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Journal articles on the topic 'Ivan Trush'
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1
KOCHERHA, Svitlana, and Oleksandra VISYCH. "CRIMEAN TRAVELOGUES BY LESYA UKRAINKA AND IVAN TRUSH: INTERMEDIAL PARALLELS." INNOVATIONS IN THE SCIENTIFIC, TECHNICAL AND SOCIAL ECOSYSTEMS 1, no. 7 (2023): 58–80. http://dx.doi.org/10.56378/skov20230909.
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The Purpose of the Study is to present the results of the research on the artistic approaches undertaken by painter Ivan Trush and writer Lesya Ukrainka in capturing the multidimensional essence of Crimea. Both artists are prominent representatives of the Ukrainian modernistic culture of the late 19th and early 20th centuries. They paid great attention to the representation of natural and cultural landscapes that inspired European artists. For the first time, the subject of analysis in the article is a comparison of the Crimean discourse by representatives of different art forms, which is the Novelty of the Study. The Мethodology. The topic is comprehended through intermedial interpretation, which involves examining how various artistic forms interact and influence one another. Additionally, the study employs elements of imagological analysis as a branch of comparative studies, delving into cultural images and stereotypes presented in the artists’ works. The Conclusions. The paper proves that Lesya Ukrainka and Ivan Trush expanded the palette of national art with traveling motifs. The Crimean trips played an important role in shaping the creative personality of both authors. In several of their works, mirror impressions are captured through different art forms. Both Trush and Lesya Ukrainka proved to be masters of marine landscapes and mountain views. Both poeticized the exotic vegetation of the Crimea in their travelogues. The poet and painter discovered Crimean Tatar culture, which is represented by images of religious buildings and ethnic peculiarities of local people’s clothing. With their Crimean texts, Lesya Ukrainka and Ivan Trush significantly enriched the traditional picture of the Ukrainian world. The results acquired can serve as a foundational platform for subsequent scholarly inquiries into the intricate cultural interplay between Ukrainian and Crimean Tatar heritages, grounded in the analysis of visual and literary artistic expressions
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Ямаш, Юрій. "ДИСКУРС ТРУША З ПИТАННЯ ПЕРСПЕКТИВ РОЗВИТКУ ФОТОГРАФІЇ НА МЕЖІ ХІХ – ХХ СТ." European Science, sge12-01 (30 вересня 2019): 141–57. http://dx.doi.org/10.30890/2709-2313.2022-12-01-010.
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The material of the section is devoted to the theoretical expositions of the famous Ukrainian artist and art critic Ivan Trush on the problems and prospects of the development of photography at the turn of the 19th and early 20th centuries. His conclusio
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Yamash, Yurii, Inna Prokopchuk, Mariana Pelekh, Olena Padovska, and Olena Zherebetska. "Theme of Flowers as a Sign of Impressionism on the Example of the Work of Ivan Trush (1869-1941)." Herança 7, no. 1 (2023): 126–35. http://dx.doi.org/10.52152/heranca.v7i1.812.
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The end of the 19th and the beginning of the 20th century in art are associated with light and color in Europe, which were characteristic of the artistic philosophy of Impressionism. Prominent representatives of this movement created artworks based on a new approach to color choices and subject matter, including the depiction of real landscapes and floral compositions. The relevance of this research is driven by the need to study the artistic representation of floral compositions by the Ukrainian artist I. Trush through the prism of Impressionist stylistic elements. The research aims to identify the features of Impressionist philosophy in the works of I. Trush through a comparison of the artist's body of work with that of Impressionist contemporaries in the field of visual arts. In this research, scientific methods such as description, systematization, analysis, comparison, cultural-historical analysis, and generalization were employed. As a result of this scientific investigation, the fundamental characteristic traits of Impressionism as an art style in visual arts were studied, as well as the particular features that distinguish this artistic movement from previous artistic philosophies. The research also analyzed the conceptual framework of the term "Impressionism" and its origins. Furthermore, it examined the characteristic traits and features of the works of the Ukrainian painter I. Trush and Impressionist artists, allowing for the integration of the distinctive traits and features of Impressionism in the artist's work through comparison. Through the comparative analysis conducted in this scientific work between Impressionists and the artistic output of I. Trush, the involvement of the Ukrainian artist in the broader Impressionist movement was highlighted. This research can be utilized by scholars and art historians for further exploration of Impressionism as an artistic movement and its influence on the development of Ukrainian art.
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Юрій, Ямаш. "ЖИВОПИСНИЙ ПРОЦЕС ІВАНА ТРУША: МАТЕРІАЛИ, ІНСТРУМЕНТИ ТА ОБЛАДНАННЯ". ВІСНИК Львівської національної академії мистецтв, № 27 (17 листопада 2015): 23–35. https://doi.org/10.5281/zenodo.33913.
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Conducted research of technical conditions of painting process of Ivan Trush shows his adherence to oil technique of performance using specific range of high quality paints of French company “LEFRA ne &C PARIS” and Polish producer of art products «Iskra & Karmanski» in Krakow. In the closing stages of the artist’s life this list included Leningrad paints. Cardboard with fine texture using in particular cases imprimatura remained the most common ground for painting. About a quarter of the total number of works are performed on canvas, dykta and plywood. During plein-air work the artist used convertible chair and paint umbrella.
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Іванна, Матковська. "Вплив світоглядних і мистецьких засад Романа Сельського та Карла Звіринського на формування творчої особистості Зеновія Флінти". ВІСНИК Львівської національної академії мистецтв, № 31 (10 травня 2017): 284–94. https://doi.org/10.5281/zenodo.573925.
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The article is devoted to creativity Zenoviy Flint – a talented painter, graphics artist and ceramist, teacher. The influence of teachers' specialty - Roman Selskyi and Karl Zvirynskoho the formation of his artistic style which occurred in the 1960's. Their teaching activities in the Lviv State Institute of Decorative and Applied Arts (now Lviv National Academy of Arts) and the School of Decorative Arts (now Lviv State College of decorative arts Ivan Trush) and other institutions in a totalitarian actually allow students to learn and master the illegal practice polyculture tion of pre-war art city, explore the world and European cultural and artistic heritage.
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Yamash, Yuri. "PAINTING PORTRAIT OF MYKOLA KOSTOMAROV WITH THE BRUSH OF IVAN TRUSH: PROVENANCE, ATTRIBUTION AND EXPERTISE." Sworld-Us Conference proceedings, usc18-01 (May 30, 2023): 129–34. http://dx.doi.org/10.30888/2709-2267.2023-18-01-014.
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In the course of modern research work, a painting portrait depicting an older man was found in one of the private collections. The attribution of the painting was partial; the picture had the author's signature "І. Труш", the date and name (name of the p
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Mocherniuk, Nataliia. "“IN LITERATURE, HE IS AN EXTRAORDINARY ARTIST”: THE INTERMEDIAL EMPHASES OF LITERARY RECEPTIONS OF VASYL STEFANYK’S." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 16(63) (August 26, 2022): 232–44. http://dx.doi.org/10.31471/2304-7402-2022-16(63)-232-244.
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The paper provides an overview of literary studies focusing on the work of Vasyl Stefanyk, in which the reception of short stories draws on vocabulary from different visual arts. In their efforts to unravel the secrets of the writer’s style, scholars often consciously or intuitively compare his artistic style to other arts, using their toolkit. Stepan Smal-Stotsky, Olha Kobylianska, Lesia Ukrainka, Ivan Franko, Bohdan Lepky, Antin Krushelnytskyi, Serhii Yefremov, Ivan Trush, Alexandra Chernenko, Yulian Vassyian, Mykhailyna Kotsyibynsky as well as many current scholars resort to comparisons with graphics, painting, photography and architecture. The focus is on this distinctive perception of the writer’s poetics in connection with attempts to explain his aesthetic and artistic strands. The importance of J. Vassian’s conclusion, whісh considers the artistic world of the writer in comparison with Wagner’s Gesamtkunstwerk, a synthetic and comprehensive work of art, is emphasized. Such a literary vision has a significant interpretive potential in the intermedia aspect and requires further scientific development. It is proved that Stefanyk's artistic word gives impulses to other arts. The latest evidence of this already applies to the art of cinema. Stefanyk is potentially extremely cinematic, as evidenced by modern researchers in their publications.
 Vasyl Stefanyk’s short stories are thus endowed with a great power of influence on other types of art, which should be traced in the following studies.
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Komarytsia, Mariana. "Between aesthetics and ideology: comparative studies of stefanykiana in press of writer’s lifetime." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 13(29) (2021): 31–45. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-3.
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The article focuses on the two vectors of the reception of Vasyl Stefanyk’s legacy — i. e. the aesthetic and the sociological ones — in the reports published in periodicals during the writer’s lifetime. In our opinion, the article “Old and New in Modern Ukrainian Literature” (1904) by Sofia Rusova pub¬lished in Literaturno-Naukovyi Vistnyk (Literary Scientific Herald) as translated into Ukrainian by Ivan Franko including his commentary served as a kind of a (conditional) starting point. It contrasts V. Stefanyk as a “poet of the contemporary dire plight of the people in Galicia” with his ability to convey characters’ mentality and create a powerful emotional background. The paper traces the further development of these two vectors in the 1920s and 1930s. Artistic criteria were closely related to the political situation: in the periodicals of Western Ukraine and the diaspora, the aesthetic approach usually prevailed; whereas the periodicals of Soviet Ukraine focused on the social aspects. The authors of reviews pointed to the individual artistic sense, art background, familiarity with the way of life and mentality of peasants, sensitivity to human suffering and the utter tragedy in the works by V. Ste¬fanyk. Reviewers also severely criticized interference in the language and censorship of the writer’s short stories in Soviet publications, in particular in 1924. A number of publications are comparative in nature. The authors of literary-critical articles and reviews include Ostap Hrytsay, Bohdan Lepky, Vaclav Morachevsky, Klym Polishchuk, Petko Todorov, Ivan Trush, Lesya Uk¬rainka, and others. Keywords: Ukrainian press of the 20th century, reception of Vasyl Stefanyk, aestheticism and sociologism.
