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1
Rosovetsky, Stanislav K. "Epic Specificity of Ukrainian Folk Dumas." Studia Litterarum 3, no. 1 (2018): 282–301. http://dx.doi.org/10.22455/2500-4247-2018-3-1-282-301.
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Nabok, Maryna. "Ukrainian National Dumas: National Perceptions in the Process of Intercultural Communication." PSYCHOLINGUISTICS 24, no. 2 (2018): 198–217. http://dx.doi.org/10.31470/2309-1797-2018-24-2-198-217.
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The article presents the results of empirical research on ethnopsychological groups of people living in different regions of Ukraine in the context of intercultural ideological systems. In particular, residents of Ukraine and foreign students from Africa and Middle East, which study at Sumy State University, were invited to share their impressions from the listened dumas, performed by Canadian bandurist Victor Mishalow during his concert tour in Ukraine. They also watched and listened to video recordings of such folk dumas as «Cossack Golota», «Marusya Boguslavka» performed by kobzar Mykola Budnyk and bandura player Fedir Zharko. Students analyzed the characters’ images, expressed their understanding and attitude to characters’ actions and compared them with the national heroes of their own countries.
 The national peculiarities of the worldview of Ukrainians, representatives of Africa and the Middle East expressed in their language are defined. The language itself is the core of people’s psyche, way of thinking, and identity of ethnic group’s moral and ethical norms of life. The analysis of folk art helps to emphasize the peculiarity of foreign students’ perception of words, rhythm, music, and the symbolic system of folk poetic works. Author notes that the psychological of figurative system of Ukrainian dumas and folk songs of the mentioned peoples has a purely national color: it is a category of national outlook and at the same time is a artistic and aesthetic category.
 The solution of these problems forms an understanding of the specific of national characters and the national world in folk poetic works of the peoples of Africa, the Middle East and Ukrainian folk dumas, which is the main purpose of the study and its novelty, because such typological comparisons are investigated for the first time.
 These experimental studies, the development of the ideas of dumas studies and studies on a national character, the peculiarities of a national world perception, world outlook and world expression have substantiated the need for a deeper study of Ukrainian dumas’ role in the formation of the national personality during intercultural communication.
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Dyadyshcheva-Rosovetska, Juliya. "P. Kulish's "Ukraine" and folk dumas: linguistic and poetic analysis." Actual issues of Ukrainian linguistics theory and practice, no. 41 (2020): 79–104. http://dx.doi.org/10.17721/apultp.2020.41.79-104.
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The article is devoted to the study of Panteleimon Kulish's search for a productive model of development of the new Ukrainian literary language and ways of its enrichment, in particular at the expense of the language of folklore as an inexhaustible source. A linguistic and poetic analysis of Panteleimon Kulish's large-scale work "Ukraine: From the Beginning of Ukraine to Khmelnytsky's Father" and its comparison with some elements of the linguopoetics of folk dumas of the classical repertoire are presented. The real problems that arise in P. Kulish’s creative work when he tries to achieve a harmonious combination of authentic folk thought words and expressions and stylized author's innovations are demonstrated. The article shows the difficulties in the artist's selection of colored ethnographically linguistic material needed to create a folklore duma's color. The shortcomings of combining the author's elements with fragments of real dumas within one work of art are revealed. This technique is compared with the approach of Taras Shevchenko, who turned to "stylization" or "improvisation" in the folk spirit (M. Kotsyubynska) and isolated the resulting structures structurally, putting in the mouths of certain characters - the Blind or the Witch. The fundamental difference in the approaches to verbal creativity is differentiated on the one hand by the bearer of the oral-poetic tradition, which is only within the possibilities of Ukrainian folklore, and on the other - by the artist of the XIX century - its user, who perceives the folklore tradition not "from within" but "from outside" and addresses the entire literary heritage - domestic and world, as well as folklore - his own and other peoples. The counterproductiveness of some authorial experiments of P. Kulish on dumas samples is illustrated. Their results cannot be considered satisfactory due to illogicality, low intellectual saturation or from an aesthetic point of view. A somewhat excessive exoticism of the author's innovations has been recorded, which attracts the reader's undue attention to them and distorts his perception of the artistic fabric of the poetic work. The question of the specifics of the experimental text of P. Kulish is formulated. What prevails here is the scientific reconstruction of lost fragments of true dumas, the restoration of time-destroyed parts of the national epic, or the demonstration of the author's creative ability to practice folklore improvisation in a work of art. Depending on the answers, a comprehensive assessment can be made.
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Humeniuk, Olga M. "Genre and Style Originality of Ukrainian Folk Duma and the Issues of its Contemporary Researching." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 66 (2022): 161–69. http://dx.doi.org/10.37816/2073-9567-2022-66-161-169.
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Among the epic genres of Ukrainian folklore, duma occupies a special place. Genetically connected with such traditional genres as bylina (epic story), lamentation, spell and other earlier varieties of folk oral poetry, it spreads mainly in the 17th and 18th centuries. However, later, it continues to exist in folklore and actively influences the literary process that can be vividly observed in the works by Taras Shevchenko and other writers of the 19th century. Contemporary authors productively employ and develop characters, motifs and style profoundness of this ancient genre. Genesis of duma to our time remains an actual problem. Its persistence in the tradition of Kievan Rus culture has been pointed out by M. Maksymovych, M. Hrushevsky and other researchers. The poetics of dumas, particularly their artistic structure, has been explored quite substantially, although this research is far from exhaustive. What strikes one’s eye right from the first acquaintance with dumas is the non-strophic composition. This uninhibited verse flow, as if not limited by anything, distinctively echoes an unceasing flow of life. Resembling the dynamics of recreated highly dramatic events, it contributes to emotional expressiveness, as well as to meditative reflections of their poetic comprehension. At the same time, F. Kolessa, followed by other researchers, noticed more or less detached periods (tirades, fragments) of this generally free non-strophic flow. These periods clearly represent a specific structure of such verse. They principally have quite an appreciable prosodic tint in a musical text, and also their own specifics in a verbal text. This specificity — primarily by the example of concrete works — is expected to become the subject matter of thorough research. A subtle combination of long and shorter lines, alternation between diverse regular rhythms and no less diverse rhythms of a free, often queer nature — all this gives a particular vividness to the texts of dumas. These are the evidence of that uniqueness, which was discussed by T. Shevchenko in regard to Ukrainian duma, and to which many researchers drew our attention. However, this unquestionable uniqueness doesn’t contradict the genetic and typological bond of Ukrainian folk dumas and world epic tradition.
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Nabok, M. M. "NOMINATIVE AND IDENTIFICATION FUNCTIONS OF SYMBOLISM IN UKRAINIAN FOLK DUMAS." Academic Studies. Series “Humanities”, no. 1 (2022): 215–21. http://dx.doi.org/10.52726/as.humanities/2022.1.33.
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Nabok, Maryna. "ARTISTIC AND AESTHETIC EXPRESSION OF NATIONAL RESILIENCEIN UKRAINIAN FOLK DUMAS." Fìlologìčnì traktati 15, no. 1 (2023): 129–44. http://dx.doi.org/10.21272/ftrk.2023.15(1)-13.
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The article examines the artistic and aesthetic image and expression of the national resilience of the Ukrainian people based on the material of the dumas epic. Attention is focused on the symbolism of national opinions as a concept that reflects the levelof national consciousness and resilience of Ukrainians. Symbolism, as an ethnogenetic phenomenon, in folklore works helps to understand the way of thinking of our ancestors, their moral, spiritual, ethical and aesthetic ideals. It is emphasized that the verbal symbolism of the people is an important factor in creating the national and cultural picture of the world of Ukrainians. Even individual symbols, characteristic of the artistic and creative understanding of reality, are conditioned by the peculiarities of the national worldview and worldview. The images of the Steppe, the Path, and the House are most distinctly presented in the artistic and figurative system of thoughts, which deepen the ideological content of the work and serve to develop a number ofmotives and the artistic and aesthetic expression of the national stability of the epic heroes of Ukrainian folk dumas. Their aesthetic sacralization is determined precisely by the heroic nature of the attitude of Ukrainians to the world around them. Thisissue has not yet been adequately explored in Ukrainian public opinion. Therefore, on the material of the dumas of the heroic cycle «Cossack Holota», «Ivan Konovchenko» and «Sirchikha and Sirchenko», we will try to find out the content of the artistic symbol, which expresses the idea of resistance and struggle, national resilience in general.The article also analyzes the «mine –stranger» disposition, which has such cultural projections as contact, common ideas, common reactions, and a complexof national hatred. It is through them that we will trace the development of such qualities of the national character as honor, nobility, courage, wisdom, freedom, will, sense of family, attitude to the land, which are the basis of establishing the national resilience of the Ukrainian people.
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Nabok, Maryna. "SOURCES OF OUR HEROISM (spiritual and military resilience in Ukrainian folk dumas and modernity)." Fìlologìčnì traktati 14, no. 2 (2022): 85–98. http://dx.doi.org/10.21272/ftrk.2022.14(2)-9.
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The source of heroism of the Ukrainian people is considered in the article based on the material of the Ukrainian folk’s dumas. Attention is focused on the spiritual and military stability of the epic heroes of dumas, which are expressions of the national worldview, based on the perception of the land as sacred, which was handed down by ancestors and bequeathed to descendants to preserve it, on loyalty to Ukraine, the Cossack noble society, as an archetypal collective Great Family, on the desire of the military stratum for freedom and the habitual rejection of any violence and superiority over oneself. It is emphasized that this is what explains the exceptional attention and respect of the human personality and patriotism among Ukrainians, the need to preserve repeated established positive cycles of the Ukrainian’s spiritual and everyday life in order to ensure the durability, continuity and continuity of the nation’s ethnic consciousness. Therefore, the heroes of dumas are models of spiritual and military stability, who brought up and passed on the idea of resistance and struggle, hardened the national spirit of millions of Ukrainians, including the warriors-knights in the Russian-Ukrainian war of 2022. On this basis, we will reveal the meaning of the idea of the Family (Reed), which was transformed in the Ukrainian duma the concepts of «nation», «state». Therefore, the warrior (сossack, knight) in the duma epic is not only the one who defends his native land from the conquering enemy in battle with a saber or a pistol. A warrior is one who opposes any untruth, evil, violence, which is perpetrated by his nation, destroys it as a Great Spiritual and Ideological Race. Inheritance from ancestors, which was formed into a perfect national character, determined that supporting cosmological spiritual heart, which is embedded in Ukrainian knights to this day.
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Vertiy, Oleksii. "Through the prism of national values." SUMY HISTORICAL AND ARCHIVAL JOURNAL, no. 41 (2023): 64–65. http://dx.doi.org/10.21272/shaj.2023.i41.p.64.
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An analysis of the scientific work of M. Nabok "National peculiarities of the perception of Ukrainian Folk Dumas through the prism of "creator - performer - listener" was carried out. Scientific developments of European countries in the area of philological researches: Collective monograph. Riga: Izdevnieciba "Baltija Publishing", 2020. P. 2. P. 327-344. ISBN 978-9934-588-56-3. The main components of the image of the kobzar, bandurist and lyre player, which determine its national nature and essence, are characterized based on the material of the Ukrainian Folk Dumas.
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Nabok, Maryna. "TEACHING UKRAINIAN FOLK DUMAS AT UNIVERSITY: ANALYSIS IN CONTEXT OF INTERCULTURAL COMMUNICATION." Advanced Education 7, no. 16 (2020): 4–8. http://dx.doi.org/10.20535/2410-8286.184554.
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Nabok, Marina N., and Zhanna O. Yankovska. "National originality of the land image in Ukrainian folk dumas and the works by Vasyl Stefanyk: a psychological aspect." Rusin, no. 67 (2022): 304–24. http://dx.doi.org/10.17223/18572685/67/17.
