Academic literature on the topic 'Ukrainian Ballads'
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Journal articles on the topic "Ukrainian Ballads"
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Крупеньова, Тетяна. "Андресна функція топонімів в українських народних думах." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 7, no. 4 (2022): 205–13. http://dx.doi.org/10.15804/ppusn.2022.04.19.
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The article analyzes the peculiarities of the functioning of toponyms in Ukrainian folk ballads. It is noted that toponyms as organic components of ballad lyrics are a source that helps to establish the time and place of the event. Ukrainian ballads appeared in the XV–XVI centuries and were created by kobza players up to and including the XX century. Ballads have always reflected reality, important social events, heroic deeds carried out in the name of the people, and therefore it is in this genre that the most reliable information about the fate of Ukraine is concentrated. Toponyms used in the context of folk ballads have an important place and meaning. This layer of vocabulary is important since it precisely reflects socio-historical events, as well as directly mirrors the people’s figurative understanding of the natural environment’s real specifics. Big cycles in the epic work consist of thoughts about the struggle against the Turkish-Tatar and Polish-noble invaders. A prominent place among the works of the heroic epic belongs to the ballads that reflect the history of Ukraine in the XX century (starting from the revolutionary events of 1905). These works are mostly devoted to specific historical events and personalities. The description of real events is impossible without an indication of the event’s place, a description of the area, and this explains the frequency of toponyms in ballad lyrics, as them perform the function of address. 115 toponyms were analyzed, among which the largest group was oykonymy (60), the group of hydronyms has 30 proper names, a slightly smaller number (25) is the group of horonyms. It was found that the frequency of use of one onym or another is primarily related to the subject and content of Ukrainian folk ballads. The central place in these epic works is the fate of Ukraine, the heroic and tragic life of Ukrainians, in this regard, the token Ukraine is a semantic center around which all the positive and negative, the glorious and tragic, is based. It is proved that one of the functions of toponyms in the texts of Ukrainian people’s ballads is address. Toponyms acquire a generalized, abstract meaning, ie the lyrics of Ukrainian folk ballads contain many toponyms, which add other meanings to their own lexicographically fixed meaning, and these meanings implicitly contain people’s attitudes to the world, environment, ie acquire for them a certain cognitive meaning. In this regard, the study of such toponyms allows us to analyze and understand the linguomentality of our people, their spirit, worldview and world perception.
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Krupenyova, Tetiana. "Андресна функція топонімів в українських народних думах." Copernicus. De Musica 1, no. 1 (2022): 85–92. http://dx.doi.org/10.15804/cdm.2022.1.09.
Full textAbstract:
The article analyzes the peculiarities of the functioning of toponyms in Ukrainian folk ballads. It is noted that toponyms as organic components of ballad lyrics are a source that helps to establish the time and place of the event. Ukrainian ballads appeared in the XV–XVI centuries and were created by kobza players up to and including the XX century. Ballads have always reflected reality, important social events, heroic deeds carried out in the name of the people, and therefore it is in this genre that the most reliable information about the fate of Ukraine is concentrated. Toponyms used in the context of folk ballads have an important place and meaning. This layer of vocabulary is important since it precisely reflects socio-historical events, as well as directly mirrors the people’s figurative understanding of the natural environment’s real specifics. Big cycles in the epic work consist of thoughts about the struggle against the Turkish- Tatar and Polish-noble invaders. A prominent place among the works of the heroic epic belongs to the ballads that reflect the history of Ukraine in the XX century (starting from the revolutionary events of 1905). These works are mostly devoted to specific historical events and personalities. The description of real events is impossible without an indication of the event’s place, a description of the area, and this explains the frequency of toponyms in ballad lyrics, as them perform the function of address. 115 toponyms were analyzed, among which the largest group was oykonymy (60), the group of hydronyms has 30 proper names, a slightly smaller number (25) is the group of horonyms. It was found that the frequency of use of one onym or another is primarily related to the subject and content of Ukrainian folk ballads. The central place in these epic works is the fate of Ukraine, the heroic and tragic life of Ukrainians, in this regard, the token Ukraine is a semantic center around which all the positive and negative, the glorious and tragic, is based. It is proved that one of the functions of toponyms in the texts of Ukrainian people’s ballads is address. Toponyms acquire a generalized, abstract meaning, ie the lyrics of Ukrainian folk ballads contain many toponyms, which add other meanings to their own lexicographically fixed meaning, and these meanings implicitly contain people’s attitudes to the world, environment, ie acquire for them a certain cognitive meaning. In this regard, the study of such toponyms allows us to analyze and understand the linguomentality of our people, their spirit, worldview and world perception.