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Romanowski, Andrzej. "VASYL STEFANYK’S KRAKOW." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 16(63) (August 26, 2022): 33–37. http://dx.doi.org/10.31471/2304-7402-2022-16(63)-33-37.
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The article revolves around the «dialogue» between Vasyl Stefanyk and cultural, spiritual and literary and artistic Krakow. The purpose of the study is to figure out the role and significance of this European city in the life and work of the Ukrainian classical writer, their mutual influence and relationships. The main research methods rely on biographical and cultural-historical approaches in the analysis of the life facts and short stories of the writer. The results of the study: the author of the article views the city of Krakow as a text and an aesthetic school, which affected the work of a Ukrainian writer, the article traces a pattern of close relationships between Vasyl Stefanyk, Stanislav Przybyshevsky, Vladyslav Orkan, Vaclav Morachevsky, as well as other Ukrainian representatives of the literary and artistic center of then Krakow – Bohdan Lepkyi, Ivan Trush. Rich factual material concerning literary works of Vasyl Stefanyk convincingly proves that many of them were created in the Krakow atmosphere and environment. The scientific novelty of the article is based on the perception of Krakow as a center not only of Polish, but also of European cultures and its relationship with the life and work of the Ukrainian writer Vasyl Stefanyk. The practical significance of the article is that its material can be used in the study of the Vasyl Stefanyk literary legacy, as well as in the study of the Ukrainian-Polish literary and artistic ties.
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Lowack, Viktoria. "The Munich School of Anton Ažbe and its influence on Ukrainian artists." Bulletin of Lviv National Academy of Arts, no. 53 (December 27, 2024): 62–68. https://doi.org/10.37131/2524-0943-2024-53-6.
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The pedagogical method of the Slovenian artist and teacher Anton Ažbe, whose school in Munich during 1891-1905 became one of the most famous educational centers in Europe, is considered. On the basis of memoirs and epistolary of A. Ažbe's pupils the progressive method of teaching and the central principles on which his artistic and pedagogical system was built - "the principle of the ball", "the principle of large lines", "the principle of crystallization of colours", preservation of the pupil's individuality, which in the first quarter of the twentieth century laid the technical and ideological foundations for the development of artistic practices and turned the school into a place of experimentation and creative research - are analyzed. The extraordinary personality of the artist and teacher Anton Ashbe, who had a significant influence on his students, among them prominent figures of European modernism (V. Kandinsky, A. Yavlensky), is emphasized. The influence of Anton Ashbe's central principles, personality and national attitudes on Ukrainian artists who attended his school - Olexander Murashko, Davyd Burliuk, Volodymяr Burliuk, Ivan Trush - and later became central figures of the modernist era in Ukraine. It is noted that the study of Ukrainian artists in Munich, involvement in European educational, cultural, artistic and social networks had a significant impact on their creative biographies and significantly affected the Ukrainian artistic landscape and the development of Ukrainian art in the European paradigm. The importance of the successes of Ukrainian artists on the European artistic scene is emphasized, which are manifested against the background of complex and unfavorable institutional, cultural and financial arrangements of Ukraine's affiliation with a more tolerant (Austro-Hungarian) and more intolerant (Russian) empire.
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Kryshtopa, Mariia. "Anthropology of Art as an Approach to the Study of Ukrainian Painting." Ethnic History of European Nations, no. 71 (2023): 71–77. http://dx.doi.org/10.17721/2518-1270.2023.71.10.
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Anthropology of art arose as a reaction to the need to include works of art in the study of various forms of human life. It is customary to refer to works of art as something made by a person, accordingly, it has an anthropogenic origin, and therefore should be the field of study of anthropology. Art is an embodiment of various socio-cultural processes, an indicator of transformations and an embodiment of progressive social ideas. Art appears as a challenge to established social norms, it denies previous standards and sets new ones. Turning to Ukrainian art, which developed in the context of European currents and trends, it can be argued that it naturally became a reaction to social challenges. Anthropology of art as a field of research opens new perspectives for the study of Ukrainian painting. It can offer a complex of approaches and methods for analysis, understanding of the role and significance of art in the formation of the cultural identity of the Ukrainian people. This work provides an analysis of the essence of the anthropology of art and its potential for the study of Ukrainian culture. Art in this context acts as a source for the study of the cultural characteristics of the people, its specificity and unique features, demonstrating the connection between man, society and the environment. This approach makes it possible to better interpret the symbolic meanings embedded in the works of Ukrainian painting. The works of Mykola Pymonenko, Serhii Vasylkivskyi, KostiantynTrutovskyi, Ivan Trush, and others occupy an important place in the history of Ukrainian culture and play a great role in the study of Ukrainian painting, which allows us to reveal its anthropological essence. An anthropological approach to the study of the work of these artists helps to reveal the connections between art and Ukrainian culture. The artists managed to create works that perfectly recreated the unique outlook of the Ukrainian people, their attitude to nature, religion and social life. The use of tools, methods and approaches of the anthropology of art to the study of Ukrainian painting creates the basis for the formation of an idea about the Ukrainian people, their culture, traditions, everyday life, mentality and worldview. This scientific direction is designed to reveal the characteristic features of the development of Ukrainian painting in the context of world art, general historical events, which, in turn, contributes to the understanding of general trends in the visual arts of this period, the choice of subjects, motifs, styles and directions. This approach makes it possible not to separate the artist from his work, from the political, social and cultural events of this period, comprehensively studying their influence on the ideas of the time.
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Rosenshield, Gary. "Revisiting the Dialectic of Pain and Truth: War and Peace and The Death of Ivan Ilyich." Canadian-American Slavic Studies 48, no. 4 (2014): 448–67. http://dx.doi.org/10.1163/22102396-04804003.
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In his excellent article on the function of pain in The Death of Ivan Ilyich, David Danaher argues that the increasing pain from which Ivan Ilyich suffers throughout the story both kills and resurrects him. Focusing primarily on linguistic devices, Danaher finds support for his thesis in Tolstoy’s use of figurative motifs such as journey and enclosure, oppositions such as light and dark, and thematic words and their derivatives, all of which he examines integrated into a narrative about pain. The focus of my study is different. First of all I deal more directly with physical pain. Some of the important changes that Danaher sees taking place in Ivan Ilyich are not the result of pain per se, but of illness in general. But just as important I also take a more genetic approach. I am interested in not only why Tolstoy chose physical pain as a vehicle to explore Ivan Ilyich’s journey, but why he chose a man like Ivan Ilyich to conduct his experiment. In War and Peace, in which Tolstoy shows no less interest in the relationship between physical pain and enlightenment, he chose a hero antithetical to Ivan Ilyich in almost every respect. For with regard to the portrayal of pain, The Death of Ivan Ilyich is more than a self-contained novel about pain, it is the continuation of an exploratory journey that started in War and Peace, in which the idiosyncratic and romantically imagined experiences of Andrei Bolkonsky in pain are replaced by the more universal and naturalistically portrayed experiences of Ivan Ilyich – and as we shall see – with dramatically different implications for interpretation.
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Korzinin, A. L. "The Phenomenon of Trust in the Testaments of Moscow Grand Dukes in XIV Century." Administrative Consulting, no. 3 (April 30, 2022): 154–71. http://dx.doi.org/10.22394/1726-1139-2022-3-154-171.
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The article is devoted to the investigation of the testaments of Moscow Grand Dukes in the XIV century, contains an analysis of the land holdings and the political role of the Grand Princesses. Based on the study of the testamentary acts of Ivan Kalita, Semyon Ivanovich, Ivan Ivanovich, Dmitry Ivanovich, the agreements of Simeon Gordy with brothers Ivan and Andrey, of Dmitry Donskoy with Vladimir Andreevich Serpukhovsky, the author reconstructs the system of distributing villages and volosts between princesses after the death of Moscow rulers. Discussion topics, related to the study of the composition of witnesses in the agreement of Semyon Ivanovich with his brothers, and the establishment of the identity of his uncle in the testament of Simeon Gordy are also considered.
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Lévai, Ruth Karin. "Silence and “Active Love” as Agents of the Dialogic Relationship in The Brothers Karamazov." Dostoevsky Journal 21, no. 1 (2020): 85–103. http://dx.doi.org/10.1163/23752122-02101005.
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Abstract Beginning with an exploration of the core similarities between Bakhtin’s and Buber’s understanding of the dialogic relationship, and going on to discuss the validity of this concept based on aspects of our physical reality in the quantum world, this article demonstrates how silence plays an integral role in the creation of that relationship. Further instances of the dialogic relationship in The Brothers Karamazov are analysed, focusing specifically on Zosima’s relationship with the divine, the relationship between Ivan and Alyosha, and the relationship between Ivan and Smerdyakov. In revealing a truth about personality, Dostoevsky succeeded in revealing a truth about the world.
