Academic literature on the topic 'Children's poetry, Ukrainian'

The article examines the poetry and fiction by Mykola Vingranovskyj in English translations. Attention is paid to the chronological sequence of translations, the figures of translators and the works selected for translation, their equivalence to the original. The first translation of M. Vingranovskyj's fiction (the short story "White Flowers") appeared with the assistance of Yu. Lutsky in Canada and aimed at popularizing Ukrainian literature among students. The short story opens the extremely lyrical world of Mykola Vingranovskyj, where the story revolves not around the event, but around the feelings, which brings the short story closer to poetry. The novella was included to the anthology (Modern Ukrainian Short Stories, 1973) as the example of the prose of the sixties (shistdesyatnyky), which departed from socialist-realist ideological canons and turned to the emotional and expressive potential of artistic language. The translation of Yuri and Moira Lutsky is marked by the desire to convey as fully as possible the author's individual style, including figurative metaphor, to create a text equivalent to the original in communicative orientation. The collection Summer Evening (1987), translated by Anatoliy Bilenko, was published after M. Vingranovskyj was awarded the Taras Shevchenko National Prize of Ukraine (1984). The collection includes stories for children's audiences, conveying children's perception of the world: Chest, Shaggi, The Gosling, Good Night, What Makes the World Spin, Summer Evening. A. Bilenko's translations are notable for the adequacy of the reproduction of artistic and stylistic features of the original, semantic equivalence. Some translated poems, which emphasize the civic component (Sistine Madonna, To My Sea, On the Golden Table, The First Lullaby, Star Prelude) were included to the anthology of Ukrainian poetry (Anthology of Soviet Ukrainian Poetry, 1982), and Russian translators were involved in translating the poems (Dorian Rottenberg, Michael McGreg), which significantly reduced the artistic value of poetry. During the times of independent Ukraine, competitions for translations to the writer's anniversaries were initiated. However, translated works have not been published in collections and anthologies. Active work on translations of M. Vingranovskyj's works is still ahead.

Yuliya Safonova is a young and talented Ukrainian poet from Kharkiv. She has a blemish from her childhood, but it did not prevent her from being strong and positive, which allowed her to withstand the test of fate. Great contribution was made to the wrapping up of her character by her parents, believing in her talent and supporting her on her life path. The girl has a particularly strong spiritual connection with her father, who inspires her to take creative steps and, at the same time, is a major critic of her works. Yuliya’s mother is very caring, and pays special attention to her daughter's education, supporting her in every possible way. Personally, I consider this woman a heroine who carries out daily maternal exploits. Julia is open for communication. Yuliya writes poems from an early age, so she found her own way to release her creative energy. Each of her poems is filled with emotions and experiences. In 2009, Yuliya became the winner of the contest "Gifted Youth" in the nomination "Children's Creativity in Poetry". Today, her life credo is: smile to the world - and the world will smile to you! The Soul and the Word Collection was released in 2014. I bring to your attention several poems from this collection: «You were right here beside me» and «Song: Lady “Grinch”».

The article is devoted to the study of the unique pedagogical and moral and ethical views of the Ukrainian philosopher and teacher Hryhoriy Skovoroda. The source of these views was the traditions of folk pedagogy, folk wisdom, folk views on education and upbringing. His pedagogical views are based on ethical problems relevant to Europe in the 18th century and on Socratic dialogues. They reflected the main features of progressive pedagogy: humanism, patriotism, high morality, nationalism, "conformity with nature". Skovoroda developed one of the leading problems of philosophical and anthropological discourse – the problem of self-actualization and self-realization of the individual, based on the concepts of Socrates, Plato, Democritus, Aristotle, Cicero, and Augustine Aurelius. He reflected his pedagogical views in parables, poems, fables and the epistolary genre. Skovoroda believed that the teacher should develop children's natural talents, be able to feel their desire for "related" work, ridiculed the blind copying of Western traditions and manners, distant and alien to the nature of Ukrainian children. These principles of humanism and "kinship" were aimed at achieving a noble goal – the upbringing and education of students, taking into account their capabilities and inclinations. Education and upbringing of a person who has work in accordance with natural gifts, inclinations and abilities permeates the pedagogical system of Hryhoriy Skovoroda. Skovoroda's poetry and prose, philosophical works have a highly ethical and moral direction and are based on the worldview of the Ukrainian people. The thinker considered the doctrine of man and his happiness to be the most important, it became the content of H. Skovoroda's philosophical and life searches. He considers happiness as a state of independence and peace of mind, which is achieved by freeing oneself from the pressure of the surrounding world and overcoming boundless passions, evil will within a person. Skovoroda emphasized the importance for a teacher to have a high moral and spiritual culture. Only a teacher with a high moral and spiritual qualities is able to ensure the correct upbringing of the young generation.