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The article studies the original psychologism in the interpretation of the land image in Ukrainian folk dumas and short stories by Vasyl Stefanyk, who was a representatives of the “Pokutia triad” (Vasyl Stefanyk, Les Martovych, Marko Cheremshyna). Using the comparative method, the semantic-cognitive and the concept-analysis, the authors determine the national peculiarities of worldview of the heroes, the role of the author's principle, the transformation of linguistic signs of nationally marked lexes, expressing the worldview of ethnocultural groups of Galicia, Pokuttya and Steppe Ukraine in their dialectical unity. The article emphasizes that the symbolism of the land in Ukrainian folk dumas and short stories by Stefanyk is expressed in the paradigm of the concepts “land - breadwinner”, “land - family”, “land - will”, “land - glory”, “land - life”. It is noted that for the Galician peasants the land was of the greatest value and holiness, which is most often expressed in the image of “land - breadwinner”, while for the heroes of Ukrainian folk dumas, the land is a symbol of freedom. The focus on the originality of the poetic means, which reveal the national characteristics of the heroes. Such a comparative research has been conducted for the first time to be further expanded in future in the folklore and literary studies.
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Merimerin, Ievgen. "Reflection in historical songs and dumas the topics of the national liberation struggle in the Hetmanate." PEREIASLAV CHRONICLE, no. 14 (November 30, 2018): 70–80. https://doi.org/10.5281/zenodo.2345739.
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The article analyses the features of reflection of the national liberation struggle of the Hetmanate population in the second half of the XVII – the beginning of the XVIII century in historical songs and dumas. The folk songs and dumas in the context of the Hetmanate’s history are the significant sources for an objective determining of the level of Ukrainian state idea, social ideals and reflections, the subculture of different classes, as well as the relations of representatives of ethnic groups (Ukrainians, Russians, Poles, Moldovans, Turks, Tatars, etc.). This paper uses analytical-synthetic, historical-comparative and problem-chronological methods. With the help of critical analysis of sources, systematization and classification some controversial facts from the past, connected with the struggle for national and religious independence, have been revised and redefined. It was found that historical songs and dumas devoted to the struggle of the Hetmanate population for the national and religious independence in the second half of the XVII – early XVIII centuries are especially colourful. They are full of facts and descriptions of events. The storylines of fidelity to the Orthodox faith and the Motherland in the fight against aggressive enemies, protests against social and national oppression are dominant. A significant place in the song folklore is dedicated to the clarification of the relationships between I. Mazepa, S. Paliy and Peter I, their role in social processes. There are several clear directions in the folk poetry: first, the categories of “friend” or “foe”; and secondly, traditionally favorite characters are “bad people” and their bad things. It is proved that the specific names of individuals, the exact names of the places and the sequence of events are not obligatory for this cycle, where the views of different social groups, the characteristics of individuals and events are often garbled. Over time, in the same works the new details, new images and events appeared. The author comes to the conclusion that in the second half of the XVII – the beginning of the XVIII century the main idea of the folk poetry is the reflection of the opposition to the Polish gentry and social oppression. In contrast to the works of the previous period, the folk poetry of that time shows the struggle of the broad strata of the Ukrainian people for the national liberty and social rights more widely.
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Yevmenenko, Olena, and Iryna Melnychuk. "The tradition of Ukrainian dumas in the focus of folklore science at the beginning of the 20th Century: Kyiv scientific school." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, no. 26-27 (2022): 80–86. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-80-86.
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The article analyzes the scientific material of Ivan Erofeiv's researches on the tradition of Ukrainian Dumas, characterizes the methodology, peculiarities of work with the source base, with variant material, classification by main motifs, etc. The focus is on the second most important folkloristic research of the scientist “Crimea in the Little Russian folk poetry of the XVI-XVII centuries, mainly in Dumas”, dedicated to the memory of Professor Volodymyr Antonovych. The research activity of the folklorist is analyzed in the context of the scientific research of the Kiev scientific school at the beginning of the 20th century. In the first decade of the 20th century, Ukrainian folkloristics suffered significant losses - such brilliant scholars of the Kyiv school as M. Dashkevich, V. Antonovych, P. Zhitetskyi passed away. As a result of the socio-historical cataclysms of the beginning of the century, some scientists tragically died, and others emigrated. However, scientific research in the field of folkloristics is continued by talented students of the Kyiv School, among whom the figure of researcher Ivan Yerofeiv, who distinguished himself, in particular, as a researcher of such an original and rather complex genre of Ukrainian folk poetry as Dumas, occupies a prominent place. The basis for the scientific research "Crimea in the Little Russian folk poetry of the XVI-XVII centuries, mainly in Dumas" was the previous work of the researcher "Ukrainian Dumas and their versions". In the new work, a range of problems related to the reflection in the oral poetic tradition of one of the most tragic and heroic periods in the history of Ukraine is the era of the national liberation struggle of the people, its struggle for statehood against numerous external enemies was raised. The question of the relationship between Ukrainians and their formidable Muslim neighbor will be interpreted here through the prism of folk poetic perception and with the involvement of a wide array of historiographical material. The essay highlights mainly the most characteristic motifs of Ukrainian dumas and historical songs, which reflected the relationship between two hostile forces which are the Cossacks and the Muslim world. However, this work cannot be considered superficial, since a large amount of sporadically conceived folklore material was involved in the analysis namely numerous versions of works, domestic and Polish historiographical sources. I. Erofeiv builds his research exclusively on the analysis of dumas and historical songs of more ancient origin, where generalizing pictures of that time reality are reproduced in typical images, without connection with specific persons or events. Simultaneously, a group of songs depicting the victories of the Cossack army over the Turks and Tatars during the national liberation war under the leadership of Bohdan Khmelnytskyi falls out of sight. The study of the songs of this group would provide interesting material for elucidating folklore concepts regarding the attitude of the Ukrainian people to Khmelnytskyi's foreign policy aimed at alliance with Muslim states.
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Terekhova, I. O. "FOLK SONGS AND DUMAS IN P. KULISH’S RUSSIAN-LANGUAGE NOVEL “BLACK COUNCIL. CHRONICLE OF 1663” (1860)." Тrаnscarpathian Philological Studies, no. 18 (2021): 283–88. http://dx.doi.org/10.32782/tps2663-4880/2021.18.50.
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Mishalow, Victor. "Heorhiy Tkachenko and Informed Performance Practice on the Traditional Bandura." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 1, no. 2 (2018): 94–104. https://doi.org/10.31866/2616-7581.2.2018.153382.
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The goal of this study is to focus on informed performance practice of the traditional bandura playing of Heorhiy Tkachenko, regarding his activities on the bandura, to note the g interest growth in informed performance practice on the bandura, and the differentiations of this phenomenon as it grows in popularity. The methodology of the research is grounded in historic, systemic, sociological and cultural approach and related methods of scientific study, in particular, a historic-chronological analysis of the playing technique of H. Tkachenko, specifically, the method of systematic classification and complex analysis that informed performance practice in Ukrainian culture. There is a study and analysis of the technique and repertoire of H. Tkachenko and his followers, particularly his performance legacy of traditional kobzar repertoire. A general characterization has been made of the repertoire of H. Tkachenko that encompasses his performance of dumas, psalms and kants historic songs and instrumental dances. The materials used in the preparation of this study include books and articles about the folk bandura, about and by H. Tkachenko and his followers and audio and video recordings made by the author. Separate conclusions and generalizations were made on the basis of personal interaction with the subject. The scientific novelty of the work is the introduction into scientific circulation of a comprehensive organological and ergological analysis of the activity of H. Tkachenko and his followers, the systematization of the technique used by Tkachenko, the growing tendency toward informed performance practice on traditional Ukrainian folk instruments in Ukraine. About the playing technique used by HeorhiyTkachenko on the 21 stringed authentic folk bandura. Authentic performance practice technique and the movement to perform historically and culturally informed traditional repertoire on the folk bandura. Conclusions: The results of the study contribute to a better comprehension of the features of traditional bandura repertoire performing on the 21 stringed authentic folk bandura, the playing technique used by Heorhiy Tkachenko on the 21 stringed bandura, authentic performance practice technique and awareness of kobzar heritage in general.
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Karatsuba, Myroslava. "Typological Comparisons of Folk Poetry of the Ukrainians and Southern Slavs at the Figurative-Lexical Level." Slov'ânsʹkij svìt, no. 21 (December 30, 2022): 23–38. http://dx.doi.org/10.15407/slavicworld2022.21.023.
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The focus of the study proposed below is on important issues related to the identification of the common features of folk poetry of separate southern Slavs, in particular, Serbian, Croatian and Bosnian, and Ukrainian folk poetry, as well as individual works of art with a folklore component (for instance, Vila-Posestra by Lesya Ukrainka). It is, in particular, about the characteristic features of folk-poetic works at the level of imagery, poetics, and indicative lexical patterns. Common to folk poetry of the Southern Slavs and Ukrainians, especially when it comes to works of love or social nature, is the use of not only permanent epithets, but also indicative metaphors, comparisons and characteristic figurative expressions. In stages and separately considered are poetic tropes, separately their content and formal load, as well as functions when used in folk poetry of Ukrainians and South Slavs. Considerable attention is paid to lexical characteristics when creating the image of a beautiful girl in Ukrainian folk poetry and in folk-poetic South Slavonic samples, as well as to additional attributes of clothes and outfits of a young man and a girl in the folklore of the mentioned peoples. Figurative characteristics of animals, plants and natural phenomena (flowers, herbs, trees), as well as their functional purpose and place in the palette of folk-poetic works, characteristic lexical features of their reproduction in texts of epic and lyric songs, and folk ballads, do not remain without attention as well. The article compares dumas and songs and ballads about the escape from captivity, where there is also a distinct similarity in vocabulary when characterizing heroes and their actions. By collating folk poetry of Southern Slavs and Ukrainian folk songs, extraordinary factual material is revealed at the figurative-lexical level, eloquently testifying to the similarity of the texts. It is about certain clear general regularities of the overall plan, which can be traced both at the level of plot imagery in the thematic-genre dimension, and in the aspect of metaphors (constant epithets).
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Gurgul, Wojciech. "Ukrainian Elements in Polish Guitar Music of the 19th Century." Folk art and ethnology, no. 3 (July 30, 2022): 22–36. http://dx.doi.org/10.15407/nte2022.03.022.
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The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music for English guitar tuned in G major (sources for this instrument appeared chronologically first) and for 6-string Spanish guitar. Composers have used stylized dances, mainly kozachok, for composing simple technical arrangements intended for domestic parlour music. Apart from four anonymous manuscripts for English guitar there are two anonymous kozachoks in manuscripts from the National Library of Poland in Warsaw and the Princes Czartoryski Library in Krakow and one kozachok in manuscripts from the National Library of Poland in Warsaw and the Princes Czartoryski Library in Krakow and one kozachok by Eduard Salle neuve. Also another form – duma / dumka – is popular among the19th century Polish guitarists; it has appeared both in the solo and in the original version, intended for vocal with accompaniment. The authors of dumki are, among others Jan Rywacki, and anonymous dumas are preserved in the Jasna Góra Monastery (Library of the Pauline Fathers in Częstochowa), the Jagiellonian Library in Krakow and in mentioned Princes Czartoryski Library. Solo improvised dumkas have been performed by the greatest Polish 19th century virtuosos – Stanisław Szczepanowski and Marek Konrad Sokołowski, as evidenced by extensive press coverage. Three composers – Jan Nepomucen Bobrowicz, Felix Horetzky and the less known Cyprian Leonowicz – also used the Ukrainian folk melodies, mainly as a basis for virtuoso sets of variations. Leonowicz’s piece, which is a kind of written improvisation, is based on the famous song Ikhav Kozak za Dunaj. The melody used by Bobrowicz is more difficult to identify, although the title of the piece indicates the Ukrainian element – Air d’Ukraine varié. Horecki arranged two melodies, including the song Ikhav Kozak za Dunaj, in technically simple arrangements. The Ukrainian thread also appears in the biographies of some 19th century Polish guitarists, including Sokołowski,Numa Łepkowski and Karol de Wyhowski. This article shows that Ukrainian folklore was the strongest foreign element in Polish guitar music of the 19th century. Areas requiring further research are also indicated – related to little-known sources(such as guitar manuscripts from Jasna Góra, the Jagiellonian Library or from the collection of Oskar Kolberg), as well as those concerning Ukrainian guitar music from the 19th century, practically unknown outside Ukraine.
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Szurmińska, Hanna. "THE LITERATURE GROUP „ZEWONIA” HISTORY AND FOLKLORE." Polish Studies of Kyiv, no. 35 (2019): 424–27. http://dx.doi.org/10.17721/psk.2019.35.424-427.