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Martin, Russell E. "Truth and Fiction in A. I. Sulakadzev’s Chronograph of the Marriages of Tsar Ivan Vasil’evich." Canadian–American Slavic Studies 47, no. 4 (2013): 436–58. http://dx.doi.org/10.1163/22102396-04704007.
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Few sources have exerted more influence on the biography of Ivan IV (Ivan the Terrible) than the so-called Chronograph of the Marriages of Tsar Ivan Vasil’evich, but the source has not to date been properly studied, except to note that it is a likely forgery of the notorious bibliophile and manuscript forger Alexander Ivanovich Sulakadzev. This article offers the first dedicated treatment of the Chronograph’s contents, comparing the information in it about the number, identity, and biographies of Ivan’s wives with what we know about them from other, unquestionably authentic sources of the sixteenth and seventeenth centuries. The article provides ample proof that the Chronograph is a forgery, but also isolates and discusses some of the unique pieces of information in it, including the names of some of Ivan’s brides and the dates of his marriages – parsing out fact from likely fiction. It also discusses the possible sources for the information in the Chronograph, including links to the Istoriia gosudarstva Rossiiskogo [The History of the Russian State] by Nikolai M. Karazmin. The article’s conclusions will be of interest to biographers of Ivan IV, women’s historians, textual scholars, and specialists on the history of Russian literary culture in the sixteenth through nineteenth centuries.
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Mahale, Somnath B. "Truth as Dialogic in Ivan Turgenev's The Torrents of Spring." International Journal of Research 11, no. 7 (2024): 319–27. https://doi.org/10.5281/zenodo.13312510.
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<em>The main reason to write this research paper on the Russian writer Ivan Turgenev is to find out the true essence on the late 18<sup>th</sup> century. The great ideas of these writers was still unknown to the present society. The researcher has tries to pin point the true character of the Russian writers and the influence they had on the modern reader.</em> <em>Russian literature over the years has been the most delightful for its readers all over the world. This is the richest literature so far as the development of novels are concern. The writers who put forth their words on the papers were the real masters of the world. They were aristocrats, spiritual thinkers, people who worked for the emancipation of serfs and the social workers who saw clearly the then picture of the Russian society. They have witnessed Czar Alexander to the time of Alexander Solzynitsyn. They were responsible for the upliftment of the society and its built on the ideology and the maxims of Society and man as a whole. They were totally and almost every one of them only thought about society, its people and the world therein.</em>
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Schadelbauer, Lisa, Stephan Schlögl, and Aleksander Groth. "Linking Personality and Trust in Intelligent Virtual Assistants." Multimodal Technologies and Interaction 7, no. 6 (2023): 54. http://dx.doi.org/10.3390/mti7060054.
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Throughout the last years, Intelligent Virtual Assistants (IVAs), such as Alexa and Siri, have increasingly gained in popularity. Yet, privacy advocates raise great concerns regarding the amount and type of data these systems collect and consequently process. Among many other things, it is technology trust which seems to be of high significance here, particularly when it comes to the adoption of IVAs, for they usually provide little transparency as to how they function and use personal and potentially sensitive data. While technology trust is influenced by many different socio-technical parameters, this article focuses on human personality and its connection to respective trust perceptions, which in turn may further impact the actual adoption of IVA products. To this end, we report on the results of an online survey (n=367). Findings show that on a scale from 0 to 100%, people trust IVAs 51.59% on average. Furthermore, the data point to a significant positive correlation between people’s propensity to trust in general technology and their trust in IVAs. Yet, they also show that those who exhibit a higher propensity to trust in technology tend to also have a higher affinity for technology interaction and are consequently more likely to adopt IVAs.
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Dathe, Holger H. "Widmungen für Bernhard Klausnitzer anlässlich seines 80. Geburtstages." Beiträge zur Entomologie = Contributions to Entomology 70, no. 2 (2020): 347–58. http://dx.doi.org/10.21248/contrib.entomol.70.2.347-358.
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Widmungen von Dieter Stöckel, Thomas Keil, Max Sieber, Jörg Gebert, Wolf-Harald Liebig, Heinz Sbieschne, Uwe Hornig, Uwe Fischer, Joachim Schmidt, Manfred und Barbara Uhlig, Wolfgang Schawaller, Ivan Löbl, Wolfgang Zimmermann, Robert Trusch, Gerald Moritz
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Vasylyk, T. "POSITION OF UKRAINIAN EMIGRANTS (“EXPATRIATES”) IN THE SERMONS OF METROPOLITAN ILARION (ON THE MATERIALS OF “THE WORD OF TRUTH” MAGAZINE, 1947-1951)." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 144 (2020): 16–19. http://dx.doi.org/10.17721/1728-2640.2020.144.3.
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The periodical press is rightly called a treasure trove of diverse information from the life of a particular historical era. Important for the study of the history of Ukrainian society is the periodical press of Ukrainian diaspora, which contains different types of source information: socio-political, scientific, technical, cultural, religious etc. The article deals with the poorly studied part of the preaching heritage of Metropolitan Ilarion (Ivan Ohiienko). The main attention is paid to the sermons of Metropolitan Ilarion, declared in the early years of bishops' service in Canada and published in "The Word of Truth" magazine, which had been publishing in Winnipeg during the 1947-1955 by the Ukrainian diaspora in Canada. Sermons of Metropolitan Іilarion (Ivan Ohiienko) are a significant source of information for the reproducing the historical past of Ukrainians. The author discovered 21 of his sermons that have been published in "The Word of Truth” magazine. The author focuses on the sermons in which the Metropolitan touches upon the pressing issues of the difficult existence of Ukrainian emigrants. According to the Metropolitan Іlarion, there were two groups of Ukrainian emigrants after the Second World War: the so-called “Ostarbeiters” and intellectuals. The status of the second group was harder Metropolitan Іlarion (Ivan Ohienko) called for mutual respect and assistance, and unity around the issue of national identity and development of Ukrainian society. Given that the preaching legacy of Metropolitan Іlarion (Ivan Ohiienko) is poorly researched, the sermons discussed in this article supplement the history of Ukrainian emigration and are an integral component of Ukraine's national spiritual and cultural heritage.
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Lietskin, Mykhailo. "Canadian Journal "Slovo Istyny" ("Word of Truth") in Ukrainian Literary Process." Ukrainian Information Space, no. 4 (December 18, 2019): 100–117. https://doi.org/10.31866/2616-7948.2(4).2019.187425.
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The article implements the attempt to demonstrate the presence in Ivan Ohienko's (Metropolitan Hilarion) Canadian journal «Slovo Istyny» («Word of Truth») (1947–1951) of certain manifestations of the Ukrainian literary process on the example of writers (fiction writers, literary critics, prose writers,poets), Leonid Biletskyi, Semen Haievskyi, Volodymyr Doroshenko, Ihor Kachurovskyi, Leonid Mosendz, Petro Odarchenko, Borys Oleksandriv, Yar Slavutych, Mykhaylo Sadylenko. With the help of journal Ivan Ohienko in the difficult period after the end of World War II called on the public to support the writers financially. He regularly provided such assistance and published reports on the facts of writers’ support; words of gratitude for this help, which came from Ukrainian writers, were also published on the pages of the journal. In the journal, Ukrainian writers praised I. Ohienko's work «History of Ukrainian Literary Language," through which the range of writers has expanded significantly, including authors from the Soviet Ukraine. The journal published poetry and prose not only religious (mainly by Metropolitan Hilarion himself) but also secular. Against the backdrop of linguistic fragmentation at the time, writers highly appreciated the high level of literacy inherent in «Slovo Istyny» («Word of Truth»). On the pages of the journal found the place creativity of Ukrainian writers of the previous time, who by that time had already passed away (Spyrydon Cherkasenko, Yuriy Klen). The article also discusses the considerable difficulties faced by I. Ohienko in publishing, in particular, the criticism of a small aviary of the journal «Slovo Istyny» about some attempts to ignore the journal. The direct representation of writers in the journal «Slovo Istyny» is presented against a broader background of the creative path of a particular writer, his connections with Ivan Ohienko. Despite all the representation fragmentation of Ukrainian literary process in the journal «Slovo Istyny», these fragments are still important material without which the overall picture of Ukrainian literature would be incomplete.
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Kuzmina, Anna, and Vasily Lisitsin. "Ivan Efimov: architect, warrior, master of Irkutsk facades." проект байкал, no. 83 (April 20, 2025): 107–12. https://doi.org/10.51461/issn.2309-3072/83.2492.
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The article considers the life and professional activity of Irkutsk architect I. G. Efimov (1910-1947), whose architectural work includes all style trends of the 1930-1940s. Having received architectural education in Leningrad, Efimov came to Irkutsk and became a sought-after specialist. He carried out individual projects and worked on the facades of already constructed buildings. He was a participant of the Great Patriotic War. After the war, he designed the buildings for the Pedagogical Institute of Foreign Languages and the Vostsibugol Trust in neoclassical style. The buildings became iconic for the centre of Irkutsk.
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Polishchuk, Svitlana, and Oksana Horbatiuk. "I. Ohiienko on the development of the Ukrainian literary language during the "Moscow era" (1654-1798)." IVAN OHIIENKO AND CONTEMPORARY SCIENCE AND EDUCATION SCHOLARLY PAPERS PHILOLOGY, no. 18 (December 29, 2021): 46–54. http://dx.doi.org/10.32626/2309-7086.2021-18-2.46-54.