The aim of this study is to define on the basis of archival documents and Lesia Ukrainka’s episto-lary heritage the circumstances of her cooperation with mass media of the Russian Empire in the period 1905–1907, when Ukrainian newspapers and magazines were created in the Dnieper region and other cit-ies. The object of the study is mass media (projected periodicals and those published at that time), which published mostly literary works of art of the writer. The analysis includes archival materials related to projects and programs of the Ukrainian media of the early XXth century and creative work of Lesia Ukrainka. The research methods include biographical method, analogy, comparison, generalization, etc. It was found out that during 1905–1907 Lesiya Ukrainka was actively interested in new Ukrainian pe-riodicals, she has published a number of works (stories, poetry, translations, etc.) in the Ukrainian or pro-Ukrainian magazines in Odesa, Kyiv, St. Petersburg, Moscow, and Poltava; she has agreed to join the newspaper «Labor» and the children’s magazine «Star», which were never published.

The article covers the main features of Andrei Hadanovich’s works as s a representative of the modern literary process in Belarus and his liaison with Ukrainian writers and translators. Considerable attention is paid to the first literary attempts of the Belarusian writer, the process of professional development and the features of postmodernism in his writings. In this context the poetry of Andrei Khadanovich combines the achievements of Eastern European «book» poetry with elements of modern culture (pop, rock, rap, urban slang). Using his poetry-song «Hotel Belarus» as example, the research depicts «classical» postmodernism features in Andrei Hadanovich’s works – intermediality, intertextuality, irony, play, numerous allusions, parodies, experiments with form and genre. The paper also describes the main directions of the Belarusian writer’s literary work in Ukraine, his role and place in the development and popularization of modern Ukrainian literature and culture among Belarusian readers. The creative cooperation between Andrei Hadanovich, Serhiy Zhadan, Oleksandr Irvanets and Yurii Andrukhovych is characterized on the basis of their poetry books and collaborations. In particular, review of Khadanovich’s works includes several books of poems – his very first edition of «Letters from the Blankets» in Ukrainian, «From Belarus with Love», also published in Ukraine but in Belarusian, twin books «Belarusian Man» and «Ukrainian Airlines», created in the close collaboration with Serhiy Zhadan and other young artists and translators. In addition to creating some «adult» poetry, the writer from Belarus is shown as children’s author. His book of funny lyrics for children “Daddy’s Notes” was also first published in Ukraine in Ukrainian translation.

Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of professional theater for children, take in account its growing popularity, both in the world and in Ukrainian musical culture. The lack of scientific research that fully and comprehensively cover the scientific and practical significance of musical children’s plays by Marko Kropyvnytskyi for the development of musical children’s theater in Ukraine indicates the need for more in-depth researching of the chosen topic. In our research, we rely on the works and articles of authoritative experts – in particular, I. Franko (1910), M. Voronyi (1913), D. Antonovich (1925), P. Rulin (1929), I. Mar’ianenko (1953), P. Kyrychok (1985), N. Yosipenko (1958), P. Perepelitsa (1956), A. Novikov (2007; 2011), L. Moroz (1990). The vast majority of researchers noted the great merits of the artist to the national drama in particular and Ukrainian culture in general. Among the scientific works devoted to Kropyvnytskyi as a children’s playwright, one can distinguish the research by A. Novikov (2007), which focuses on the history of creation of the first children’s troupe in the country, which had no analogues in the history of the world theater, since the actors in it were peasant children. In mentioned critical and scientific works, the innovative features of the playwright’s creative heritage are outlined, attention is focused on the specifics of the genre and problem-thematic range, literary-aesthetic, socio-political, and pedagogical views. The literary and theatrical activity of M. Kropyvnytskyi has been thoroughly studied. However, there is still no work that comprehensively reveal his musical and dramatic creativity for children. The purpose of the article is to show the significant role of M. Kropyvnytskyi in the development of children’s musical theater in Ukraine based on the research of children’s musical and dramatic creativity by the artist. The research methodology is integrative. The work uses knowledge of various fields of art history and related sciences: history and theory of theater, music theory, music and theater psychology, vocal and theater pedagogy. Presentation of the main material. A great pride of the playwright is the foundation by him on the territory of his village Zatyshok of the children’s theater, “actors” in which were his own and peasant children. This event was and remains unprecedented, since nothing like this has been observed in the history of Ukrainian and European culture. The troupe consisted of peasant children aged 10–13. For performances, Kropyvnytskyi assigned the largest room (hall) in the old house, where, as in a real theater, the stage was equipped. The first performance, “Goat-Dereza” (“Koza-dereza”), took place on Christmas day, 1906. The playwright drew the scenery himself, and prepared the costumes together with the children. The play was a great success. A few days later, the children’s troupe was invited to a “tour” in the neighboring village, and the entire theater with the scenery on five carts went on a journey of six versts (Novikov, 2007: 33). In the children’s repertoire at that time, there was, in fact, only one work – the opera by M. Lysenko “Goat-Dereza” (“Koza-dereza”) (libretto by Dniprova Chaika). Ukrainian children’s repertoire did not exist at that time, and in 1907, Kropyvnytskyi created two plays for young performers based on folk tales – “Ivasyk-Telesyk” and “At the behest of the pike” (“Po shchuchomu velinniu”). The performances included vocal numbers composed by M. Kropyvnytskyi on the themes of Ukrainian folk melodies. In a letter to his good friend entrepreneur A. Suslov in January 1908, the writer, in particular, notes: “I have assembled a troupe of peasant children and I am staging in the villages: Goat-dereza, IvasykTelesyk, and At the behest of the pike (the latter both are my)” (Kropyvnytskyi, 1960: 530). Based on the plot of folk tales of the same name, he wrote original musical and dramatic works for children of great educational value. The plays are quite simple in meaning and clearly depict the images of all the negative and positive characters. The first represent such social vices as lies and insincerity, and the second are carriers of eternal positive qualities – sincerity, candor, hard work. The plays are written in an exquisite Ukrainian language, close to the oral poetic creativity. All this, as M. Yosypenko rightly notes, is evidence of “a serious approach of M. Kropyvnytskyi to the business of writing plays for children, a deep knowledge of the psychology of the young audience and its cultural and educational needs and demands” (Yosypenko, 1958: 265). The performances require participation of music, which organic include into the language range of the play itself. Music explains and complements the true meaning of the situation to the young audience. Ukrainian musical folklore material formed the basis of the musical solution of M. Kropyvnytskyi’s children’s performances. Most often, folk songs served as a means to create the image and were introduce before the dramatic action mainly by the method of self-presentation: performing a particular song, the characters showed certain traits of their nature. The songs help to reveal the inner world of the characters, to express their state of mind and moods; often they contributed to the creation of the necessary stage atmosphere: festivities, fun and jokes. A significant part of the characters could not be imagined without songs. Using some folk melodies, Kropyvnytskyi mainly wrote original music, close in melody to the folk-song sources. Solo numbers, ensembles, and choirs are organically woven into the dramaturgy of these plays. A clear reflection of the integrity and unity of the musical and dramatic process is the principle of end-to-end development of the main musical idea of performances. In preparation for productions of his children’s plays, Kropyvnytskyi wrote an orchestration for them also. Intending to put these plays on the professional stage, Kropyvnytskyi wrote down advice to future directors regarding the production of their children’s plays. He began to think of broader horizons for them. In the spring of 1910, small artists had to show their art to the audience of the neighboring county town Kupyansk. However, the premature death of the Ukrainian playwright did not allow this plan to be realized. The children’s troupe soon ceased to exist. Kropyvnytskyi children’s troupe and the repertoire he created for it became a prologue to the development of the Ukrainian theater’s creativity for young viewers. In nowadays from the repertoire do not go off the pearls of drama for children “Ivasik-Telesik’ and “At the behest of the pike”. Conclusions. Marko Kropyvnytskyi’s creative heritage and practical activities wrote the gold pages to the history of Ukrainian musical children’s drama and Ukrainian children’s theater. Children’s musical and dramatic works of the writer based on song folklore are the effective mean to educate positive attitude of young Ukrainians to folk tradition as well as to form positive nature traits: generosity, hospitality, goodwill, charity.