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The article analyses the group of writers «Ziewonia», in the work and activities of which Slavophile ideas have strengthened through cycles of translations, songs and dumas. It reveals interest in the culture of the Slavic people in the 30s of the 19th century. It analyses the idea of national identity and ethnic culture using a differentiated approach to the phe- nomena of literary folklore, which becomes the main motive of «Ziewonia». The level of Ziewonia’s comprehension in Polish science is not significant yet but still to be more learned than in Ukrai- nian science. The article is said about the first period of the XIX century which is characterized by emergence of artistic achievements as exemplified by the interaction of intercultural literature. The Romantic era encouraged the first contact and special activity of folk Ukrainians interested by young Polish writers who are called in the Polish history of literature «Ziewonia». The main representatives were Augustin Bielovsky (the critic and translator, the employee of the Ossolineum institution), Josef and Alexander (Leshek) Dunin-Borkovsky (writers and critics), Lucian Semensky (the poet and novel- ist), Kazimiezh Vladislav Wojcicky (collector of folk songs) and Ludvik Jablonsky (also the critic of Ukrainian literature), finally the Ukrainian writers called the «Russian Trinity», the organization which united enthusiastic researchers of Ukrainian folklore. It is found out that main activities of this Slavophil group were translation and popularization of literature merits. They gave exemplary translations of important Slavic works such as: «Krolodworsky Manuscript», «Zielona Gora Manuscript», selected sonnets from «The daughters of Kollar’s fame», the significant number of Serbian folk songs, many Ukrainian poems and «The Tale of Igor’s Campaign». Folk society and folk songs were glorified and stylized. The key findings of the research prove that deep and intensive relationships between different literacy circles (Ukrainian and Polish) collaborated the future mutual writer’s group for the next historical period.
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Terekhova, Iryna. "TARAS SHEVCHENKO'S WORD ON THE BATTLEFIELD: HERITAGE OF KOBZAR TRADITIONS." Shevchenko Studies, no. 1(26) (2023): 310–27. http://dx.doi.org/10.17721/2410-4094.2023.1(26).310-327.
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The article draws artistic parallels between the Second World War and the Russian-Ukrainian wars, where the influence of Shevchenko's word, embodied with the help of kobzar art, is especially relevant. It has been proven that T. Shevchenko's words are organically woven into modern military folklore, forming an inseparable synthesized unity. During the war period, there is an active appeal to folk origins, so were the most popular during the Second World War such dumas: "About the Bandurist Cossack", "About Marusya Bohuslavka", "The Escape of Three Brothers from the City of Azov, from Turkish Captivity" etc. The poetry of T. Shevchenko was also very popular at that time. During World War II, folk singers took part in hostilities, were part of partisan units, traveled through the occupied territory. People's kobzars professed the Shevchenko ideals of struggle and freedom, thus raising the fighting spirit of the soldiers. Shevchenko's words inspire on the battlefield even today. In the last period, the art of kobzar became quite developed. Here, first of all, it is worth mentioning T. Kompanichenko, a soldier of the territorial defense, a kobzar, the leader of the Khoreya Kozatsky band, the author of "Duma about the Savur-grave", "Duma about the Holodomor", modern war songs ("Armored ranks", "We will boldly go into battle", "Bayraktars and Javelins", "Carmina belli" and others). In the repertoire of modern kobzars, as in the period of the Second World War, Shevchenko motifs are prominent. Illustrative in this respect is the work of the bandur player Yu. Gerasimenko. His song "Gen in the Steppe" depicts the death throes of an old kobzar who worries about the future of his state. His work "Save the Song" expresses Shevchenko's opinion about the immortality of the Ukrainian duma and song. In the song repertoire of this bandurist, the Shevchenko motive of thinking about the future fate of Ukraine is also felt. The work also focuses on the fact that during the war period, the folklore genre of duma became especially widespread and appeared as a historical document that reflects the social changes of the era. The article also examines the functioning of the duma genre in modern military literature using the example of O. Ptashchenko's poetry.
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Karbashevska, Oksana. "English Folk Ballads Collected By Cecil James Sharp in The Southern Appalachians: Genesis, Transformation and Ukrainian Parallels." Journal of Vasyl Stefanyk Precarpathian National University 1, no. 2-3 (2014): 79–85. http://dx.doi.org/10.15330/jpnu.1.2-3.79-85.
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The purpose of this research, presented at the Conference sectional meeting, is to tracepeculiarities of transformation of British folk medieval ballads, which were brought to theSouthern Appalachians in the east of the USA by British immigrants at the end of the XVIIIth –beginning of the XIXth century and retained by their descendants, through analyzing certain textson the levels of motifs, dramatis personae, composition, style and artistic means, as well as tooutline relevant Ukrainian parallels. The analysis of such ballads, plot types and epic songs wascarried out: 1) British № 10: “The Twa Sisters” (21 variants); American “The Two Sisters”(5variants) and Ukrainian plot type I – C-5: “the elder sister drowns the younger one because of envyand jealousy” (8 variants); 2) British № 26: The Three Ravens” (2), “The Twa Corbies” (2);American “The Three Ravens” (1), “The Two Crows”(1) and Ukrainian epic songs with the motif oflonely death of a Cossack warrior on the steppe (4). In our study British traditional ballads areclassified according to the grouping worked out by the American scholar Francis Child(305 numbers), Ukrainian folk ballads – the plot-thematic catalogue developed by the Ukrainianfolklorist Оleksiy Dey (here 288 plots are divided into 3 spheres, cycles and plot types). Theinvestigation and comparison of the above indicated texts witness such main tendencies: 1) theAmerican counterparts, collected in the Appalachian Mountains, preserve the historic-nationalmemory and cultural heritage of the British immigrant bearers on the level of leading motifs,dramatis personae, composition peculiarities, traditional medieval images, epithets, similes,commonplaces; 2) some motifs, characters, images, artistic means, archaic and dialectal English ofthe Child ballads are reduced or substituted in the Appalachian texts; 3) realism of Americanballad transformations, which overshadows fantasy and aristocracy of their British prototypes, issimilar to the manner of poetic presentation of the typologically-arisen and described events by theUkrainian folk ballads and dumas .
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Pakhsaryan, Natalia. "FRENCH ROMANTICISM AND THE GENESIS OF POPULAR LITERATURE." Herald of Culturology, no. 3 (2022): 125–40. http://dx.doi.org/10.31249/hoc/2022.03.08.
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The article analyzes the transformation ofcreativity in romanticism of the late 1820 s - 1830 s ideas, the interaction of romantics with newspapers and magazines in the second half of the 1830 s - 1840 s. and the appearance of the feuilleton novel as a genre of popular fiction. The success of F. Soulier, E. Sue, A. Dumas, and other authors works, published in periodicals, contributed to the emergence of ethical and aesthetic disputes about the feuilleton novelas a genre. Following Ch. Sainte-Beuve, who spoke out against "industrial literature", French intellectual elite attacked feuilleton novels, claiming the authors for damaging artistic taste and immorality. Meanwhile, the fields of "high" and "folk" romanticism constantly intersected, and in the course of dispute about feuilleton novels, the poetics of elite prose not only influenced popular fiction, but also voluntarily or involuntarily used its experience. In the process of this repulsion / attraction, the main types of popular literature were born, namely: detective story, love story, fantastic prose, etc.
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TURCHYN, IRYNA. "APPROACHES TO THE RECREATION OF VERBAL IMAGES INTO ENGLISH." Current issues of linguistics and translation studies 21, no. 2 (2021): 92–95. https://doi.org/10.31891/2415-7929-2021-21-47.
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The article examines the problem of translation of verbal images from Ukrainian into English. The examples for exploring have been derived from the extracts of one of Ukrainian Dumas, rendered by George Tarnawsky and Patricia Kilina. These folk heroic epic works is a great medium for investigating Ukrainian people’s aspirations and their mode of existence. The paper attempts to show stylistic archaisms and historicisms, their definitions and the methods of the translation of certain examples. The research examines two groups of obsolete words, which have been studied by O. Ponomariv. The issue of historicisms has been highlighted by S. Bacharach as they depend on the historical context in which the paper is created. This study advances the understanding of the notion of “realia” and methods of their rendering due to the analysis of this problem in the dumy. The situational equivalent as the method of realia reproduction has been pointed out. It has been explored by a prominent Ukrainian scholar R. Zorivchak in her book “Realia and translation”. This paper also provides insights into the definition of “idioms” from Stryga’s scientific work. One has illustrated the method of phraseological calque in the translation of the idiom in Ukrainian Dumas. One has argued that the translation of stylistic archaisms and historicisms, realia, and idioms is not only a matter of the translation techniques but also of the art of translation. The article considers the explanation of words and phrases, provided in diverse Ukrainian and English dictionaries, including Great explanatory dictionary of the modern Ukrainian language, The etymological dictionary of the Ukrainian language in 7 volumes, Dictionary of the Ukrainian language, Illustrated Oxford Dictionary, Collins Cobuild English Dictionary for Advanced Learners, Bloomsbury Dictionary of Word Origins.
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Khai, Mykhailo. "Nykolaieva by Prylypchany Brothers is a Pinnacle of World Traditional Instrumentalism." Materìali do ukraïnsʹkoï etnologìï 21 (24) (November 30, 2022): 125–46. http://dx.doi.org/10.15407/mue2022.21.125.
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Instrumental perfromance of pastoral songs, especially in large-format recreational instrumental and dance activities, occupies a peculiar place among the unusual phenomena of traditional musical culture of Ukrainians alongside the ancient manifestations of musical-heroic epics – bylynas and dumas, and the renown culture of group singing – calendar and ceremonial-ritual melodies and lyrical-sub-vocal songs. In this article, on the basis of a unique Hutsul «performance» on three homogeneous instruments, where the three main functions (melody, «contra» / «second» and «bass») are executed on three folk violins by a family group of three brothers, respectively – Spyrydon, Kyrylo and Luka Prylypchany – the form of a construction complex in structure and typology recreated the work from Kolomyia of Hutsul composition – Nykolaieva is analyzed. It gives all grounds to put forward the mentioned work, as well as the whole tradition of a large-scale ensemble-violin performing of the Ukrainian highlanderers – the Hutsuls and the Boykos – for consideration to the UNESCO Commission on Intangible Heritage as a work of traditional culture, that is the property of all mankind.
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Serdeha, Ruslan. "Mykola Sumtsov and the language of folklore." V. N. Karazin Kharkiv National University Bulletin "History of Ukraine. Ukrainian Studies: Historical and Philosophical Sciences", no. 39 (December 23, 2024): 100–104. https://doi.org/10.26565/2227-6505-2024-39-11.
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The purpose of the article: is to analyse the works of Mykola Fedorovych Sumtsov on oral folklore, to find out his contribution to the study of the language of folklore and to establish the significance of his folklore achievements for the further development of linguistic and folklore science in Ukraine. Research methodology: general scientific methods of analysis and synthesis, as well as special historical methods-chronological and comparative historical-were used. Scientific novelty. For the first time in Ukrainian science, the works of the famous Kharkiv humanitarian scientist Mykola Fedorovych Sumtsov examined through the prism of linguofolklore. His role in the formation of this scientific field is determined. Conclusions. In his works, M. F. Sumtsov laid the groundwork for future linguistic studies in the field of linguofolklore. He sees the folklore of the Ukrainian people as an original, original and unique phenomenon, based on a broad international context. He saw in the Ukrainian language «the best manifestation of national life», «the treasury of the national spirit». Long before the separation of lingo-folklore studies into a separate branch of linguistic science, which began to take shape in the 70s of the twentieth century, M. F. Sumtsov outlined the search tasks of this field of knowledge. When studying works of oral folk literature, he calls for a close look at their language, especially the language of songs, fairy tales, and proverbs, and to look for the most characteristic features in it, that is, the language of folklore, which hide the deep sources of folk art as such. As a researcher of folklore and as a scholar in general, M. F. Sumtsov impresses with the diversity of his research. His scientific achievements in general and those in the field of folklore studies in particular are striking in their versatility, deep understanding of the problems under study, and interdisciplinary approach to their solution. The researcher takes into account heterogeneous folklore material: apocrypha, wedding songs, dumas, historical songs, fairy tales, lullabies, carols, shchedrivkas, Kupala songs, legends, and other manifestations of folk verbal creativity.
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Samoilenko, Hryhorii. "THE INVESTIGATOR OF UKRAINIAN KOBZAR ART OLEKSANDR MALYNKA, THE GRADUATE OF COUNT BEZBORODKO HISTORICAL PHILOLOGICAL INSTITUTE IN NIZHYN." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1, no. 35 (2024): 71–78. http://dx.doi.org/10.25264/2409-6806-2024-35-71-78.