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Over the centuries, the truth about the formation of the Ukrainian language, which was methodically and severely supplanted from various state and public insti-tutions, was strictly concealed. And now, in the age of spiritual and national revival, we have more and more opportunities to refl ect impartially and prudently on many pages of our history, to erase the false luster imposed by the totalitarian system.In this context, a special place is occupied by the collaborative work of the great son of the Ukrainian people Ivan Ohiienko on the development of the Ukrainian literary language in the most dramatic period of the Ukrainian State, which is the «Moscow Age» (1654-1798).Based on this, we can say with confi dence that the topic of the article raised by the author is quite relevant.The author of our article draws our attention to the fact that Ivan Ohiienko, on the basis of historical facts with reference to primary sources, which he used, researched in detail and analyzed the formation of the Ukrainian literary language. The author notes that his historical work «History of the Ukrainian literary lan-guage» Ivan Ohiienko divided into a number of periods, one of which is the period of formation of the Ukrainian literary language in the post-Pereyaslav period. It was from this period (1654) after the accession of Ukraine to Moscow that the development of the Ukrainian literary language began to be oppressed, and Moscow began to destroy the Ukrainian word and Ukrainian culture. At the same time, the author of the article, revealing the content of Ivan Ohiienko’s scientifi c work, draws our attention to the fact that it is during this period that censorship of the Ukrainian word is intensifying. The Ukrainian language was especially oppressed during the reigns of Tsar Peter I and Catherine II.The author of the article also draws our attention to the statement of Ivan Ohiienko that the fate of the Ukrainian literary language began to change only in the XVIII century (it began to be created on its ancient basis).In general, the author of the article analyzed in detail and revealed the main components (components) of this, without exaggeration, valuable scientifi c work of Ivan Ohiienko, which reveals the historical truth about the formation and development of the Ukrainian literary language. Therefore, we believe that the article has the right to be approved and can be published as a scientifi c and methodological work.
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Xie, Keran. "Partneship is a constant of vitality Ivan Prokopenka`s and Grigory Skovorody`s." New Collegium 3, no. 108 (2022): 17–20. http://dx.doi.org/10.30837/nc.2022.3.17.
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The study of the professional work of Ivan Prokopenko and Grigory Skovoroda under the conditions of martial law in Ukraine will contribute to the establishment of partnership in the organization of the educational process, and the improvement of the quality of professional training. The purpose of the article is to reveal the essence and ways of implementing partnership on the example of the life and professional activity of Ivan Prokopenko and Grigory Skovoroda. To achieve the goal, comparative historical methods were used – to reveal the key points of understanding of partnership by teachers. The methods of analysis, synthesis and generalization of historical facts are used to substantiate the ideas of partnership pedagogy. The retrospective method was used for creative interpretation of the results of the conducted research.In the article, the author revealed the idea of partnership based on synergistic and systemic approaches. Cultural relevance and the principle of historicism made it possible to characterize partnership as a dynamic phenomenon that is determined by social factors. The article emphasizes that the idea of "equal to equal" democracy is important in partner interaction, unconditional equality in the right to express one's position, respect for another point of view, trust and goodwill in communication and interaction are recognized. The value of tacit knowledge and experience, mutual demand is also recognized.In the article, the author substantiated that Grigory Skovoroda set an example of socially significant partnership and humanity in the Kharkiv Collegium, private teaching. The main positions of Grigory Skovoroda's pedagogical partnership are highlighted: personal dialogue in forms of educational interaction; friendly conversation, correspondence in extracurricular time to encourage self-discovery, self-immersion, self-analysis; simulation of life situations, choice situations with a projection for success.Value orientations of partnership pedagogy according to Ivan Prokopenko: respect, benevolence, trust, dialogue and distributed leadership. He approved the partnership in all forms of educational, educational, professional and research work at G.S. Skovoroda Kharkiv National Pedagogical University on the basis of the philosophy of the heart, humane pedagogy. The article states that in his activities, Ivan Prokopenko used the principles of trust and openness in professional communications, respect and recognition of the self-worth of each individual. He successfully applied the practice of distributed leadership, in all horizons of connections and activities of the university.Common aspects of the pedagogical partnership of Ivan Prokopenko and Grigory Skovoroda: careful attitude to the student, understanding of the self-worth of a person, cordocentric living of success and failure.As a promising direction for further research, we offer a comparison of the ideas of partnership in the work of Confucius and modern practices of partnership in educational institutions of Ukraine and China.
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Fetisenko, Olga L. "On the History of the Essay “Visiting Father John of Kronstadt” by Ivan Shcheglov (I. L. Leontiev)." Two centuries of the Russian classics 4, no. 2 (2022): 166–93. http://dx.doi.org/10.22455/2686-7494-2022-4-2-166-193.
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The article reconstructs for the first time the creative history of the memoir essay Visiting Father John of Kronstadt by Ivan L. Leontiev (Ivan Shcheglov) on the basis of the author’s diaries and his correspondence with Sergey A. Rachinsky, Vasily P. Gorlenko, Mikhail O. Menshikov and Priest Iosif Fudel. The essay was published for the first time in 1892, during the revered canonized churchman’s lifetime. The work on this essay coincided with the time of a fundamental spiritual change in the life of a “depressed humorist” (as Ivan Shcheglov was labelled by the critic Alexey A. Izmailov) and was underway in parallel to the completion of a story denouncing Leo Tolstoy’s ideology and the Tolstoyan movement (Around the Truth) and the creation of a story about “psychopathic times” (The Soul on the Wane). Conceived as an ordinary article for the Christmas issue of the Novoe Vremia newspaper, the essay grew both in size and content and was published in the Niva magazine’s book of collected stories and articles, which was followed by a separate edition. An impetus for making the concept more elaborate was the publication of Nikolay Leskov’s story Midnight People, which contained sharp criticism of Father John and his trustees. Abstaining from an open debate with Leskov, Ivan Shcheglov sought to treat the figure of his holy contemporary “with heroic grandeur.”
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Smyslova, Olga N. "Ivan the Terrible and His Activities in the Assessment of F. M. Dostoevsky." Two centuries of the Russian classics 6, no. 4 (2024): 158–75. https://doi.org/10.22455/2686-7494-2024-6-4-158-175.
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The article is devoted to the issues of F. M. Dostoevsky’s understanding of the role of Ivan the Terrible’s state activity in Russian history and the reflection of the writer’s ideas about the personality of Ivan the Terrible in works of art and literary criticism. The article notes the importance of a detailed study of the references in the writer’s work to the events and figures of the past periods, the attention to which until recently was on the periphery of scientific interests, and if it was covered, then along the way, when considering the historiosophical views of the writer and mainly on the material of journalism. The article points to the writer’s interest in the figure of Ivan the Terrible as a monarch and a person. It emphasizes that the writer’s attitude toward this ruler was influenced by reading The History of the Russian State by N. M. Karamzin. If, in his artistic work, Dostoevsky is attracted primarily by Ivan the Terrible as a split and tragically complex personality, then, in A Writer’s Diary, the talent of a statesman is put in the first place, whose experience can be helpful in solving the Eastern question vital for the era. At the same time, observations are made on Dostoevsky’s understanding of the “historical” truth and the specifics of the writer’s interpretation of historical plots.
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Lisowska, Urszula. "Ivan Karamazov’s rebellion in Albert Camus’ and Karl Jaspers’ interpretations." Journal of Education Culture and Society 1, no. 2 (2020): 5–14. http://dx.doi.org/10.15503/jecs20102.5.14.
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The aim of this study is to present Albert Camus’and Karl Jaspers’ interpretations of Ivan Karamazov’s rebellion as the diagnoses of the weakness of the human intellect in confrontation with the world and the criticism of rationalism. Therefore, in the introduction I will present those fragments of the novel that characterize Ivan’s rebellion as highly abstract and theoretical. At the same time, this common literary context serves as the ground for reconstruction and comparison of the basic philosophical assumptions of each author. The intention of the remaining part of the paper is, firstly, to reconstruct A. Camus’ and K. Jaspers’epistemology and, secondly, to analyse the arguments against Ivan’s attitude formulated by the writers. Their criticisms of the protagonist’s excessive trust in intellect is based on their own concepts of human epistemic capacity, which are related to the problems of the absurd in A. Camus’ and transcendence in K. Jaspers’ writings. The question of nihilism demands analysis of A. Camus’ idea of the nature of rebellion as both affirmative and negative, and of K. Jaspers’ notion of faith as pre-intellectual trust. Finally, their criticisms of the slogan “If there is no God, then anything is allowed” introduces the problem of freedom, which allows the comparison of the concepts of solidarity (A. Camus) and communication (K. Jaspers). In the conclusion these two philosophical attitudes are discussed together.
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Solomakha, S. "AESTHETIC DIMENSIONS OF IVAN ZIAZIUN’S PEDAGOGICAL HERITAGE." Aesthetics and Ethics of Pedagogical Action, no. 27 (June 20, 2023): 28–37. http://dx.doi.org/10.33989/2226-4051.2023.27.282094.
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The article examines various aspects of the philosophical, pedagogical, and ethical-aesthetic ideas of academician Ivan Andriyovych Ziaziun, which occupy a significant place in his multifaceted scientific heritage. According to I. Ziaziun, the philosophical categories of “goodness”, “beauty” and “freedom” always stand for Truth, which embodies the deep meaning of human worldview and comprehension of existence, the search for the human spirit, and the creation of humanistic ideals. The categories of aesthetics, aesthetic education, pedagogical skills, pedagogical action of a teacher, and spiritual development of an individual through the Beauty captured in art play an essential role in the professional growth of teachers.