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Liugaitė-Černiauskienė, Modesta. "On the Meaning of Water in Ballads." Tautosakos darbai 50 (December 28, 2015): 135–52. http://dx.doi.org/10.51554/td.2015.28994.
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The article departs from the point of ballads as (mostly) pieces of folklore of non-Lithuanian origin taking root and existing in the Lithuanian environment. The ballad Nenustiko broliukui ženybos [‘The Unhappily Married Brother’] (and the song type Augo sode klevelis [‘A Maple Tree Was Growing in the Yard’]), as well as a number of other ballads including the motive of drowning, gravitate towards the topic and thematic of water. The predominance of the water image suggests its symbolic meaning. Thus, the family ballad in question not simply relates of a cruel action – it creates a peculiar “family myth”. The notion of water as a primeval substance points to its cleansing and renewing function. Instead of drowning, the semantic shift is projected towards revival, associated with washing away of the wife’s inadequacy, and finally resulting in caring for her. The Lithuanian ballad is compared to the Belorussian and Ukrainian ballads containing distinct images of the star and of the middle of the sea. Special attention is paid to a couple of texts in which an opposition between the old wife (maiden) and the new wife (maiden) may be spotted. According to Claude Lévi-Strauss, replacement of some oppositions with others is a characteristic of the mythical thinking.The action of the ballad (floating of the wife out to the middle of the sea, and subsequent plea of the husband pulling back and asking her to return) is remotely paralleled in the article with the ritual death and resurrection. However, such parallel does not suggest any specific ritual having allegedly existed in the family customs and perishing afterwards. Although (ritual) death and (ritual) revival are best reflected in rituals (therefore ritual analysis is especially useful here), they can manifest elsewhere too. An assumption is made of this being an archetype, repeatedly emerging on various levels, from the highest to the lowest ones. Examination of the marital relationship in the light of the archetype of birth – death – resurrection considerably broadens the scope of the ballad’s meanings. The archetype suggests its different interpretation.
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Semeniuk, Larysa. "Narodni balady Volyni y Zakhidnoho Polissya v zapysakh Lesi Ukrayinky ta chleniv yiyi rodyny: ukrayinsʹko-polʹsʹki paraleli." Studia Polsko-Ukraińskie 8 (April 16, 2021): 39–57. http://dx.doi.org/10.31338/2451-2958spu.8.3.
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The article highlights research findings of the ballad plots from the folklore repertoire of Volyn and Western Polissia of the end of the 19th century revealed in the records of Lesya Ukrainka and her family members (Mykhailo and Olha Kosach, Olena Pchilka) and also known in close Polish analogues of those days. The ballads, recorded by the Kosachs, are dominated by stories of family relationships and conflicts caused by marriage without love, long-term separation (the topic of incest), and the mother’s interference in a marital relationship that leads to murder, poisoning, and other tragic situations. A comparative analysis of ballad variants in two languages allows identifying not only the geographical area of spreading of ballad plots in the folklore of neighbouring nations, the specifics of plots, motifs, images, but also points to the features of the Ukrainian and Polish folklore works interaction on the borderlands. In the ballads, belonging to the International Ballad Fund, the plot-lines about wanderings of a dishonoured girl, the incest-related topics, mother’s poisoning of her daughter-in-law and son, about the death of a servant because of his/her mistress’ caprices, the wife’s murder of her husband are typical and similar to various languages. Ukrainian and Polish versions of the ballad-songs have similar features in the structural components of the lyrics, describing mostly life tragic collisions, everyday situations, dialogues of the characters, and artistic details. Despite the affinity of plots, images, artistic means of expression, multilingual texts offer different, often radically different ways of resolving personal and family conflicts. In addition, they are often marked with national colouration and reflect the features of local life, the social life realities of the Ukrainians, Poles, and other ethnic groups. The study has revealed that national attribution of the characters, their specific national names (especially in the Polish texts), polarization on the principle of ours/a stranger, a native/foreigner are the most noticeable features. The Ukrainian and Polish plots express mental ethnic stereotypes of folklore carriers, in particular, regarding women’s role in family and society.