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The author analyzes scientific heritage of a prominent Ukrainian investigator of folk lore Oleksandr Malynka, who studied the corresponding material at Count Bezborodko Historical Philological Institute under the supervision of professors M. I. Sokolov, M. N. Speranskyi, V. I. Rezanov, who helped the young scientist to publish series of papers about kobzars, bandurysts and lirnyks at the end of the 19th – the beginning of the 20th c. These papers are analyzed by the author. The attention is drawn to the specificity of O. Malynka’s works, which are characterized by the richness of material, concerning life and creativity of folk singers, conditions of their studying by different kobzars, bandurysts and lirnyks, which passed their skills of playing various instruments and transmitted traditions of corresponding singing of multi-genre songs. O. Malinka also explored the differences between a kobzar and a lyre player, which was primarily determined by the genre-filled repertoire of songs. Special attention is drawn to O. Malynka’s interest to ancient historical songs (dumas), which were the real pearl of kobzars and bandurysts repertoire and which gradually begin to vanish from repertoire of young singers, and it is explained by the change of epochs and departure of old musicians from life. The article reveals the presence of female performance on the bandura, which was a new phenomenon in Ukrainian musical culture for that era. The appearance of songs about Taras Shevchenko and Shevchenko’s poems from «Kobzar» in the repertoire of some bandurysts is also taken into account. It is underlined that O. Malynka’s activity contributed to the fact that names of many kobzars, bandurysts and lirnyks remained in the history of Ukrainian culture.
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Roi, Yevhenii. "Musical Universalism of the Composer Ihor Shamo and Its Reflection in the Author's Multigenre Work (Second Half of the 20th Century)." Bulletin of KNUKiM. Series in Arts, no. 45 (December 17, 2021): 133–40. https://doi.org/10.31866/2410-1176.45.2021.247382.
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The purpose of the article is to analyse the multigenre multi-issue of musical universalism of the composer Ihor Shamo as a consummate phenomenon in the national music culture of the Soviet era in the postwar years. Research methodology. Scientific provisions of the article are reasoned through methods (empirical-theoretical, chronological, analysis and synthesis, induction and deduction, art analysis), which revealed the main components of the multifaceted musical palette of the artist. The scientific novelty is that the author tries to comprehensively recreate a holistic, multifaceted picture of the artist’s compositional heritage, making a comprehensive analysis. Conclusions. The multifaceted creative heritage of the composer Ihor Shamo testifies to his artistic universalism as a phenomenon of the Ukrainian music culture of the second half of the last century. The artist’s works include three symphonies, choral folk opera Yatranski Ihry (Yatran Games), chamber and instrumental pieces and romances, piano cycle Tarasovi Dumy (Taras’s Dumas), 6 quartets, a large number of songs. Song became the most powerful genre via which I. Shamo confidently entered the art of composition in the first postwar decades. This genre reflects perfect form, bright themes, intonation and stylisation of folk melodies, a kind of harmony and texture. Having created cycles of both lyrical and heroic-patriotic songs, the artist developed and initiated separate genre-song varieties. Thus, the music pieces by Ihor Shamo have a wide range of genres and styles, which testifies to the high universalism of the composer, who made a significant contribution to the Ukrainian music culture of the second half of the last century.
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Dutchak, Violetta. "PRINCIPLES OF LITERATURE AND MUSICAL ART INTERACTION OF THE UKRAINIAN DIASPORA DURING THE XX – EARLY XXI CENTURY." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 186–93. http://dx.doi.org/10.25264/2409-6806-2020-31-186-193.
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The study presents the methodological foundations analysis of the interaction between music and literature of the Ukrainian diaspora in the period of XX – early XXI century. In particular, the article offers an example of analysis of such interaction on the example of Ukrainian diaspora bandura art. Fundamental in the methodological analysis of the art interaction, and in particular literature and music, are the forms of emigrant (diasporic) worldview – conservative (traditional), synthesizing (unifying), and transforming (experimental). They are manifested in various forms of foreign artists’ creative activity – editing (restoration) of ancient genres, their modification and metamorphosis. The concept of “meta-art” was used as the main methodological basis for the music and literature interaction analysis, which is aimed at finding mechanisms for a comprehensive analysis of the Ukrainian diaspora art within the historical stages (according to emigration waves) and within the territorial settlements that found its reflection in figurative-thematic, value-aesthetic, genre, stylistic priorities of artists and interpretation of their ideas and meanings. The levels of literature and musical art interaction are considered by the author of the article on the inclusion samples in the bandura repertoire of various genres arrangements of folklore, religious and spiritual creativity, “shevchenkiana”, and works based on the Ukrainian poems of the XIX – XX centuries. Among the musical and folklore samples are epos (dumas, historical songs), domestic, humorous, lyrical songs, and the latest genres of works of the liberation struggle – songs of Sich riflemen, rebel songs. Among the spiritual and religious works are psalms and chants, kolyadkas and shchedrivkas, as well as religious and liturgical compositions by D. Bortnyansky, A. Hnatyshyn, M. Haivoronsky, M. Lysenko, D. Sichynsky, and other works arranged for bandura ensembles or chapels. Shevchenkiana bandura repertoire includes arrangements of folk songs and author’s works based on T. Shevchenko’s poems for solo bandura players and ensembles, recorded in music editions and sound recordings. Examples of cooperation between composers and poets in bandura art (in particular, H. Kytasty and I. Bahriany) are analyzed separately.
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Ivannikova, Liudmyla. "Farewells to the War and Military Magic in the Folklore of the Cossack Period: Relationship with the Funeral Rite." Materìali do ukraïnsʹkoï etnologìï, no. 22 (December 30, 2023): 133–44. http://dx.doi.org/10.15407/mue2023.22.133.
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The articleis aimed at the studying the military magic of Zaporizhzhya, Register and Black Sea Cossacks, as well as the rituals associated with their farewell to a land and sea campaigns. Main research methods include descriptive, comparative and comparative-historical ones. The source base is formed with folklore texts of the 16th–18th centuries, in particular, Ukrainian folk dumas, songs, prayers and incantations, as well as ethnographic descriptions of rituals and magical practices related to war. The authoress uses both previously published materials and her own recordings made during the last decade. The theoretical basis for the article consists of the works of predecessors, Ukrainian scientists of the 19th–20th centuries Mykola Kostomarov, Mykola Sementovskyi, Vasyl Myloradovych, Dmytro Yavornytskyi, Kateryna Hrushevska, Prokop Korolenko, and others, who have published a number of primary sources and attempted to analyze them. The scientific novelty of the work concerns the fact that it is the first comprehensive folkloristic study where a comparative analysis of collective and individual magical practices of the Cossack period is carried out. They are supposed to ensure the victory of the Cossack army over the enemy and save the life of every Cossack. All available materials indicate that the ritual of the farewell to war in Cossack times belongs to the rites of passage and is most closely related typologically to the funeral ritual, namely to the symbolic funeral. It duplicates such key elements of the funeral as preparation for death (preparation of new clothes, confession and communion of the Holy Mysteries), a ritualized form of farewell to relatives and the whole community, the use of occasional folklore forms (wishes, blessings, formulas of reconciliation with neighbours), ritual bringing the Cossacks out of «their» cultural space (house, yard, village), mourning a Cossack who goes on a campaign, a joint meal. The same places of farewell also appear: a threshold, a gate, the border of a settlement. Thus, sending off to war can be considered one of the forms of a symbolic funeral.
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Snahoshchenko, V. V. "A.V. Dukhnovych and His Cultural and Educational Activities." Rusin, no. 65 (2021): 37–54. http://dx.doi.org/10.17223/18572685/65/3.
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The author analyzes the multifaceted research, theoretical, and practical activities of A.V. Dukhnovych (1803–1865) – a talented poet, prose writer, publicist, historian, ethnographer, playwright, teacher, publisher, a well-known “Buditel’” (i.e. awakener) of the Carpathian people. The author studies and describes Dukhnovych’s creative heritage to define the main directions of his cultural and educational activities in the fields of philosophy, history, geography, pedagogy, socio-culture, linguistics, theology, ethnography, agriculture, phytotherapy, etc. Dukhnovich was a convinced traditional educator, who sincerely believed that education can significantly alleviate the plight of the masses. He founded educational societies, organized more than 70 elementary schools, published textbooks, almanacs, calendars. He supported several gymnasiums in Subcarpathian Rus, where teaching was conducted in Russian. Dukhnovich established a scholarship fund for poor pupils and students, organized free cafeterias, etc. The analysis of his epistolary, autobiographical materials, and works of fiction provide an insight into the socio-political and cultural life of the Rusins in the middle of the 19th century. Dukhnovich’s creative heritage includes the first “Primer” for public schools (“Reading Book for Beginners” (1847)); the first textbooks on geography (“A Short Landpiece for Young Rusins” (1851)); history (“General History for Young Rusins” (1851), “The True History of the Carpathossians, or Hungarian Rusins” (1853)); the ethnographic work “On the Peoples of the Extreme or Ugric Carpathians, living near the Beskid in the Zemplínska, Uzhhorod and Sharisha capitals” (1848); “Abridged Grammar of the Written Russian language” (1853); “Folk Pedagogy for the Benefit of Rural Teachers” (1857), which was the first textbook on pedagogy in Western Ukraine published in Lvov; “Menology” (1850, 1851, 1854, 1857), other teaching manuals, articles, poetic works, dumas, and plays. His poem “Vruchanie” became the national anthem of Ugrian Rus. As a democratic educator, he convinced many that the active national and cultural life of the Rusins fully depends on the dissimination of education among the people to bring up the younger generation in the vein of virtue and national dignity. By his personal example, Dukhnovich lead people to spiritual dimensions and influences the worldview and patriotism of the intelligentsia in Subcarpathian Rus. He made a significant contribution to the education of the people, laid the foundations for many cultural and educational societies in Subcarpathian Rus in the 19th century and later – not only in his native land, but also far beyond its borders.
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Shcherbak, Vitalii. "ROMANTIC VISION OF THE UKRAINIAN PAST IN THE WORK OF TOMASH PADURA." Polish Studies of Kyiv, no. 38 (2022): 353–67. http://dx.doi.org/10.17721/psk.2022.38.353-367.
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The article highlights the romantic image of Cossack Ukraine of the XVI—XVIII c. in the creative heritage of the Polish poet and writer Tomash Padura, a native of the family of Bratslav nobleman. It was noted that in his young years the main source for him was oral folk art - storytelling, legends, Ukrainian songs and historical dumas. A few decades after the fall of the Hetm- anate, they reflected the realities of the Cossack era, the character and activities of its leaders. The complex of sources for Padura also included Polish literary and historical narratives with relevant assessments of the Ukrainian past. In Pa- dura’s works, Ukraine appears before the reader as a mysterious and exotic land that has been associated with freedom and freedom-loving people for centuries. Therefore, the main character of his works was the Cossacks, the chivalrous spirit of the Cossacks, victories over external enemies Moscovites, Tatars and Otto- mans were celebrated. At the same time, Padura proclaimed the idea of Polish- Ukrainian unity, bypassing the conflict pages in their past, sought, first of all, to involve the Ukrainian people into the struggle for the Polish cause - liberation from Russian imperial oppression. The leading figure in the poet’s poem is Kosh Ataman Ivan Sirko, who was distinguished for his courage and fostered a sense of independence and freedom in the hearts of his comrades. At the same time, Padura keeps silent about Sirko’s confrontation with Hetman Petro Doroshenko, who continued Bohdan Khmelnytsky’s policy of uniting Ukraine within ethnic boundaries. The figure of Hetman Ivan Mazepa as a fighter against Russian des- potism is also positively assessed. Padura strongly protests against the anath- ema imposed by the Moscovites on the “native hetman” and its proclamation in Ukrainian churches. Padura’s assessment of the Cossack era takes a completely different tone when it comes to the Ukrainian cause itself, the people’s desire to gain independence. In particular, he gives the most negative traits to Hetman Bohdan Khmelnytsky, who revived the Ukrainian state in the middle of the XVII century. Thus, the ethnic origin of Tomash Padura influenced the objective per- ception and coverage of the past of Ukraine. However, his work had a positive impact on the formation of historical themes as an integral factor of the Ukrai- nian national revival.