 It is advisable to study the scientific heritage of the outstanding Ukrainian scientist and teacher I. Ziaziun, looking for ways to implement his ideas in modern pedagogical practice. As Ivan Andriyovych convincingly proves, aesthetic values of consciousness concentrate humanistic ideals, goals, motives, intentions, and moods that determine the position and behavior of a teacher, positively impact the humanistic orientation of an organization of pedagogical actions of lecturers and teachers, are the basis for the development and improvement of the subjective-emotional component of consciousness – the value knowledge of both those who teach and those who study. According to I. Ziaziun, the issues of aesthetics and ethics, pedagogical education, and aesthetic education should be significant components of the national cultural policy and national education of young people, as they are the basis for the spiritual development of an individual.
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Tashev, Andrey. "The two pragmatisms in the philosophy of Ivan Sarailiev." Sign Systems Studies 41, no. 4 (2013): 433–45. http://dx.doi.org/10.12697/sss.2013.41.4.04.
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This article focuses on the views held by the early Bulgarian representative and interpreter of pragmatism Ivan Sarailiev (1887–1969) on the two trends of this doctrine – the method for ascertaining meaning proposed by Charles Sanders Peirce, and the theory of truth propounded by William James. Sarailiev applied and propagated the pragmatist ideas of the doctrine’s founders in Bulgaria in the 1920s, and is thus one of the first followers of Peirce in Europe and the very first in Eastern Europe. How deep was Sarailiev’s understanding of the two types of pragmatism? How did they shape his philosophy and what was their role? This article will try to address these questions as well as presenting the overall reception of pragmatism in Bulgaria in the Interwar period through Sarailiev who was its only serious proponent both at the time and long afterwards.
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Bondar, Serhii. "Collisions of Local and Spiritual in State and Public Activities of Metropolitan Ilarion (Ivan Ohienko)." Kyiv Historical Studies 13, no. 2 (2021): 124–30. http://dx.doi.org/10.28925/2524-0757.2021.216.
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The article clarifies the views of one of the brightest and most significant figures of the Ukrainian church — Metropolitan Ilarion (Ivan) Ohienko on the spiritual and secular service to Ukraine and his practical activities, which naturally effectively combined these two aspects. This article notes that an important element that united the two ministries and substantiated them was the deep level of their interpenetration, where Orthodoxy acquired a national character based on traditions. The article concludes that during this ministry his views on the church did not undergo nonlinear evolution, but only acquired depth and system. Even when Ivan Ohienko was in public office or abroad, he attached great importance to moral, ethical and ecclesiastical issues. Despite the ideological closeness with the views of another prominent Ukrainian church figure Andrei Sheptytsky on church-state relations, education and revival of the Ukrainian nation, language and culture as factors of Ukrainian identity, Ivan Ohienko was still skeptical of the Ukrainian Greek Catholic Church, seeing in it is an instrument of Catholicization of the Ukrainian people. Ohienko believed that in reality only an autocephalous church could be Ukrainian, which relied exclusively on the traditions and needs of the people. This was the criterion of the truth of Orthodoxy for him.
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Marushkevych, Alla. "MEANINGFUL LIFE VALUES OF THE PERSONALITY IN IVAN OGIENKO'S VIEWS." Visnyk Taras Shevchenko National University of Kyiv. Pedagogy, no. 1 (15) (2022): 31–34. http://dx.doi.org/10.17721/2415-369.2022.15.06.
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The article proves the importance of Ivan Ohienko-Metropolitan Hilarion's views on the meaning of values of the individual. Examples of his instructions regarding good deeds, ideas about truth, respect for family, parents and relatives have been revealed. The position on the value of people's positive attitude towards prominent figures, heroes of the nation has been highlighted. The scientist's vision of the importance of the native language in the life of each individual, awareness of it as a meaningful life value has been described. The views of the scientist on work for the people, respectful attitude towards it and the work of other people, discipline of the soul, recognition of the achievements of others have been revealed.
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Naumenko, N. V. "INTERACTIONS BETWEEN THE MOTIFS OF WESTERN AND EASTERN PHILOSOPHIES IN THE WORKS BY IVAN KARPENKO-KARYI." Literary Studies, no. 60 (2021): 146–60. http://dx.doi.org/10.17721/2520-6346.60.146-160.
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The author of this article investigated the interactions between the conceits of Occidental and Oriental (Hindu, first of all) philosophies in the play ‘Khazyayin’ (The Master) by Ivan Karpenko-Karyi from the viewpoint of culturological analysis. The ways to interpret the Western paradigm of the writer’s reading were correlated to their hypothetical typological coincidences with Hindu motifs, plots, maxims and realities as the constituents of the play’s artistic world (including the speech and behavior of the characters, their natural and material environment). Therefore, the correlations between the motifs of various philosophies were confirmed as the displays of the writer’s dialogue with Occidental and Oriental cultures on the archetypal level, which is the interpretation of initial philosophical images in their symbolic combinations and, thenceforth, the establishment of their new connotations on Ukrainian cultural background. There was shown that Karpenko-Karyi’s characters set up their own rules of behavior – either for each other or for themselves – which absorb the probable archetypal intentions from West as well as from East. As the matter of fact, the actualization of key maxims and aphorisms of different philosophies (both European and Asian) is apparent in the characters’ appearance and speech. Particularly, it can be epitomized by the figure of Ivan Kalynovych, the teacher, in whose vital philosophy had been quite unexpectedly revealed the Four Noble Truths of Buddhism (the truth of suffering; the truth of the cause of suffering; the truth of the end of suffering; the truth of the path that leads to the end of suffering). On the other hand, the figure of Terentiy Puzyr in Karpenko-Karyi’s comedy is precedent as the collective image of a tyrant described by both Western and Eastern thinkers, considering not only his characteristic appearance (an Ayurvedic Kap’a-type), but also his reluctance to practice what he preached.
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Goldman, Leah. "Negotiating “Historical Truth”." Journal of Musicology 33, no. 3 (2016): 277–331. http://dx.doi.org/10.1525/jm.2016.33.3.277.
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In 1925, when Soviet composer Iurii Shaporin began writing his first opera, Polina Gebl’, about the Decembrist Ivan Annenkov and the French emigrée shopgirl who followed him into exile, he had no idea how tumultuous its journey would be. It took twenty-eight years and countless revisions for the opera to gain official approval. When it finally premiered at the Bolshoi Theater in 1953, with the title The Decembrists, the love story had been backgrounded and the historical plot line vastly expanded; scenes, characters, and arias had been added, dropped, or altered; and Polina herself had been written out entirely. The negotiated process by which Polina became The Decembrists reveals much about the evolving relationship between music and power in the Soviet Union, especially in the high-stakes realm of Socialist Realist opera, in which a suitable exemplar had yet to be produced. Amidst the pressures of the late-Stalinist state’s assault on the creative intelligentsia, and in the wake of major opera scandals in the 1930s and 1940s, the Bolshoi Theater saw in Shaporin’s work an ideal candidate to fill this void: a historical opera with an unimpeachable subject, the Decembrist Revolution, understood as the foundation point of the revolutionary legacy to which the Bolsheviks laid claim. This article analyzes the intense negotiations among Shaporin, the Bolshoi and its consultants, and official censors to ensure The Decembrists’ historical accuracy, which they believed would guarantee its acceptance. Yet, as the article demonstrates, while Soviet musical authorities upheld “historical truth” as their standard, in the end the Socialist Realist ideal of “artistic truth” was far more important for The Decembrists’ success.
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Neuberger, J. "Response to Roundtable Comments." Modern History of Russia 11, no. 1 (2021): 252–59. http://dx.doi.org/10.21638/11701/spbu24.2021.120.
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In her response, Neuberger elaborates and extends a few of her key arguments as discussed by Brandenberger, Kleiman, Petrone, Platt, and Tsivian. She focuses on questions involving Eisenstein’s exceptionality, the general reception of Ivan the Terrible, Stalin’s response to the film and its homoeroticism, and fundamental questions about Eisenstein’s interpretation of Ivan and his reign, its application to the present and to all rulers. She clarifies fundamental questions about Eisenstein’s conception of dialectics, and shows his commitment to dialectics as something more than more than binary conflict. Eisenstein not only saw all phenomena as “unities of opposites”, but contrasted the dialectical contradictory with a unitary definitive, giving us neither a simpler dualism nor a permanent state of contradiction. The categorical doesn’t cancel out the contested (or vice versa): together the categorical and the contested create another level of complexity, making it possible to see Ivan the Terrible as a film that repeatedly poses questions about power, violence, and human perception, and a film that is a radical critique of Stalinism and Soviet ideology. The author underlines, that in This Thing of Darkness she tried to show that the search for “meaning” in Eisenstein (and in my reading of Eisenstein) was no simple path toward a definitive truth, but is something like the way we experience films: seeing, hearing, intuiting, sensing, learning, feeling, wondering, learning a little more, and eventually thinking through what we have seen and experienced in order to make it meaningful for us.
