scientific research. The scope of this study is limited to the group of literary-political cultural elements. The article analyses the methods chosen by the translator and compares the level of equivalence of the translated text to the original; also, it finds the causes of untranslatability of the novel.

BAJKE: Летећа лађа

Author(s): / Language(s): Serbian / Issue: 3-4/2021

Ukrainian folk tale translated by Žarko Milenić: ЛЕТЕЋА ЛАЂА.

BETON - Kulturno propagandni komplet br. 176, god. XI, Beograd, utorak, 18. oktobar 2016.

Author(s): Mikola Rjapčuk,Boris Humenjuk,Jurij Andruhovič,Serhij Žadan,Oleksij Čupa,Oleksandar Bojčenko,Ljubov Jakimčuk / Language(s): Serbian

UVODNA REČ, Andrij Ljupka: Zašto ukrajinci vole Srbiju?; Mikola Rjapčuk: Revolucija sustizanja; Ljubov Jakimčuk: Vrana, točkovi; Oleksandar Bojčenko: Umetnost poraza; Oleksij Čupa: L. #25; Serhij Žadan: Igla / Pretraživač; Jurij Andruhovič: Novi Sad, 2002, 2014; Boris Humenjuk: Oporuka

Biblický metatext v ukrajinské modernistické próze (Ivan Bahrjanyj, Ihor Kosteckyj)

Author(s): Radana Merzova / Language(s): Czech / Issue: 61/2020

The article focuses on Biblical motifs in the works of Ivan Bahrianyi (Gethsemane, 1950) and Ihor Kosteckyi (Saint day, 1963). Both authors belong to the movement of intellectual prose in Ukrainian literature. The concept of biblical references in their novels is briefly presented. An analysis of their prose works proves that references to Biblical metatext are closely linked to the historical events of the 1930s and 1940s (Stalinist terror, World Wars, emigration waves, etc.).

Bohdan-Oleh Horobchuk: Pjesme

Author(s): Bohdan-Oleh Horobchuk / Language(s): Bosnian / Issue: 5-8/2020

Poems written by Bohdan-Oleh Horobchuk: *Još jedan rat *put do kuće izuzetno dug *ptice *Razgovori *putujuća skulptura

Bojarynia Łesi Ukrainki w recepcji Józefa Łobodowskiego

Author(s): Anna Choma-Suwała / Language(s): Polish / Issue: 8/2021

In the interwar period, Józef Łobodowski was one of the few who became interested in the work of Lesya Ukrainka. In the 1930s, he translated her drama Forest Song. Unfortunately, the war prevented its publication and the prepared materials were lost. Łobodowski’s translation output also included a fragment of the drama Boyarinya, which appeared in the 32nd Polish-Ukrainian Bulletin in 1938. It is worth emphasizing that Łobodowski proved to be known not only as a translator, but also as a literary critic. He has written a number of articles on Ukrainian literature. Among them, two of them, published in the “Polish-Ukrainian Bulletin”: Lesya Ukrainka and Works of Lesya Ukrainka (On the 25th Anniversary of Death – 1913-1938) in 1933 and 1938, respectively, deserve special attention. Th e discussed translation is largely an example of dynamic equivalence. In them, the translator draws attention to semantic adequacy, but does not give up the poeticisation of the text.

Boris Poplavsky and Eugeniy Malaniuk: Typology of Expatriation as an Aspect of Cultural Allotropy

Author(s): Olha Chervinska,Yulia Vilchanska / Language(s): English / Issue: 94/2016

Exile existential accents are not considered to be a completely focused object. There are factors in history of cultures which are easier for understanding, proceeding from the current reality: the presence of certain culture in other cultural structure when the creative person faces an indispensability of self-identification (as motivated in the philosophical platform of Julia Kristeva, i. e. in the essay “Strangers to Ourselves” (1988). In the culture study aspect anyone of conventionally homogeneous cultures (or using the expression by Sorokin – “socio-cultural bodies”) in the context of its development inevitably faces, or will face in future, with a situation where the homogeneity ceases to be obvious.In particular, the experience of integral culture collapse of the Russian Empire, at first glance, gives very significant examples related to the so-called allotropy factor (the literary lexicon virtually lacks the concept, although it is appropriate to use this ancient scientific term containing commonly known Greek roots αλλος – other, τρόπος – feature). We mean the various forms which presented the existence of representatives of individual national cultures of Russia after the October Revolution generating the emergence of various known today diasporas – such as the Armenian, Russian, Ukrainian and others. In this synchronic time span the formation of the various “post-imperial” Diasporas (the first wave of emigration) is of great interest. Their main point becomes a creation of the corresponding ideological clamp. In this respect it is interesting to trace typological samples on the most revealing examples.The given article examines the work of two poets-emigrés: Boris Poplavsky (Russian diaspora) and Eugeniy Malaniuk (Ukrainian diaspora). It is a question of typologically polar transformations of biographical experience in the Diaspora ideology outlook.

Bruno i Benn, czyli pokrewieństwo po tamtej stronie śmierci

Author(s): Damir Šodan / Language(s): Polish / Issue: 5/2015

When one compares the lots of two great European authors of the first half of the 20thcentury – the German poet Gottfried Benn (1886–1956) and the Polish-Jewish fiction writer Bruno Schulz (1892–1942) – at first sight their lives seem quite different and incomparable. Still, it is enough to reach under the surface of the so-called historical facts to realize that in some respects the two writers are indeed close to each other. Asregards politics and history, a common denominator of their biographies was Nazism as an emanation of pure evil from provincial East-Central Europe, and its belief that human nature may be improved which the historical process makes it possible to develop great geopolitical systems, even at the cost of suspending all ethical principles. A starting point for that daemonic parochial activism is mostly the “provincial spirit of utopia” or,to be precise, its irresistible “realistic nihilism,” to borrow a term coined by the Serbian philosopher Radomir Konstantinovic.

Bruno Schulz i realizm magiczny

Author(s): Jan Woleński / Language(s): Polish / Issue: 4/2014

A list of the main magic realists includes Isabel Allende, Jorge Luis Borges, Alejo Carpentier, Julio Cortàzar, Günter Grass, Gabriel García Màrquez, and Salman Rushdie, and among Polish authors, Stanisław Lem, Olga Tokarczuk, and sometimes Witold Gombrowicz. Can Bruno Schulz be called a magic realist as well? Magic realists attempt in their worksto grasp the essence of the things, phenomena, situations or relations which they referto. The way he or she does it cannot be determined by philosophy, but must be based on some specific idea of literature. In the case of Schulz, narration combines together radically different dimensions of reality, which allows the author to call him a magic realist, too. Woleński places the classic elements of Schulz’s fiction, such as experimentswith time and the mythicization of reality, with the magic realism and phenomenology as its philosophical underpinning. The final question asked in the text is how would Schulz have described the Shoah, if he had a chance to survive it.