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Bracka, Mariya. "THE MEMORY OF THE UKRAINIAN COSSACK IN THE LITERARY APPROACH OF UKRAINIAN AND POLISH ROMANTICS." Polish Studies of Kyiv, no. 39 (2023): 27–49. http://dx.doi.org/10.17721/psk.2023.39.27-49.
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The article fits into the trend of contemporary humanities research called «memory studies». It was pointed out that the study of forms of artistic memory in literature provides answers to fundamental questions regarding individual and collective (national, ethnic, cultural) identity. The text attempts to describe the strategy of preserving the memory of the common hero of the Polish and Ukrainian nations – the Cossack – a key figure in the works of Polish and Ukrainian Romantics. To achieve this goal, the concept of mnemotopoi was used, because there is no doubt that the Cossack – realizing the ancient and later topoi of a young man, a knight – becomes a figure constantly recurring in the memory of subsequent generations. Topoi somehow encodes common places in collective memory, in cultural memory, creating mnemotopoi. The image of the Cossack in the works of Polish and Ukrainian romantics was created at the intersection of the traditional vision presented in Ukrainian oral folk art and sentimental tradition, on the one hand, and new romantic tendencies, on the other. The «building of memory» about the Ukrainian Cossack in Ukrainian culture is built primarily by folk songs – dumas, historical songs, love songs. Folk songs served as the basis for the works of many romantics: Józef Bohdan Zaleski, Tymek Padura, Aleksander Groza, Levko Borovykovski, Amvrosiy Metlynski and others. Such features of the Cossack community as: love of freedom, readiness to gamble and sacrifice for the faith, comrades and native land, appearing in early romantic poetry, are taken over from Ukrainian folk songs. In general, the mnemotopoi of the Ukrainian Cossack in Polish and Ukrainian romantic poetry builds the basic models of Cossack behavior, including striving for group integration, mutual help, fierceness in the fight against the enemy, as well as such characteristics as bravery, cunning, and physical strength. This is the figure of the Ukrainian Cossack that Levko Borovykovski, a pioneer of Ukrainian romanticism, tries to remember. At the same time, romantic motifs intensify in his poems: idealization and ideologization of the historical past, concentration of those principles of folk creativity that corresponded to romantic poetics and the romantic concept of personality: immersion in one’s own inner world, avoidance of the external world, spontaneity of actions, tragic perception of the world, premonition of death, rejection of earthly goods, denial of the prose of life. In the poetry of the Ukrainian Romanticist Amvrosiy Metlynski, the Cossack changes his role and becomes, above all, a defender of the people. He is remembered as a hero of times gone by, someone who no longer exists in the times of the Romantics and sleeps in his grave. The life of the nation contemporary to the poet is a time of sadness and mourning, degradation of the nation’s spirit, decline and oblivion, while the Cossack times are a period of greatness, dignity, bravery and freedom. The lasting memory of Cossack is shaped by the poetry of Taras Shevchenko. In the mnemotopoi created by an outstanding romantic, he is a representative of the Ukrainian nation, accumulating its best features, being its defender, a brave knight and a hero. Kozak’s romantic mnemotopoi has the same variant in Shevchenko’s poetry as Haidamak’s. And if in Polish romantic poetry we see these two characters strongly differentiated, for Shevchenko Haidamaka is as much a defender of the freedom of the oppressed people as the Cossack. In Polish literature, Józef Bohdan Zaleski began to shape the early version of the romantic mnemotopoi of the Cossack. Inscribed in sentimental poetics as faithful friends and allies of Poles, they will remain in memory as knights fighting for a common homeland and the Christian faith. No matter how important the specific features of the Cossacks may seem, what stands out in the foreground in Tymek Padura’s work is the brotherhood or even unity of this people with the Poles. The Padura Cossack is primarily an inhabitant of the areas located on the outskirts of the Polish-Lithuanian Commonwealth. Padura found deep historical justification for the unity of Cossacks and Poles – he argued that both nations originated from one stem. Kozak’s mnemotopoi in Polish romantic literature is multi-layered. He also reveals his other side – the enemy Cossack, the murderer, the «rizun». Goszczyński’s «Zamek Kaniowski» also commemorates the type of Cossack – a romantic hero – a lonely and haughty Cossack Nebaba, with a torn consciousness, tainted by the stigma of crime, but this piece probably contributed most to perpetuating in memory the image of Haidamaka – cruel, fierce in the desire for revenge, spontaneous and cunning. The most important figures of Słowacki’s Cossacks break the coherence of the memory of a strong, brave, cunning, and fierce Cossack in the fight against the enemy. In Słowacki’s works, for example in «Żmia», he is a hero with two faces, axiologically very ambiguous. In «Sen srebrny Salomei» Słowacki contributed to remembering Ukraine as brutal, barbaric and apocalyptic. Axiologically, the image of Semenka, which builds the mnemotopoi of the Ukrainian Cossack, is described by the poet as insidious, treacherous, terrible and bestial. The memory of the Cossack – a hero common to the Polish and Ukrainian nations – is different among Polish and Ukrainian romantics: although they share the features of a typical romantic, Byronic hero, for Ukrainian romantics he is primarily a fighter for his own freedom and the freedom of the Ukrainian people, a defender of the people’s rights, an avenger. human wrongs. For Polish romantics, on the one hand, he is a friend and ally, living in symbiotic unity with Poles, and on the other hand, he is a cruel, murderer, dividing the world into «own» and «alien» and destroying everything that is foreign, while defending the values of «own» world. At the same time, they are often located on the border of worlds, using extraterrestrial, demonic forces, represented in the form of the Cossack-kharacternik.
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Rodrigues, André Iribure. "De Queer as Folk a Pose, 20 anos depois." Revista FAMECOS 28, no. 1 (2021): e40929. http://dx.doi.org/10.15448/1980-3729.2021.1.40929.
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Este trabalho visa apresentar um panorama diacrônico das abordagens de dois seriados veiculados em períodos distintos, num intervalo de duas décadas. O primeiro, intitulado Queer as Folk, de 2000, na TV por assinatura, aborda as vivências não normatizadas da sexualidade gay e lésbica, enquanto o segundo, Pose, mais recente, por streaming, avança nas representações de minorias transexuais e transgêneros, com cortes de raça e de classe social. Evidencia-se, a partir de um olhar sobre os estudos de gênero e da sexualidade, com aporte das representações sociais da psicologia social e dos estudos culturais, pela análise de conteúdo, como se dão as visibilidades das tensões e das negociações do que escapa da heteronormatividade nos limites da ficção seriada televisiva. Da visibilidade de uma hegemonia gay, branca, classe média com o mote da homofobia, duas décadas após, percebe-se as representações de pessoas negras e vulneráveis social e economicamente ao enfrentarem a transfobia.
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Lixa Victor Neves, Lucas, and Bruna Aparecida Gomes Coelho. "CULTURA E NACIONALISMO ESCOCÊS: THE CORRIES, DUAS CANÇÕES E SUAS QUESTÕES." História e Cultura 10, no. 2 (2022): 399–417. http://dx.doi.org/10.18223/hiscult.v10i2.3474.
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A célebre dupla folk escocesa The Corries (1966-1990), composta por Ronnie Browne e Roy Williamson, nasceu em um efervescente período para a cultura e o nacionalismo escoceses. O revivalismo folk verificado na Escócia entre os anos 1950 e 1960 revolucionou a maneira como o público escocês se relacionava com a arte e com a política. Analisaremos os usos de referências históricas, seus possíveis objetivos e significados em duas canções gravadas pela dupla The Corries: a autoral Flower of Scotland e The Skye Boat Song, esta última uma regravação.
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Lisniak, Inna, and Tetiana Cherneta. "Ukrainian Folk Dumy: Problems of Historical Development and Modern Performance." Folklore: Electronic Journal of Folklore 95 (April 2025): 105–28. https://doi.org/10.7592/fejf2025.95.lisniak_cherneta.
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The Ukrainian dumy are late-stage heroic epics dating back to the 15th–17th centuries, reflecting significant historical events and figures closely related to Ukraine’s history. Dumy exhibit a unique poetic and musical structure, characterized by uneven syllabic lines, monorhymes, the absence of stanzas, as well as a particular musical composition, ornamented cadences, and musical formulas, and the chromatized Dorian or narrow range diatonic scale. Dumy were performed predominantly by men in a recitative style and were accompanied by instruments such as the kobza and bandura. An important condition for maintaining the duma tradition was the kobzar tsekh (guilds), which were associations of musicians playing the kobza, bandura, and wheel lyre. These musical unions where melodies were passed down orally existed until the early 20th century. After the establishment of Soviet rule in Ukraine, kobzar tsekh were destroyed. The proposed study is devoted to analyzing the ways of reviving kobzar tsekh in Ukraine and, along with them, the duma tradition as an important component of the spiritual legacy of the Ukrainian people. To highlight the role of performers in this process is also the purpose of this article. In 2024, the practices of kobza, bandura, and lyre playing were recognized by UNESCO as an intangible cultural heritage of humanity.
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Ivannikova, Liudmyla. "Kobzar Songs and Dumy of the 1930s – 1950s: Between Amateurism and Folk Tradition." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 107–17. http://dx.doi.org/10.15407/mue2021.20.107.
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The analysis of the authors’ songs and dumy, created by kobzars and lirnyky in the 1930s – 1950s is submitted in the article. The materials for the analysis include the sound records preserving in the IASFE record library. The recordings have been made in expeditionary and studio conditions. This study is aimed at the ascertaining the affinity of these works with folklore and the reason why they have not become an organic part of the oral epic and song tradition. The events of the 20th century are glorified in most of these works: the so-called October Revolution, Civil and Patriotic War, a happy collective farm life and the outstanding socialism projects. The performers have glorified the leaders Lenin and Stalin, the Soviet army, the «great» achievements of the Soviet government, the reunification of Ukrainian lands in 1939, etc. The Bolsheviks have tried by all means to place kobzars at the service of Soviet power and made them create «new heroic Soviet epos». This is the beginning of the tragedy of Ukrainian kobzarstvo and the destruction of the kobzar tradition. The kobzars Yehor Movchan and Volodymyr Perepeliuk have been endowed with a special musical talent. The events of the Second World War are covered in many works by Yehor Movchan. The duma On the Events in the Village of Protopopiv refers to the shooting of the villagers and the forcible deportation of young people to Germany. The author has used successfully folk melody and the structure of dumy. It includes the beginning, the ending, multiple repetitions, free meter. However, the text of the duma itself has nothing common with the oral epic tradition. This is indicated by the absence of folklore formulas in it, their replacement by newspaper stamps of the Soviet period. Therefore, despite its musical affinity with the Ukrainian folk epos, duma is still of artificial and literary nature, resembling an agitation leaflet in style. Though Yehor Movchan other songs are close to the folklore tradition, they have not become its property because of a completely opposite content to folk works. They have glorified and exalted what the people satirize and curse. The events poetized in them have contradicted the historical truth. The heritage of Hryhorii Ilchenko is a typical example of an «artificial fabrication of a new epos» in order to create the so-called «Soviet people’s dumy». His repertoire is marked by a large number of created for the stage specially original songs that have nothing common with folk epics. In particular, such forgery of folklore is A Duma on a Widowed Mother. The mechanisms of duma creation are described in the article. All this is only a superficial pastiche of folklore, primitive and artificial. The same applies to the ballads by Volodymyr Perepeliuk. Thus, most of the authors songs have quite an indirect relation to the oral folk tradition. That’s why they haven’t become and can’t become its property.
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Виноградова, А. С., and А. В. Лебедева-Емелина. "New Information About M. P. Mussorgsky’s Choral Arrangements of Folk Songs." Научный вестник Московской консерватории, no. 1(52) (March 27, 2023): 60–91. http://dx.doi.org/10.26176/mosconsv.2023.52.1.02.