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Mandrusiak, Marko. "ФОРМУВАННЯ ПОЛІТИКО-ПРАВОВОГО СВІТОГЛЯДУ ВОЛОДИМИРА СТАРОСОЛЬСЬКОГО ПІД ЧАС НАВЧАННЯ НА ЮРИДИЧНОМУ ФАКУЛЬТЕТІ ЛЬВІВСЬКОГО УНІВЕРСИТЕТУ". Visnyk of the Lviv University. Series Law, № 79 (15 грудня 2024): 86–94. https://doi.org/10.30970/vla.2024.79.086.
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The article analyzes the peculiarities of the formation of the political and legal worldview of Volodymyr Starosolskyi during his studies at the Law Faculty of Lviv University. It is noted that during 1896–1900, V. Starosolskyi was getting a university education. On October 7, 1896, he enrolled (there were no entrance exams then) at the Law Faculty of the Jagiellonian (Krakow) University, where he was in a Polish environment. However, thanks to the wise upbringing of his mother, Volodymyr kept his father's religion – Greek Catholic. During visits to services in the Greek Catholic Church, Volodymyr met and befriended a group of Ukrainian students who also studied at the Jagiellonian University: Vasyl Stefanyk, Ivan Trush, Stanislav Lyudkevych, Bohdan Lepkyi, and others. He was friends with some of them for his entire life. They told him about the Ukrainian national movement, in which he became seriously interested. His comrades advised him to move to Lviv, where this movement was much more intense and massive. It was Vasyl Stefanyk who noted with surprise the rapid national "crystallization" of the newly arrived young man. While studying in the first year at the Law Faculty of the Jagiellonian University in 1896–1897, V. Starosolskyi took 11 courses. It is emphasized that for the second year, V. Starosolskyi was transferred to the Lviv University, where he studied from 1897 to 1898, and from 1899 to 1900 – in the fourth year. Studying at the Law Faculty of Lviv University had an important influence on the formation of political and legal views of V. Starosolskyi. It was in Lviv where Volodymyr got to know the Ukrainian environment more deeply and concretely, and learned the Ukrainian language well. This event actually became a turning point in his life: he began to form a national selfidentification, and later patriotic feelings as well as a political and legal outlook on politics, the state, its form, law, on the Ukrainian people, their struggle for their own state, etc. He chose Ukrainian nationality for himself. Volodymyr enrolled in the student society "Academic Community" and "Law Club", where he got to know Yosyp Kontsilovskyi, Longyn Tsehelskyi, Mykola Shukhevych, Mykhailo Novakivskyi, Stepan Pelenskyi, and others. Volodymyr was a very active member of these organizations, as evidenced by the fact that he was soon elected deputy head of the Academic Community. After completing the second course at the Law Faculty of Lviv University, V. Starosolskyi continued his studies at the Law Faculty of the University of Vienna. In Vienna, Volodymyr actively participated in the life of the Ukrainian student community there, in particular, he joined the student society "Sich", where he was elected deputy chairman and librarian in February 1899, and in March – chairman of the society. On behalf of this Viennese society, in July 1899, Volodymyr took part in a student party organized by the Lviv Academic Community. The main issue of the day was the establishment of a Ukrainian university in Lviv. Volodymyr also supported this demand in his speech. Later in the evening, a meeting of representatives of Ukrainian student organizations was convened in Vienna on the initiative of the Viennese "Sich". It proposed to create an organization that would unite Ukrainian students from all higher educational institutions of the Austro-Hungarian Empire. It was proposed to call it "Young Ukraine", and V. Starosolskyi was elected to the organizational committee. He became the head of this committee. At the same time, it was proposed to establish a student magazine (journal) of the same name. For the fourth year of studies, V. Starosolskyi returned to Lviv to the Law Faculty of Lviv University. At that time, he became the leader of Ukrainian students, a member of the student group "Committee of Ten", the founder of the "Young Ukraine" society, as well as the editor of the magazine of the same name, which had a special influence on student youth. At the historic congress of student youth in Lviv in 1900, "Young Ukraine" through its speakers Volodymyr Starosolskyi and Longyn Tsehelskyi first declared the demand for Ukrainian statehood. Volodymyr Starosolskyi was one of the leading organizers of the "secession" of university youth in 1899, when one thousand students left Lviv University in protest against the chauvinism of Polish professors and students, and transferred to study at other Austrian universities. Keywords: political and legal outlook, law, state, political and legal views, Galicia, Austrian Empire.
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Prole, Dragan. "Untrustworthiness of Troubadour’s mask." Zbornik Matice srpske za drustvene nauke, no. 173 (2020): 25–36. http://dx.doi.org/10.2298/zmsdn2073025p.
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Troubadour? mask denotes a figure activated by Nietzsche in order to arrange a quarrel with his own time. Transformative capacities of its untimilyness were examined from the perspective of the contemporary instability of democratic order, recognized by bulgarian political scientist Ivan Krastev as an expression of encreasing crisis of the trust in the democratic order. Unlike Krastev?s thesis, this paper uncovers that the process of absolutization of trust caracterizes a trajectory from religious faith to antidemocratical, slave-like totalitarian submission. Its conclusion claims that maximalized trust leads to a totalitarian subject, who is unevitably dumb, speechless, deprived of language, explicitly different from all characteristics of Aristotelian political being whose crucial gift was logos. Consequently, the ruth of contemporary mistrust is not antidemocratical, as claimed by Krastev, but reflects an outstanding democratical orientation and presents a direct consequence of the resistance towards the cult of leader.
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Юрій, Ямаш. "Студії Івана Труша в Мюнхенській школі Антона Ашбе". ВІСНИК Львівської національної академії мистецтв, № 31 (10 травня 2017): 236–47. https://doi.org/10.5281/zenodo.573865.
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The studies are devoted to continuation of the professional art education of Ivan Trusz in Munich 1897. At that time artist finished courses of Krakiv Academy of Fine Arts and got a scholarship for studying in Munich Academy of Fine Arts. Visiting already in Germany he didn’t receive any receipts and instead of state institution enrolled himself to the private school of famous Austro-Hungarian artist and tutor Anton Ažbe. The school, where at one time studied many of outstanding artists including Vasyl Kandіnsky, was well known and popular in Europe.
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Donovan, Anita. "The sizes of truth: how Ivan Sen’s Wind helps us understand a complex contemporary identity." NEW: Emerging scholars in Australian Indigenous Studies 4, no. 1 (2019): 101–4. http://dx.doi.org/10.5130/nesais.v4i1.1506.
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Plavutska, Iryna, and Zhanna Babiak. "The satirical mode of William Thackeray and Ivan Franko: typological correspondences." Pomiędzy Polonistyczno-Ukrainoznawcze Studia Naukowe 10, no. 33 (2023): 49–54. https://doi.org/10.15804/ppusi.2023.03.05.
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In the article, a comprehensive comparative analysis of the satirical prose of W. Thackeray and I. Franko, focusing on socio-political themes, is carried out for the first time in Ukrainian literary studies, significantly expanding our understanding of the interaction between the works of these artists. The authors systematize theoretical concepts about satire as a literary genre and concentrate on the phenomenon of sociopolitical satire. The research identifies and explores objects of satirical representation in the works of the Ukrainian and British writers. In his works, William Makepeace Thackeray subjected contemporary society to scathing criticism, following the path of truth and nature, employing irony and grotesque to expose various moral and ethical flaws of its representatives, such as feudal privileges of the nobility, subservience to titles, hypocrisy, vanity, and decadence. According to A.M. Khalimonchuk’s calculations, Ivan Franko’s satirical legacy comprises over 30 satirical short stories and sketches, six satirical poems, three comedies, and several dozens of satirical poems. In addition to translating the works of prominent satirists from around the world into Ukrainian, Ivan Franko’s archive contains numerous unfinished satirical works from various periods of his literary career. Ivan Franko’s literary contributions played an equally significant role in the development of Ukrainian national satire as William Thackeray’s works did for British and European satire as a whole. In the article the poetic modes used to create satirical phenomena in Thackeray’s and Franko’s prose are analysed. The hypothesis regarding the possibility of indirect contact-genetic relationships between the works of these authors is put forward.
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Kuznetsov, Vladimir N., and Konstantin A. Mazin. "“SATURN IS ALMOST INVISIBLE” (THE UNKNOWN SEMINARY)." History and Archives 6, no. 2 (2024): 12–31. http://dx.doi.org/10.28995/2658-6541-2024-6-2-12-31.
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The article analyses the history of the Tokyo Orthodox seminary, established in 1875 at the Russian Orthodox Mission in Japan (the Russian Spiritual Mission to Japan). The study was inspired by the most interesting document that was found by one of the authors of the article in the State Archives of the Russian Federation while examining the archival fund of the well-known church figure Archpriest P.I. Bulgakov (GA RF, F. Р597, Inv. 1, D. 135). The document is entitled “The School of the Imperial Russian Orthodox (Tikhon) Church for Educating Japanese Spies” and signed with a penname of “Ivan Goremyka” (Luckless Ivan). It considers from a completely new perspective the activities of the Tokyo Seminary, which in Russian historiography has always been positioned as one of the highest achievements of the “soft power” exercised to promote the Russian influence on the Japanese archipelago. Such an approach necessitated a thorough analysis of all the aspects of the functioning of the described educational institution, to which most of the proposed article is addressed. Special attention is given to the activities of seminarians after seminary graduation and the extent to which mission leaders are held accountable for the charges. A special attention is given to the seminarian activities after the graduation from the Seminary as well as to the degree of responsibility of the Mission leaders for the accusations brought against them. It should be mentioned that the noninvolvement (except for some naivety) of Saint Nicholai of Japan, the Primate of Eastern Orthodoxy in Japan, glorified as Equal-to-the-Apostles (secular name Ivan Dmitrovich Kasatkin) was questioned neither by the “whistle-blower” himself nor by any other representative of the Russian colony in Tokyo. However, his successor as the ruling bishop of the Japanese Orthodox mission Sergii (secular name Georgiy Alexeyevich Tikhomirov) aroused certain suspicions, so that “Ivan Goremyka” merely accused him of aiding the Japanese intelligence agencies. Finally the authors came to the conclusion that despite being too negative and categorical, “Ivan Goremyka’s” arguments are not far from the truth: indeed, the Japanese authorities somehow managed to even use the Russian Orthodox seminary in their anti-Russian actions. The article considers separately the fate of the Russian seminarians, the father of the Russian Sambo martial art V.S. Oshchepkov among them, who helped the Russian counterintelligence in its attempts to mitigate the negative aspects in the activity of the Seminary.