he late 19th and early 20th centuries marked significant changes in the social perception of children and childhood in Europe and the US. The phenomenon was vividly reflected in works of art, including painting. Images of children and childhood acquired new positive connotations. A rather ambiguous notion of “innocence” became one of the most important characteristics of childhood. The category was associated with children’s ability to receive more profound and intense religious experiences in comparison to those of adults. Poetry, philosophy, and art of that time emphasized this aspect of idealised childhood. In this research, we examine and compare works of easel and monumental painting on religious subjects by American and Western European as well as Polish and Ukrainian artists which depict children and childhood. We address both works intended for sacred spaces and secular paintings containing symbols and allusions borrowed from Christian imagery. The article looks into the genesis of the sacralised image of children and childhood in Western cultures, its specific features and ways of its representation in painting, including local traditions. The study focuses on the portrayal of peasant children in paintings by Polish and Ukrainian artists (Jacek Malczewski, Kazimierz Sichulski, Wlastimil Hofman, Oleksa Novakivskyi, Yulian Butsmaniuk) on religious subjects. The sacralisation of village children in Central and Eastern European art constitutes a peculiar artistic phenomenon closely associated with the social structure as well as political situation in the region. In the course of the research we employed a range of methods—formal, iconographical, iconological analysis, content analysis and semiological analysis.

The article substantiates the need for the use of innovative technologies in teaching children’s literature to students majoring in “Primary Education”. The introduction of an integrated course “Native education: children’s literature with studying methods” in the training of future primary school teachers gives them the opportunity to navigate in current trends in children’s literature and model various algorithms of perception and interpretation of the texts. The study analyzes the introduction of interactive technology in literary education, which changes the vector of lectures to dialogic interaction with the student audience, provides a formal update of practical classes using quests and workshops. In accordance with the tasks of the New Ukrainian School and higher education of future primary school teachers, the authors analyze the possibilities of using critical thinking technology, ICT, augmented reality, projects in the system of literary education of the Pedagogical Institute.The importance of acquiring knowledge, skills and abilities to apply AR-applications to interactive editions of fiction by future primary school teachers during their organization of literary reading is substantiated. Tasks with the use of ICT tools have been developed for students. This mainly applies to creation of book trailers and comics based on works of art for children; QR-quests for junior pupils on the texts of fictionsof modern writers; mental maps (Mindmeister resource) based on prose plots; video presentations about writers and their works (resources “PoowToon”, “Prezi”); visualized plan of fictions made with the help of infographics; intellectual game tasks for younger students (LearningApps resource), etc. It was also recognized that the effective type of intellectual activity of students during the study of literature is a project, the result of which is the creation of students’ own literary product (fairy tales, poetry, essays, game content) and its publication in electronic edition.

The article has been analyzed the creative heritage of Podilia writer for chil-dren of diff erent ages. Particular attention has been paid to artistic text arrange-ment. There have been considered the texts of diff erent genres and subject mat-ters, artistic means, and approaches with the characters characterized.Children’s literature at the present stage has reached a high level of devel-opment. A lot of writers from the Khmelnytskyi region wrote for children and about children: Mykola Balema, Vasyl Horbatyuk, Mykola Magera, Oksana Radushynska, Hryhoriy Hrapach, Nina Shmurikova, etc. The works have been included in reading books, literature collections, and school textbooks. Nina Shmurikova worked productively in children’s literature, who has writ-ten more than 20 books for children.She wrote for children of preschool and primary school age in the genre of poetry and fairy tales about animals, love for them, good attitude. The young-est readers can «get acquainted» with the variety of colors that surround man in nature. N. Shmurikova also writes about plants: in the collection «Colorful Wonderland» the poet introduces the reader to a fl ower in her poems, sometimes little known («Rudbeckia», «Chornushka», «Lyutin», etc.). In his works, the poet mentions the seasons and natural phenomena. Although the author writes for a certain age group, she raises the theme of patriotism, love for Ukraine, native land, using Ukrainian national and national symbols. Poems about school and school life occupy an equally important place in the poet’s work.N. Shmurikova is one of the best representatives of children’s literature in the Khmelnytskyi region. Her work is highly valued not only by readers but also by society and the state.