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В статье характеризуется неизвестный ранее автограф М. П. Мусоргского — обработка народной песни «Уж ты воля, моя воля» для мужского хора без сопровождения; дается его первая публикация. Манускрипт считался утерянным; в статье он представлен с согласия владельца рукописи (оригинал хранится в частном собрании в Германии). Данная обработка была выполнена Мусоргским в 1878 году по просьбе Михаила Андреевича Бермана, руководителя Думского кружка; автограф находился в личной коллекции дирижера. В исследовании воссоздан обширный исторический контекст, связанный с творческим окружением Мусоргского конца 1870-х годов. В первую очередь это касается фигуры Тертия Ивановича Филиппова, друга кучкистов, заботившегося о сохранении русских народных песен (с его голоса темы записывались Вильбоа, Мусоргским и Римским-Корсаковым). Дается характеристика дружеским и творческим контактам Мусоргского с членами Думского кружка. По-новому представлена фигура петербургского хормейстера М. А. Бермана, заказавшего Мусоргскому несколько песенных обработок для мужского хора. Освещено участие Думского кружка в исполнении «Te Deum» Берлиоза под управлением Балакирева с хором и оркестром Бесплатной музыкальной школы. Впервые цитируются неизвестные ранее дневники Ильи Федоровича Тюменева — певца, аккомпаниатора, второго дирижера Думского кружка. По дневникам Тюменева и письмам Бермана характеризуется исторический показ «Хованщины» Мусоргского на квартире Филиппова в ноябре 1880 года и приводится список присутствовавших на нем лиц. Нотный текст песни «Уж ты воля, моя воля» в автографе сравнивается с первым изданием в сборнике из репертуара Думского кружка; делается вывод о значительных изменениях, которым подвергся вариант Мусоргского при публикации его Берманом. Все иллюстрации публикуются также впервые. This paper presents a previously unknown M. P. Mussorgsky’s autograph — the arrangement of the folk song “Uzh ty volya, moya volya” for an unaccompanied male choir; this is its first publication. The manuscript was considered lost; published by us with the consent of the owner of the manuscript (the original is kept in a private collection in Germany). This arrangement was made by Mussorgsky in 1878 at the request of Mikhail Andreevich Berman, head of the Duma circle; the autograph was in the personal archive of the conductor. Our study recreates a vast historical context associated with the creative Mussorgsky’s environment in the late 1870s. First of all, this concerns the figure of Tertii Ivanovich Filippov, a friend of the members of the New Russian School, who cared about the preservation of Russian folk songs (which were recorded from his voice by Vilboa, Mussorgsky and Rimsky-Korsakov). A characteristic is given of Mussorgsky’s friendly and creative contacts with members of the Duma Circle. The figure of the St. Petersburg choirmaster M. A. Berman, who ordered several song arrangements for the male choir from Mussorgsky, is presented in a new way. The participation of the Duma circle in the performance of “Te Deum” by Berlioz under the direction of Balakirev with the choir and orchestra of the Free Music School is highlighted. For the first time, previously unknown materials from the diaries of Ilya Fedorovich Tyumenev, singer, accompanist, second conductor of the Duma circle, are cited. According to Tyumenev’s diaries and Berman’s letters, the historical display of Mussorgsky’s “Khovanshchina” at Filippov’s apartment on November 1880 is characterized and a list of those who were present at it is given. The musical text of the song “Uzh ty volya, moya volya” is compared in the autograph with the first edition, a conclusion is made about the significant changes that Mussorgsky’s version has undergone. All illustrations are also published for the first time.
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Bentes, Anna Christina. "Processos de referenciação em duas configurações narrativas: o conto popular e a estória oral." Cadernos de Estudos Lingüísticos 41 (September 12, 2011): 177–89. http://dx.doi.org/10.20396/cel.v41i0.8637009.
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This article describes how narrators from Brazilian Amazon region configurate oral tradition in two different ways. The first way, called “folk-tale” is characterized considering the fact that narrators, when telling their stories, privilege the dimensions of repetition and stability. The second one, called “oral story”, is characterized considering the fact that narrators, when telling their stories, privilege the dimensions of difference and instability. The present analysis of both configurations takes into account two aspects (i) the enunciative situation in which they were produced and (ii) the textual and discursive strategies developed by narrators. Folk-tales present (i) fixed plots, which are common-shared and (ii) referenciation strategies that do not show the discursive instances in which the stories are produced. Oral stories reconstruct tradition radically. In this way, they do not present fixed plots, what makes possible the emergency of versions that are distant from the formulaic nature of oral tradition. Referenciation strategies present in this second narrative configuration are much more varied and they also make possible the emergency of the discursive instances in which narratives are produced.
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Yastrub, Olena. "Musical and educational activities of Mykola Lysenko as a phenomenon of self-identification of the national culture." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 92–104. http://dx.doi.org/10.34064/khnum1-55.07.
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Formulation of the problem. In the globalized time-space of the 21st century, the musical heritage left by M.V. Lysenko motivates to comprehend at a new level the phenomenon of the creative universalism of the artist, the multiple manifestations of his musical-social, educational, ethnographic and composing activities. Given the importance of the choral singing for nurturing the national consciousness of young musicians, the role of M. Lysenko’s opera heritage for children and adolescents should be noted. The choice of the theme was actualized by the iconic premiere of M. Lysenko’s children’s opera called “Winter and Spring” (2017) at the Great Hall of Kharkiv National University of Arts named after I.P. Kotlyarevsky,performed by young performers, which coincided with honouring the memory of the great Kobzar (the 175th anniversary since his birthday). In particular, the orchestration was performed by Yelizar Pashchenko, the stage director – Sofia Melnikova; the conductor –the author of the article. Thus, M. Lysenko’s children’s opera is still relevant for young artists in terms of their professional and national self-growth. The purpose of the article is to systematize the manifestations of artistic universalism in the activities of M.V. Lysenko in the aspect of phenomenology of the creativity of the composer on the example of the genre of children’s opera. The object of the study is the Ukrainian music tradition; the subject – music-educational activity of M. Lysenko in the aspect of its actualization in the contemporary cultural and artistic space. The analysis of recent publications on the topic. The reflection of M.V. Lysenko’s creative heritage in its aspects was performed in the studies by the classics of Ukrainian studies (K. Kvitka (1986), M. Rylsky (1927), O. Pchilka (1913a, 1913b), L. Arhimovych, M. Gordiychuk (1992)), and by the modern scholars (L. Corniy (2011), S. Grytsa (2007)). One of the fundamental editions is the book-album called “Mykola Lysenko’s World. National identity, music and politics of Ukraine of the 19th– the beginning of the 20thcenturies»(compiled by T. Bulat and T. Filenko (2009)). However, there is no phenomenological approach to the master’s creative work in these sources. The presentation of the main material. M. Lysenko was a personality gifted with many talents, at that time he was presenting the figure of a universal personality – on the one hand, an intellectual, and on the other – an educator. He read in the original language the works by Russian, Polish, German, French writers (Dumas, Eugene Sue), independently studied the works by R. Schuman and R. Wagner, Y.S. Bach, performed virtuosic compositions by F. Liszt. The manifestations of the artistic universalism of M.V. Lysenko as a criterion of the composer’s activity in the light of the problem of self-identification of Ukrainian culture at the stage of its formation have been systematized. The composer’s outlook and aspects of his creative life have been characterized. Lysenko’s music-educational activities began the process of democratization of music education in Kyiv. So, in 1904 he opened the School of Drama and Music. He focused on the programs of Moscow and St. Petersburg Conservatories. Therefore, on the stage of the educational institution the authors of the modern version of the opera “Winter and Spring” take the ideas of the founder of the national musical culture. Their purpose was to preserve the holistic concept of the development of the musical form of the opera. The ancient folk intonations, the expressive and difficult in the technical performancesub-voices, the varied and original use of the fret, reflected in the melody of children’skolyadka (carols) and vesnyanka (spring songs), helped the young performers to achieve some level of the performing skills. It should be noted that the final choir (vesnyanka) “And it’s spring already, and it’s already good”, as well as the choral scenes of carolling and spring celebrations are in low demand in the modern choral performance and need to be popularized. For example, the choral scene that begins with the kolyadka called “Herod Is Damned” can be performed as a compulsory piece at children’s choral competitions in Ukraine. The opera is quite technically difficult to perform. Children’s mass scenes “cement” the opera’s musical material. The choir of the younger age children performed the first choral song “Go, Go, Let’s Meet”, built on the invocative intonation of the big tertiary, there are jumps on octave and the fifth; by means of harmonization, the composer gives a colourful sounding to the choir’s kolyadka and shchedrivka (New Year Ukrainian song). Conclusions. In the choral scene of the children’s opera called “Winter and Spring”, the composer applied such techniques as: the combination of shchedrivka and kolyadka in the choir “New Joy Began”; the techniques of folk polyphony: unison chants (vesnyanka “Cuckoo in the Meadow”), the tertiary doubles and octave thickenings (the ancient kolyadka “Herod Is Damned”); the original means of vocal-choral writing (the final choir “And it’s spring already, and it’s already good”). Thus, M. Lysenko’s creativity is filled, on the one hand, with the love to Ukrainian folklore, and on the other, with the perception of the European spiritual values of the music world, where Ukraine should take its rightful place. This is the phenomenon of self-identification of the professional activity of the great composer and figure of musical culture, which is inherited by the modern musicians of Kharkiv
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Dostovalova, D.A., N.S. Podgorodetsky, A.Z. Glukhov, and D.V. Syshchykov. "Study of a number of edaphic indicators of the substrate of coal rock dumps." Industrial bitany 23, no. 4 (2024): 54–58. https://doi.org/10.5281/zenodo.10566135.
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The results of studies of the edaphic parameters of the upper layers of the substrate of reclaimed and uncultivated coal rock dumps of three mining and coal-processing enterprises of Donbass are presented. It was found that after the reclamation measures, there is a decrease in the salinity of the upper layers by 1.5–2 times. There is also a 2-fold increase in the content of organic matter. The upper layers of all the studied dumps are characterized by a very low supply of ammonium nitrogen. A high level of carbon dioxide emissions is observed on the northern slope of the 5/6 mine dump, presumably due to the greater functional activity of soil organisms. On the southern slope, due to the lower moisture content of the substrate, less developed plant communities and a micro-cenosis with a small biomass are formed, which leads to a 2-fold decrease in carbon dioxide emissions. Reclamation measures have partially led to a reduction in carbon dioxide emissions from the soil.
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Mendes Junior, Walcler de Lima. "O miscigenado brasileiro e o assimilado australiano: discursos da etno-musicologia nas duas ex-colônias europeias." Interfaces Científicas - Humanas e Sociais 3, no. 2 (2015): 59–70. http://dx.doi.org/10.17564/2316-3801.2015v3n2p59-70.
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O artigo aqui apresentado configura-se como uma análise etnográfica comparada dos processos de colonização e formação de identidade nacional no Brasil e na Austrália. O artigo configura-se também como resultado de minha pesquisa na Austrália junto aos departamentos de sociologia e antropologia da Universidade de Newcastle, NSW, com a colaboração dos professores Nick Higginbothan e John Maynnard. Tomo por objeto empírico a produção da música popular australiana com características étnicas no intuito de analisar certas relações entre a forma de se pensar a música popular na Austrália, em especial o Rock, o Country e o Folk de músicos aborígenes.
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SHPYK, Igor. "Bulgarian-Ukrainian Relations in the Late Middle Ages in the Works of Ukrainian Scholars of the 19th–First Quarter of the 20th Century." Problems of slavonic studies 70 (2021): 22–30. http://dx.doi.org/10.30970/sls.2021.70.3754.