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Tymoshyk, Mykola. "Problems of Studying Ukrainian Culture in the Context of Ukrainians' Achievements and Losses: to the Discovery of an Unknown Manuscript and the Publication of the First Complete Edition of Ivan Ohiienko's Lecture Course "Ukrainian Culture"." Issues in Cultural Studies, no. 43 (May 2, 2024): 49–67. https://doi.org/10.31866/2410-1311.43.2024.303031.
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<em>The aim of the article </em>is to clarify the circumstances of the emergence of the scientific and educational idea and the conditions of writing by Professor Ivan Ohiienko of a subject that had not been taught in the universities of the Russian Empire before. This is about the author’s intention to explore the history of the discovery in the United States of a rare text written in Ukraine, to substantiate the methodology peculiarities and content of Ukrainian culture study in the work of Professor I. Ohiienko and to highlight a number of this work strengths. <em>The study results </em>provide a detailed analysis of Ivan Ohiienko’s work “Ukrainian Culture”, highlighting its significance and influence. Several key points are emphasised: 1. The author has effectively fulfilled his cultural studies task by focusing on specific aspects of Ukrainian culture. 2. The work demonstrates a clear structure centred around six main components that form national culture. 3. A wide and diverse source base, including rare manuscripts and official documents. 4. The article emphasises the author’s systematic approach to presenting and analysing the causes, origins and consequences of the Russification of Ukrainians. 5. The text is characterised by readability due to the combination of scientific and publicistic styles. These arguments underline the importance and influence of Ivan Ohiienko’s work on Ukrainian culture, making it a valuable source for researchers and readers. <em>The scientific novelty </em>of the study lies in the disclosure of previously unknown aspects and the significance of Professor Ivan Ohiienko’s work for the study of Ukrainian culture. <em>The conclusions </em>note that Ivan Ohiienko’s research is of great importance in the context of Ukrainian culture study. The arguments for this statement include the strongest anti-imperial, anti-Russian and anti-Soviet orientation of the work, an effective way of bringing opponents to light, an accessible style of presentation, systematic and proven causes, origins and consequences of the Russification of Ukrainians. This work remains relevant even today, as it reflects the realities of the latest Russian-Ukrainian war and the struggle of Ukrainians for their statehood, the right to be Ukrainians and to have their own truth and freedom.
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Lisnevska, Alina. "The screen performance as an instrument of propaganda (on the example of Ivan Kavaleridze’s film «Koliivshchyna», 1933)." Integrated communications 25242644 (2019): 63–68. http://dx.doi.org/10.28925/2524-2644.2019.7.10.
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The myth-making processes in the communicative space are the «cornerstone» of ideology at all times of mankind’s existence. One of the tools of the effective impact of propaganda is trust in information. Today this come round due to the dissemination of information on personalized video content in social networks, including through converged media. New myths and social settings are creating, fate of the countries is being solved, public opinion is being formed. It became possible to create artificially a model of social installation using the myths (the smallest indivisible element of the myth) based on real facts, but with the addition of «necessary» information. In the 20–30 years of the XX century cinematograph became the most powerful screen media. The article deals with the main ideological messages of the Ukrainian Soviet film «Koliivshchyna» (1933). In the period of mass cinematography spread in the Soviet Ukraine, the tape was aimed at a grand mission – creation of a new mythology through the interpretation of the true events and a con on the public, propaganda of the Soviet ideology. This happened in the tragic period of Ukrainian history (1933, the Holodomor) through the extrapolation of historical truth and its embodiment in the most formative form at that time – the form of the screen performance. The Soviet authorities used the powerful influence of the screen image to propagate dreams, illusions, images, stereotypes that had lost any reference to reality. I. Kavaleridze’s film «Koliivshchyna» demonstrates the interpretation of historical events and national ideas, the interpretation of a relatively remote past through the ideology of the «Soviet-era». The movie is created as a part of the political conjuncture of the early 1930s: the struggle against Ukrainian «bourgeois nationalism» and against the «Union of Liberation Ukraine», the repressive policies against the peasants, the close-out of the «back to the roots» policy. The movie, on the one hand, definitely addresses to the Ukrainian ideas, on the other hand it was made at the period of the repressions against the Ukrainian peasantry. In the movie «Koliivshchyna», despite the censorship, I. Kavaleridze manages to create a national inclusive narrative that depicts Ukrainian space as multi-ethnic and diverse, but at the same time nationally colorful.
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Halperin, Charles J. "Three “Hands” and Literacy in Muscovy during the Reign of Ivan IV." Canadian-American Slavic Studies 51, no. 1 (2017): 29–63. http://dx.doi.org/10.1163/22102396-05101002.
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Some recent historians dissent from the widespread opinion that Muscovite society during the reign of Ivan IV was overwhelmingly illiterate. This article adduces three types of evidence that more optimistic assessments of the extent of literacy are nearer the truth. Analysis of the use of the terms “to know letters” and “to affix one’s hand” and explanations of why principals or witnesses to a legal transaction did not “affix their hands” demonstrate conclusively that they meant to be literate and write their signature on a document. Therefore, signatures prove practical literacy. Documents written by a non-scribe principal demonstrate an even higher level of literacy. The absence of documents handwritten by boyars reflects not boyar illiteracy, but boyar snobbism, facilitated in part by use of personal slave/servant “writers” to handwrite their charters. Literacy in Ivan’s Muscovy was more widespread among the elite than pessimistic assessments allow.
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Shore, Marci. "This Is What Evil Looks Like: Toward a Phenomenology of Evil in Postmodern Form." Social Research: An International Quarterly 91, no. 1 (2024): 375–96. http://dx.doi.org/10.1353/sor.2024.a923126.
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ABSTRACT: This essay draws on phenomenological and psychoanalytical insights to explore, comparatively, manifestations of evil during the twentieth-century totalitarianism and the post-truth present. The regimes of Vladimir Putin, Donald Trump, and Alexander Lukashenko provide contemporary examples. Special attention is paid to the genre of performative confession in Stalinist times and in the present. Authors mentioned include: Anne Applebaum, Hannah Arendt, Anton Chekhov, Nathan Englander, Sigmund Freud, René Girard, Jan Tomasz Gross, Irena Grudzińska Gross, Robert Hamerton-Kelly, Edmund Husserl, Leszek Kołakowski, Ivan Krastev, Marcin Król, Stanisław Jerzy Lec, Claude Lévi-Strauss, Czesław Miłosz, Jan Patočka, Tadeusz Słobodzianek, and Tomas Venclova.
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Tourigny, Sylvie C. "Challenging Science in the Name of Truth Reflections on a Meditation: In Appreciation of Ivan Illich." Bulletin of Science, Technology & Society 16, no. 5-6 (1996): 240–42. http://dx.doi.org/10.1177/0270467696016005-604.
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Shvets, Alla. "«“THE HARD ROAD TO GOODNESS»:” : IVAN FRANKO’S HUMANISTIC VISIONS." Слово і Час, no. 6 (December 21, 2024): 29–41. https://doi.org/10.33608/0236-1477.2024.06.29-41.
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Franko’s literary work was a reflection of his spiritual impulses, experiences, interactions with his milieu, and the evolution of his worldview. The humanistic core of the writer’s creative thinking was always fundamentally centered on important anthropological issues. The paper focuses on his interpretation of the problem of good and evil. In Franko’s writings, the human quest for goodness aligns with the mythologem of the road. In his later works, this symbol acquires a transcendent determination and significant anthroposophical features, representing the complex path of a person toward goodness through inner struggle, catharsis, and spiritual insights. In his poems, goodness is revealed through various symbols, archetypes, characters, ontological models, anthroponyms, and theonyms. Semantically resonant images include spirit, heart, candle, God, love, prayer, light, work, truth, angel, demon, death, forgiveness, road, and river. The writer’s constant search for beauty and goodness always leads to the human heart — the epicenter of humanistic existence, serving as a person’s ontological, mental, and emotional core. As a writer, philosopher, and insightful expert on the human soul, Franko always believed in the triumph of humanity and goodness, which he considered the ‘universal ideal.’ Franko the humanist, whose existential program evolved under the influence of Christian ideas, national values, and folk pedagogy, aimed to affirm righteous human life through adherence to moral maxims, “so that the sum of goodness among people grows and continues to grow.” For the writer, the true essence of goodness is of utmost importance. It becomes attainable when human thoughts and actions are in harmony with moral principles. Franko’s humanism lies in his belief in the good person, the greatest ‘masterpiece of nature.’ The quintessence of the writer’s humanistic visions is most evident in the novellas “The Thorn in the Foot,” “How Yura Shykmaniuk Crossed the Cheremosh,” and the poetry collection “My ‘Izmaragd’.” Franko’s advocacy for goodness and “genuine human morality” extends from the fate of the individual to that of the nation and humanity, which must reach “the grand gates of statehood.” This is the singular and historically inevitable path that will lead the people out of age-old misfortune and ensure a stable national future.