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Background: One of the least researched periods of Bulgarian-Ukrainian intercul-tural dialogue is late Middle Ages period. It is explained by the low number of sources and their fragmented character, and mainly by incomplete methodology of their pro-cessing, lack of respective conceptual approaches, which are still applied, despite seri-ous criticism. In the second part of the 20th century Ukrainian Slavic Studies, being under mo-nopoly influence of the Russian historiographic patterns, fully accepted the concept of the “second South Slavic influence”, artificially adapting it to the Ukrainian late Middle Ages history. Definitely it was not beneficial for it as self-sufficient processes of reli-gious and cultural relations of Ukraine-Rus with Bulgaria of the 14th–15th centuries were narrowed down only to one abstract phenomenon, which main recipient undoubt-edly was Moscow. Purpose: Modern Ukrainian researchers continue using the term “second South Slavic influence”, and this automatically makes their texts not only a bit terminologically vague, but often retranslates outdated historiographic patterns with clearly expressed myth-making elements. To finally neutralize the afore-mentioned tendency, one should refer back to the origins of our national historiography that includes alternative interpre-tations of cultural relations of Ukraine-Rus with Bulgaria and other South Slavic coun-tries in the late Middle Ages period. Their subsequent analysis is the man objective of this article. Results: Ukrainian scholars of the 19th – first quarter of the 20th century rigorous-ly studied all the aspects of Bulgarian-Ukrainian relations of the late Middle Ages peri-od known at that time. I. Franko and М. Hrushevsky contributed to these studies the most, and some of their opinions are based both on the in-depth knowledge of Ukraini-an and Bulgarian cultural and religious life, and the results of comparative analysis of the respective book and literary monuments, therefore they are still scientifically topical. At the same time, materials of all these studies, irrespective of their scientific value, is an inseparable part of Ukrainian Slavic researchers’ knowledge about the place of their cul-tural heritage within the system of interslavic relations of ancient times. Key words: Bulgaria, Ukraine-Rus, cultural relations, “second South Slavic influ-ence”, the late Middle Ages, Ukrainian Slavic Studies. Dashkevich, N., 1904. Several facts on Rus’ communication with South Slavs in Lith-uanian-Polish period of its history, including dumas. Kievan Anthology dedicated to Т. D. Florinsky. Kiev, pp.117–137. (In Russian) Franko, I. Ya., 1981. Collection of works. In 50 volumes, 30. Kyyiv: Naukova dumka. (In Ukrainian) Franko, I. Ya., 1984. Collection of works. In 50 volumes, 41. Kyyiv: Naukova dumka. (In Ukrainian) Franko, I., 1899. Apocrypha and legends from Ukrainian manuscripts. The Monu-ments of the Ukrainian-Russian Language and Literature, 2. L"viv. (In Ukrainian) Franko, I., 1913. Studies of the Ukrainian Folk Sngs, 1 L"viv. (In Ukrainian) Hnatyuk, V., 1906. Relations of Ukrainians with Serbs. Collection of scientific articles dedicated to Prof. Mykhailo Hrushevsky by his students and supporters to celebrate the 10th anniversary of His scientific activitiy in Halychyna (1894–1904). L"viv, pp.373–408. (In Ukrainian) Hojnackіj, A., 1873. Life and activity of the hierarch Cyprian, Metropolitan of Kiev and Moscow in Volyn region. Volyn Eparchial Journal. Unofficial Section, 14, с.497–503. (In Russian) Hrushevs"kyj, M. S., 1992. From the history of religious thought in Ukraine. Kyyiv: Osvita. (In Ukrainian) Hrushevs"kyj, M. S., 1994. History of Ukraine-Rus' : vols. 1–10 (in 12 books), 5–6. Kyyiv: Naukova dumka. (In Ukrainian) Hrushevs"kyj, M. S., 1995. History of Ukrainian literature, 5/1. Kyyiv: Lybid. (In Ukrainian) Hryhorash, N., 2007. Ukrainian Literary Bulgarian Studies of the 19th – middle of the 20th century: schools and personalities. Veliko T"rnovo: Universitetsko izdatelstvo “Sv. sv. Kiril i Metodij”. (Іn Bulgarian) Kaluzhnjackij, E. І., 1878. Overview of Slavic-Russian monuments of language and writing, kept in Lvov libraries and archives. Proceedings of the Third Archeological Congress in Russia, held in Kiev in August of 1874, 2, pp.213–321. (In Russian) Kryzhanovskіj, G., 1886. Kamianets-Strumilov tetro-Gospel of 1411 and Volyn dialect in the 14th–15th centuries. Volyn Eparchial Journal. Unofficial Section, 17, pp.502–509; 18, pp.531–543. (In Russian) Lihachev, D. S., 1958. Certain tasks of studying the second South Slavic influence in Russia. Moskva: Publishing house of the Academy of Sciences of the USSR. (In Russian) Myshanych, S. V., 1974. Comparative study of the epic literature of the Ukrainian and South Slavic peoples. Folklore and Ethnography, 4, pp.24–37. (In Ukrainian) Rybinskij, V., 1891. Kiev Metropolitan Cathedral from the half of the 13th to the end of the 16th century. Kіev": Tipografіja G. T. Korchak"-Novickago. (In Russian) Shchepkin, V. N., 1967. Russian paleography. Moskva: Nauka. (In Russian) Shhurat, V., 1895. The Monk’s Republic in the Mount Athos. L"viv: Publishing house of the Scientific Association Shevchenko. (In Ukrainian) Sobolevskij, A. I., 1894. South Slavic influence on the Russian language and writing in the 14th–15th centuries. Report, delivered at the annual event of the Archeological Insti-tute on March 8, 1894. Sankt-Peterburg: Tipografija M. Merkusheva. (In Russian) Sohan', P. S., 1976. Outline of history of Ukrainian-Bulgarian relations. Kiev: Naukova dumka. (In Russian) Stepovyk, D. V., 1975. Ukrainian-Bulgarian art relations. Kyyiv: Naukova dumka. (In Ukrainian) Svyencicz`ky`j, I., 1922. Decoration of Manuscripts of Galician Ukraine XVI-го віку, 1–3. Zhovkva: Ex officina Monasterii O. s. Basilii Magni. (In Ukrainian) Venelin, Ju., 1835. On Folk Songs of Transdanube Slavs. Moskva: Tipografija N. Stepanova. (In Russian) Worth, D., 1983. The so called “second South Slavic influence” in the history of Russian literary language. 9th International Congress of Slavis Studies Scholars (Kiev, September 1983). Abstracts of reports and articles. Moskva, рр.222–223. (In Russian) Wozniak, M., 1992. History of Ukrainian literature: In 2 books. L"viv: Svit. (In Ukrainian) Zhukovskaja, L. P., 1987. Greek influence and archiazation of the Russian language of the second half of the 15th – first half of the 16th centuries (On the falseness of the notion “second South Slavic influence”). Old Russian literary language in its relation to the Old Slavic language, pp.144–176. (In Russian)
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Derevyanchenko, Olena. "Neo-folkloristic trends in the work of Mykhailo Verikyvskyi and the prospects of their implementation in modern Ukrainian music." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(62) (March 28, 2024): 69–91. https://doi.org/10.31318/2414-052x.1(62).2024.304968.
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Mykhailo Verykivskyi's work is considered in the context of the development of neofolklorism in Ukrainian music. The author used a complex approach to the study of the work of this artist, which combines general scientific methods of analysis, synthesis, generalization and special scientific ones — source studies, history, genre, style. The prerequisites of Mykhailo Verikyvskyi's neo-folkloristic searches became factors in the development of his creative personality: the musical traditions of his family and his native city of Kremenets, the creative assimilation of the pedagogical instructions of Boleslav Yavorskyi during his studies at the Kyiv Conservatory, the socio-cultural context of the 1920s. In the works of the composer, the following signs of the creative method and features of the style of neo-folklorism are revealed: an appeal to ritual archaism, genre and structural archetypes of Ukrainian song and instrumental folklore, a combination of the deep foundations of folklore thinking with technical-compositional and stylistic means of the modernist era (emancipation of dissonance, new-mode searches, dynamization metro-rhythmic and textural factors, polyphonization of the musical fabric, integration of the horizontal and vertical according to the principle of intonation commonality, multi-level reproduction of the tonal and logicalconstructive potential of the theme, etc.). The neo-folkloristic tendencies initiated by Mykhailo Verykivskyi in Ukrainian music were summarized according to the following scheme: the first is an appeal to authentic folk-poetic texts (the oratorio "Duma pro divkг-branka", 1923); the second — the creation of original works on folk themes (neo-folkloristic compositions) in chamber instrumental music ("Five Pieces on Folk Themes for String Quartet", 1921) and symphonic music ("Vesnyanka", 1924); the third is the formation of new types of genres of professional and academic creativity on the basis of composers' deep penetration into the folk system of artistic thinking (folk oratorio, folk ballet, folk suite, folk quartet, etc.). It is concluded that Mykhailo Verykivskyi is one of the founders of neo-folklorism in Ukrainian chamber-instrumental, symphonic, vocal-symphonic and ballet music, who developed the intentions of Mykola Lysenko and Mykola Leontovych to a new level and contributed to the formation of epic-dramatic and ritual-mythological image-genres vectors of Ukrainian musical neo-folklorism.
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Yerzhykivska, Nataliia. "UKRAINIAN THEMES IN THE EARLY WORSK OF JULIUSZ SŁOWACKI." Polish Studies of Kyiv, no. 39 (2023): 161–92. http://dx.doi.org/10.17721/psk.2023.39.161-192.
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The article pays attention to the fullest possible identification of the content background of the early work of Juliusz Słowacki “Ukrainian Duma”, dated [Vilno, August 26, 1826], which literary experts consider to be part of the Vilnius-Kremenets creative period. Emphasized attention is paid to the fact that the poet begins his work at a time when the Ukrainian trend, later defined as the “Ukrainian school” in Polish romantic writing, has already clearly manifested itself in the work of its leading representatives. It is emphasized that the poem contains elements of folk songs that were sung throughout Ukraine in the 16th – 18th centuries. Consistency with the persuasive arguments of Ukrainian folklorist R. Kyrchiv is asserted, namely: the novice author does not imitate, adapt or rephrase Ukrainian folk songs, but only interprets them as material for a poetic synthesis; he also does not use those song texts on which B. Zaleski’s poetry is based. It is emphasized that the author of “Ukrainian Duma” testified to his early interest in Polish and Ukrainian folk song primary sources. It is speculated that J. Słowacki looked closely at Polish translations of Ukrainian song texts, their reprints and various kinds of adaptations, and also showed interest in Stavropol literature and the works of contemporary poets, in particular A. Malczewski. Typological parallels with shades of poetry by A. Czahrowski and B. Zimorowicz are given. Attention is drawn to the artistic features of “Ukrainian Duma” – interestingly composed, as for a novice poet, and sufficiently original integral work written in a rhythmic language (choreated eight-syllable). In the sylabotic system, the two-syllable foot, in which the rhythmic accent falls on the first syllable, is usually odd. The poem has 195 lines and has all the appropriate plot elements. The textual canvas of the “Ukrainian Duma” by J. Słowacki was analyzed and interpreted according to its conventional division into two parts: “I. Farewell” and “II. Despair”, the unfolding of which is accompanied by a narrator who forms the structure of the story and ensures the integrity of the composition; he performs the roles of narrator, observer and witness. In order to pay more attention to the plot-compositional organization of the poem, a division into separate fragments with conventional names corresponding to each aspect is also applied. Three fragments are included in the first part: “Runko and Hanka – narrator’s presentation of the characters”, “Farewell of lovers”, “Attack of the Tatars”. The following six fragments are included in the second part: “Runka’s Path to Hanka”, “Despair”, “Reflections on the Fate of a Cossack”, “Despair”, “Sad News...” and “Afterword”. The specified type of narration, used by the writer, that is, he belongs to the omniscient objective auctorial narrator who conducts the story and intervenes in it: dialogue with the characters in the form of questions-answers, reasoning, reflections, evaluations, comments and summaries. It is about the clothes and musical instrument (bardon) of the main character Runka. The research cites reviews of Polish and Ukrainian scientists, as well as individual fragments of translations of the “Ukrainian Duma” from Polish to Ukrainian by M. Zisman and R. Lubkivskyi. The author of the article is inclined to see in the poem “Ukrainian Duma” by J. Słowacki, which has overcome a difficult path to the reader (first published in 1866), as inspired student sketches of poetry for later mature lyrical and dramatic texts, which are full of glorious and tragic pages of past events and visions of the future of Poland and Ukraine.
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Ria Ghosh, Tumpa Hazra, Indranil Mukherjee, et al. "Evaluating the environmental effects of open dumps and waste farming: A case study." Ecological Questions 35, no. 4 (2024): 1–27. http://dx.doi.org/10.12775/eq.2024.046.
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Dhapa, the landfill situated in Kolkata, is a very active site for municipal dumping. A humongous amount of municipal solid waste is added in this dump daily and the nearby farmlands produce a significant yield for the local population. The current study seeks to examine the environmental associated with leachate migration due to open dumping of unsorted solid waste in Dhapa, Kolkata, India. Also, the second goal of the study is to assess the risk to public health associated with the consumption of agricultural products possibly contaminated with heavy metals through soil and groundwater. The seasonal soil and groundwater sample, and samples of products grown near the landfill were collected around the periphery of Dhapa. The presence of heavy metals in the samples was determined using classical methods in a specialized laboratory. The soil and groundwater results compared to FAO/WHO, and BIS/WHO was found that toxic metal Cd, Cr, Zn, Pb & Hg were present in high concentrations. For the vegetables grown at the site fields, multiple samples were collected as multiple different vegetables are grown around the year, it was found that mainly Cd, Cr, Zn, Pb and Hg exceeding Indian permissible standards of consumptions many fold. Finally by the use of multiple indices like Average Daily Dose (ADD) & Chronic Daily Intake (CDI) along with Hazard Quotient (HQ) it was found that carcinogenic risk, on human health, was highest in the ground water and vegetables. The current study fills the gap associated with the scientific substantiation of actively developing environmental hazards at the regional level.