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Snyder, Lewis Leroy (Lee). "Apologetics Before and After Postmodernism." Journal of Communication and Religion 22, no. 2 (1999): 237–71. https://doi.org/10.5840/jcr19992224.
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In a postmodern world, it is questionable whether religious apologists can successfully engage nonbelievers with arguments derived from modernist assumptions about the nature of truth. Modernist apologist extraordinaire Ivan Panin believed he discovered a secret mathematical code in the Bible, During a time when science seemed to have disproved many claims of the Bible, he used scientific arguments to support the Christian faith. Nevertheless, his arguments fell on deaf ears, Panins failure suggests that postmodernist challenges to faith may not be met by a return to modernist arguments. Instead, postmodernism may be ! succeeded by a holographic post-postmodernism. New forms of apologetic argument will be needed for the next century.
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Rasevych, Liubov. "Postmodernist reading of the mystery “The Birth of Man. Good and Evil in the World”: an attempt at the modern reception of Ivan Ohienko philosophical and poetical dominants." IVAN OHIIENKO AND CONTEMPORARY SCIENCE AND EDUCATION 20 (December 25, 2023): 208–20. http://dx.doi.org/10.32626/2309-7086.2023-20.208-220.
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Ivan Ohiienko, as a historical and creative personality from among those who formed the idea of Ukrainianness at the beginning of the 20th century, during the active national liberation struggles, in contrast to the harmful utopian ideas of Bolshevism, needs special attention in the stormy present. The toolkit of literary postmodernism provides rich opportunities for rereading previously written works. In the case of the philosophical mysteries of Ivan Ohienko, we are talking about those texts that were not noticed by critics at the time of publication and did not receive a thorough ideo-logical and textual analysis. Therefore, the approach proposed in the current study is partly compensatory regarding the proper appreciation of Metropolitan Hilarion’s works. Therefore, the article attempts to reread Ivan Ohienko’s mystery «The Birth of Man. Good and Evil in the world» in view of those semiotic, structural and poetic markers that enable the modern reception of ideological markers in the direction of the postmodern worldview paradigm, dominant for the modern reader. The integra-tion of the text into the modern philosophical, cultural, historical discourse based on the technique of careful reading is a winning solution in an eff ort to reasonably give the author’s philosophical mysteries a new life, but not using far-fetched journalistic generalizations, torn from the fabric of the text itself. The proposed method of text analysis, based on the technique of close reading, made it possible to identify numer-ous features that fully or partially correspond to the creative searches of modern post-modern authors, namely: the idea of the relativity of truth, the fullness of human life with suff ering, the idea of the futility of trying to know the world, the futility of scien-tifi c knowledge of the world, the harmful infl uence of the crowd on creative individu-alism, the abandonment of man in this world, the lack of a clear distinction between good and evil, truth and wrong, in particular due to the appropriation of the right to produce the truth (often it belongs to the crowd or a representative of the crowd), etc. In the spirit of deconstructivism, the author involuntarily constructed replicas of the forces of Evil more convincingly than the fi nal plot decision in favor of the dominant and fi nal victory of Good. At least the situation in the world today proves that, unlike the plot of the mystery, Evil has not lost the fi nal battle for the soul of Man, but is still winning in an unequal existential struggle. The use of this type of text analysis can be useful for re-reading the texts of other literary fi gures, important in the paradigm of culture-creating and nation-creating Ukrainian continuum.
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Ivanyshyn, Petro. "NATIONAL AND SOCIAL IMPERATIVES OF IVAN FRANKO IN THE INTERPRETATION OF LUKA LUTSIV." Polish Studies of Kyiv, no. 35 (2019): 161–66. http://dx.doi.org/10.17721/psk.2019.35.161-166.
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The article is about the frankoznavchyi experience of one of the most productive researchers of the Ukrainian diaspora, the well-known Ukrainian scientist, journalist and editor Luka Lutsiv (1895-1984). First of all, about his monograph “Ivan Franko is a fighter for national and social justice” (1967). The importance of L. Lutsiv’s work provides not only for a complex illustration of I. Franko’s life and creative work, taking into account various com- plex moments, not only for a simple, lively presentation of the leading ideas, not only for the argumentative refutation of the valuations of the Soviet Franco studies, but also for the use of classical methods of research. The methodological base of his work was biographism (closely related to the cultural-historical approach) and hermeneutics. In the mono- graph we have not only the desire of the researcher to go deep into the artist’s biography and the cultural-historical context of the epoch, but also to protect Franko from the Soviet falsifications and to get to the essence of his creative work – the “truth” (in the terminology of classical philosophy). A literary scholar through the going out of the funda- mental hermeneutic layers understands this “truth”: the deep meanings, values, ideals and imperatives of the writer’s creative work, however, without more concrete terminological definitions. The work is also about the interpretation valuations of L. Lutsiv through the prism of main imperatives, which he identified in Ivan Franko, that is, categorical orders that appear at the same time as the main regulative idea of thinking and the system-forming element of the ideological base of the individual. The first leading imperative for the researcher is the national imperative (the “ideal of independence”), which re- veals the national-centered (natsiosofskyi, natsionalistychnyi or natsiolohichnyi) component of I. Franko’s worldview. Another central imperative of I. Franko’s life and creative work is the social imperative associated with the problem of social justice. One can state that L. Lutsiv’s monograph, despite all the possible defects, today thanks to the classical methodological base can be positioned not only as a document of the epoch but also as a valuable scientific source, though probably not as academic but as a popular science genre. This study helps to understand I. Franko’s worldview and thinking as a definite integrity, as a complex system and gives significant impulses for the continuation of episte- mological studies of this kind.
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Darensky, V. Yu. "«Dictatorship of Conscience»: Religious and Moral Foundations of the Russian Statehood According to Ivan Solonevich." Orthodoxia, no. 4 (December 26, 2022): 238–63. http://dx.doi.org/10.53822/2712-9276-2021-4-238-263.
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The article examines religious and moral foundations of the Russian statehood as presented by the philosopher and public figure Ivan Solonevich (1891–1953), who, following Vladimir Solovyov, defined his concept as “the dictatorship of conscience”. From Solonevich’s perspective, the specifics of the Russian political tradition consists in its fundamental difference from European feudalism. In Muscovy, the ruling class was selected according to its moral qualities, and the people’s life was based on the self-government (“the people’s monarchy”). Peter the Great ended this tradition by replacing the moral selection criterion with a pragmatic one, which led to the actual destruction of the autocracy and established the dictatorship of the nobility, substituting the people’s monarchy with European absolutism. Due to the unity of the tsar and the people based on the Orthodox faith and the Orthodox Church as the highest authority in worldly affairs, the Russian monarchy was primarily the people’s power and was never established by violence against the people’s will, while its opponents always employed the violence, i.e. murders, uprisings and conspiracies. The foundation of the Russian Orthodox monarchy was the moral feat of the people, its resignation for the sake of fulfilling the will of God. This was possible only in Russia, where the founders of the state themselves were saints. Thus, the Moscow Orthodox Tsardom had no problem with the people’s “control” over the government, which was so pressing in Europe, where outright criminals often became monarchs. In Russia, the principle of absolute trust in the authorities has always been present and has always proven its worth. Only thanks to this trust a small Duchy of Moscow could grow into a great empire. As shown by Ivan Solonevich, the obvious pragmatic effectiveness of the pre-Petrine people’s monarchy was also ensured by a very effective system of the people’s self-government, unparalleled in feudal absolutist Europe.
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Meerson, Olga A. "TRUTH VERSUS TRUTH IN CONTEXT IN DOSTOEVSKY. POLYPHONY VS RELATIVISM. THE CASE OF A CONVERSATION BETWEEN FATHER AND SON OVER THE BRANDY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2024): 112–29. https://doi.org/10.28995/2686-7249-2024-9-112-129.
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The article juxtaposes the semantic difference of usage for the word “truth” (“istina”) in Christian vs. secular contexts in Fyodor Dostoevsky’s “The Brothers Karamazov”. The author reveals an infinite multiplicity of conflicting receptive “mirrors” as they diverge from the Christian conceptualization of the notion of Truth, a notion most important for Dostoevsky, viewed by him as inalienable from the image of Christ. The author dwells on various meanings of the word “truth” in the polyphonic context of Dostoevsky’s novels, thus comparing and contrasting the characters’ perception of this word versus the meanings found in the relevant Biblical and liturgical texts, in Russian, Hebrew, Greek, and Church Slavonic. The textual example for this essay focuses on the chapter “Over the Brandy”, referencing the hypocritical policy of Catherine II in her attempt to please the representatives of the church hierarchy at the level of cultural gestures, while actually confiscating church lands and reducing the number of monasteries by two thirds. In this respect, she would find allies not only among the secularists like Miusov or Ivan Karamazov, different as their stances may be, but also among the radicals like Pyotr Verkhovensky, in Dostoevsky’s fiction. The article also shows that both the left-wing radicalism and the right-wing triumphalism equally distort and lead away from Christ, as Dostoevsky sees Him.