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Renó, Denis Porto, and Lívia Maria de Oliveira Furlan. "A folkcomunicação imagética de Sebastião Salgado no retrato de políticas sociais e ambientais." Revista Internacional de Folkcomunicação 19, no. 43 (2021): 303–17. http://dx.doi.org/10.5212/rif.v.19.i43.0017.
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O discurso folkcomunicacional é amplamente diversificado. Afinal, ela se estabelece onde e quando os grupos marginalizados têm necessidade de voz. Entretanto, quando se pensa em folkcomunicação, tende-se a projetar tais discursos a manifestações tradicionalmente populares. Por isso, desenvolvemos este artigo, que tem como objetivo posicionar a fotorreportagem como um discurso folkcomunicacional, colocando o fotógrafo como agente folk. Para tanto, analisamos o contrato de leitura de Sebastião Salgado em duas de suas obras - Êxodos e Gênesis -, com um cariz formativo e reflexivo sobre o fotógrafo. Espera-se, com a conclusão deste artigo, que novos olhares sejam lançados aos fotorrepórteres, que ocupam através da imagem a função de tradutor do povo.
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Bolgar, Vitaliy. "Synthesis of Scientific and Creative Picture of the World on the Example of the Genre of Thought in the Research of F. Kolessa and the Composer's Interpretation of D. Sichinsky." Ukrainian musicology 46 (October 27, 2020): 140–51. http://dx.doi.org/10.31318/0130-5298.2020.46.234612.
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The relevance and novelty of the research lies in the specific nature of the musical tradition in the context of the relationship between scientific and creative picture of the world, especially folk art, which has always been central in the research of Ukrainian historians, ethnographers, folklorists (scientific field), and also was the main vector in the works of many composers: M. Lysenko, K. Stetsenko, S. Lyudkevych, F. Kolessa, D. Sichynsky, L. Dychko, M. Skoryk, and others (creative sphere). A striking example of this phenomenon is the Duma - one of the brightest "pages" of Ukrainian folklore. Since its inception, this genre has taken an honorable place among the many assets of Ukrainian folk art. Representing a vivid example of a heroic epic, Duma (as well as numerous historical songs, which is stylistically close) is a kind of evidence of the Cossacks, the history of the XVIXVIII centuries, presented in artistic rethinking, creative reflection of kobza and lyric environment. Research methods: historical - reveals the process of formation of the ethnographic approach to the study of Ukrainian thoughts in the scientific activity of M. Lysenko, S. Lyudkevych, O. Slаstion, F. Kolessa and others. Analytical - the method of holistic analysis of the work allows to reveal the ways of interpretation of the genre of thought by means of the academic musical tradition. Comparative - used to compare the methodological approach in relation to the genre of the Ukrainian Duma in the authentic version and its subsequent composer's embodiment. The conclusions testify to the fact that in the existence of this genre features of both scientific and creative picture of the world, manifested in the diversity and versatility of its sound: authentic documentary recording and composer's rethinking in the author's musical works of the classical tradition. The theoretical propositions are supported by a historical summary that highlights the formation of folklore ethnography in Ukraine. In particular, the personalities of F. Kolessa, N. Lysenko, D. Sichynsky lend themselves to more detailed consideration. Their role in the formation of musical ethnography in Ukraine is determined. On the example of a holistic analysis of D. Sichynsky's "Think about Nechay", the main composer means of the classical academic tradition, expressing the authentic sound of the thought, were determined.
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Galery, Maria Clara Versiani. "Romance de Romeu e Julieta: tradução, memória e cultura popular." Aletria: Revista de Estudos de Literatura 13, no. 1 (2005): 155–64. http://dx.doi.org/10.17851/2317-2096.13.1.155-164.
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Resumo: Este artigo examina as semelhanças entre memória e tradução, ao mesmo tempo em que tece uma reflexão sobre o problema da identidade cultural. O conto de Jorge Luis Borges, “La memoria de Shakespeare”, é explorado como um pretexto para a discussão do convívio entre duas tradições, a erudita e a popular. Valendo-se do conceito de transculturação, este artigo demonstra como o folheto de literatura de cordel Romance de Romeu e Julieta adapta um enredo que Shakespeare tornou conhecido, transportando-o para o contexto do nordeste brasileiro.Palavras-chave: cultura popular; Shakespeare tradução.Abstract: This article explores the similarities between memory and tradition at the same time as it reflects about the issue of cultural identity. “La memoria de Shakespeare”, a short story by Jorge Luis Borges, is explored here as a pretext for the discussion of the inter-relationship between erudite and folk traditions. Making use of the concept of transculturation, this article demonstrates how the chapbook Romance de Romeu e Julieta adapts a plot which Shakespeare has made popular and transports it to the context of the Brazilian northeast.Keywords: folk culture; Shakespeare; translation.
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Polykrates, Gottfried, and Marcelo Victor. "Alguns trabalhos em madeira dos índios Kashuiéna." Revista do Museu de Arqueologia e Etnologia, no. 37 (December 31, 2021): 61–65. http://dx.doi.org/10.11606/issn.2448-1750.revmae.2021.182641.
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Nesse artigo, publicado na Revista Folk, em 1960, Polykrates chama a atenção para a fabricação de objetos em madeira entalhada, por parte dos então nomeados de Kashuiéna (Katxuyana), objetos esses que o autor teria encontrado em uma aldeia às margens do rio Cachorro durante as visitas que fez aquele local (em 1957 e 1958). A partir de suas observações detidas sobre um bastão cerimonial e de duas tabuletas com acessórios, segundo ele para aspirar substâncias alucinógenas, nesse texto, Polykrates apresenta descrições e fotos sobre tais objetos e chama atenção para a importância de seu registro e aquisição pelo Museu Nacional de Copenhagem (Dinamarca), evitando-se assim o perigo da perda desses artefatos por eventual desuso por parte dos Katxuyana.
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Boldyrev, Volodymir. "A folk song in the repertory of a vocalist as the way of forming multicultural performing traditions." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 181–92. http://dx.doi.org/10.34064/khnum1-50.13.
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Background. The article is devoted to the scientific-methodical analysis of the phenomenon of a folk songs assimilation into the multicultural vocal tradition. A folk song is presented in the aspect of national self-consciousness and plurality of modern performing traditions in the conditions of multi-stylistic cultural attitude. The relevance of the topic is the theoretical comprehension of the role of a folk song and singing in multicultural context. The purpose of the research is a comprehension of the phenomenon of the folk songs assimilation in multicultural vocal traditions under the new wave of interest in national dimension of “West – East” and necessity of quality vocal education of rising Chinese students-vocalists. The article based on the studies of materials of curriculums, methodical elaborations and manuals developed in the department of solo singing at Kharkiv National I. P. Kotlyarevsky University of Arts. Research results. Modern multicultural performing traditions in conditions of expanding geography of creative experience exchange needs in new philosophical and scientific-methodical comprehension. Based on variety international cultural programs there are traineeship groups, exchange of students and teachers, presentations of common creative projects. The modern cultural background of Ukraine is enriched with unique concerts of Chinese students performing not only classical repertoire, but Chinese folk songs as well. Methodical comprehension of stylistic layers and ways of formation of multicultural traditions occurs according to the methods of comparison of general intonations in folk songs. Vocal methodic of sound extractions is founded on general grounds, regardless of national specificity, however, the comparison and plurality make the process of performing reproduction of vocal styles more accessible for comprehension by students. The issues of national certainty and vocal-technical skills, interpretative experience in the concert forms and singing genres are considered in the research. The innovative aspect of the topic disclosure is the involvement of Chinese folk songs and pieces by Chinese composers in interaction with pieces by Italian and Ukrainian composers in the repertory of the learning vocalists. The practical task is to reveal the multi-national potential of musical mindset of contemporary singers in the context of the steady tendency to the mental-stylistic plurality in the art of the 21st century. It is proved that the vocal-technical learning of general world experience occurs through the recognition of the plurality of stylistic features of folk songs. The folk song is the “cornerstone” of the performing tradition, the basis of the vocal repertoire of any national school. It is included in a composition of compulsory pieces for participation in national and international vocal competitions. Thanks to the folk song what is the carrier of the ancient information and performing features included by previous singer generations, a deep connection of the artist with folk-song traditions occurs. The category “folk singing” is a coherent entity that contains the minimum set of information what includes distinctive harmonic figures, instrumentation, texture, acoustic features of rendition. The traditional Chinese song, based on pentatonic scale, becomes an illustration of the national “general intonation”. "Sense" of an entire tone for the formation of the purity of vocal intonation assumes an exclusive meaning. The success in acquisition of pentatonic melodies is provided due to similarity of intonation sets what are typical for musical cultures of different nations over the world. The folk song in the repertoire of the learning vocalist is a reflection of the multicultural traditions in the conditions of the domination of academic vocal culture. The study of the melodics of the song and its harmony and form peculiarities contributes to the adaptation of the singer’s mindset to the alternative mental principles of vocal art and to the universalism of mindset in the forming of professional academic performing. The Chinese folk song, the Ukrainian duma, East mugham singing and other similar reflect the spiritual world of folk reproducing historical antiquity. Therefore, the folk song as an integral part of the modern repertoire in vast enriches the intonation, spiritually-aesthetic and cultural fund of a vocalist. The conclusions summarize the complexity of the problem, the components of which are the adapting of mindset to the alternative mental bases of vocal art and rising of universalism in conditions of multi-stylistic plurality. The bases of formation of multicultural traditions are generalized: the comparison of stylistic layers; exploring the general world experience through the national certainty (basic vocal repertoire as a synthesis of stylistic plurality); vocal-technical equipment, the comparison of melodic, harmonic and tempo-rhythmic principles of differrent folk songs; rendition of the folk song in the original language. All of these bases reveal the content of the movement to the formation of multicultural performing traditions in order to advance of the professional academic background.
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Barros, Luitgarde. "CANGAÇO: MEMÓRIA, HISTÓRIA, ARTE OU ESTRATÉGIA DE DOMINAÇÃO?" Revista Épicas 12, dez22 (2022): 80–105. http://dx.doi.org/10.47044/2527-080x.2022v12.80105.
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Este artigo trata do cangaço e da literatura de cordel, duas categorias de fenômenos sociais e literários típicos do Nordeste brasileiro. O cangaço, máxima expressão da violência requer, para sua compreensão, análises de Ciência Política, diferentes concepções de História e Memória, além de pesquisas de campo, documentais e análises da imprensa do período de sua existência. Os estudos da literatura de cordel ou literatura popular, requerem consulta a bibliotecas de centenas de obras de cordelistas, predominantemente louvando ou criticando aquele tipo de violência. Em diferentes momentos, a literatura de cordel expressa o que Ivan Cavalcanti Proença denomina “A Ideologia do Cordel”. Estuda-se, para seu entendimento o conceito de Folk-Comunicação, único conceito de Teoria da Comunicação elaborado no Brasil, pelo intelectual nordestino, Luíz Beltrão.
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I.I., Korshikov, Krasnoshtan O.V., Terlyga N.S., and Mazur A.E. "Natural renewal of Pinus pallasiana D. Don on a iron ore dump in Kriviy Rig region." Plant Introduction 28 (December 1, 2005): 46–51. https://doi.org/10.5281/zenodo.2584227.
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The article provides a description of renewal phenomenon of <em>Pinus pallasiana</em> D. Don on iron ore dumps in Kriviy Rig region. The phenomenon takes place around 25–30 year old stands of this species which were formerly planted during the reclamation of the dump. The area of <em>P. pallasiana</em> introduction micropopulations forming of the dump exceeds ten fold that of initial stands. Vital state of self sown stand is good. Its age composition varies from 2 to 10 years, the density being 7–80 specimens per 100 m<sup>2</sup>.