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Karbashevska, O. "Poetics of Domestic Relationships and Conflicts in the Folk Ballad: Ukrainian-British Context." Journal of Vasyl Stefanyk Precarpathian National University 3, no. 4 (December 30, 2016): 107–20. http://dx.doi.org/10.15330/jpnu.3.4.107-120.
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The paper discusses poetics of the traditional ballad, reflecting family relations and conflicts in Ukrainian and British folklore. This comparative research has its base on the classification of the Ukrainian ballad developed by O. Dei, with the involvement of the systematization of the English ballad by F. Child, is guided by the postulates of O. Dey and G. Gerould as for the plot direction of Ukrainian and British domestic-household ballads, and is focused upon the analysis of the opposition “husband – wife” on the material of Ukrainian songs from the cycle II – B: “Fidelity testing of the family and the spouse”, namely the plot type II – B-1: “the wife (the sweetheart) pretends to be dead and tests her husband (her sweetheart) and relatives” (6 versions, 117 lines), and the English work Child № 29: “The Boy and the Mantle” (1 version, 190 lines). The comparison and analysis of the named texts reveal their typology and uniqueness
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Терехова, Ірина Олександрівна. "Дуалістична картина світу в «Малороссийских баладах» Левка Боровиковського." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 2, no. 98 (2021): 193–210. http://dx.doi.org/10.34142/2312-1076.2021.2.98.10.
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The article is devoted to the study of the ballad creativity of the first romanticist of Ukrainian literature – Levko Borovikovsky. The object of study was the writer's little-known Russian-language ballads, written in rhythmic prose: «Two fates», «Lame violinist», «Gun-absolutely», «Woe», «Blacksmith», «Giant». The purpose of our research is to determine the features of the dualistic picture of the world in Levko Borovikovsky's «Little Russian Ballads». To achieve the intended goal, the article uses a synthesized unity of research methods: the method of comparative analysis, the method of analysis and synthesis, the comparative-historical method, the method of interdisciplinary relations, the method of biography. In the course of the study, the artistic specificity of the prose ballads of Levko Borovikovsky in the context of the development of Ukrainian romanticism was established, the features of the romantic dualistic worldview of the writer were determined, the characterological features of the functioning of the ballad as a literary genre were identified. All «Little Russian ballads» by L. Borovikovsky have a folklore basis. Here the writer uses materials of folk beliefs, legends, fairy tales. He approaches the process of folklore processing of plots creatively, where the author's assessment is especially significant. The article proves that the Russian-language ballads of Levko Borovikovsky, based on the principles of folk aesthetics, represent a picture of a romantic double world. Such dualism is determined by the limitation of two worlds: the real and the unreal, which are antagonistic in nature. Antagonism, in turn, manifests itself in the opposition of the diabolical and divine, harmonious and disharmonious, sublime and ordinary, the free life of a person and his enslavement by social factors. The artistic picture of Borovikovsky's world is marked by the dominance of higher demonological forces. The prosaic ballads of Levko Borovikovsky correspond to the artistic canons of the poetics of romanticism, but at the same time they concentrate enlightenment elements. The mystical meaning of the author's Russian-language works finds its realization in a tense plot, where the fantastic is closely intertwined with the social and everyday life element.
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Strutynski, Iwan. "The Instrumental Component of the Epic Genres of the Carpathian Tradition." Problems of music ethnology 16 (December 29, 2021): 99–109. http://dx.doi.org/10.31318/2522-4212.2021.16.249654.
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If the context of the performance of ritual and dance music is described in detail in a number of monographs at the beginning and middle of the last century, then with descriptions of the existence of epic genres the situation is somewhat different. Most collections of epic songs contain verbal and musical texts, however, the context of the performance, the number of performers, and the instrumental component are not always described.
The article is devoted to the epic genres of folklore of the Ukrainians of the Carpathians. The article examines the modern existence of such epic genres of Ukrainian Carpathian folklore as psalm, song-chronicle, ballad. The aim of the study is to show the epic genres of folklore of the Ukrainian Carpathians in the context of its modern existence in the Carpathian village and in connection with the instrumental tradition of the region. The study covers Eastern Galicia (Halychyna), in particular Galician Hutsulshchyna and Pokuttia (Pokucie), where the author's fieldwork took place.
Modern field recordings of psalms, which were previously carried by itinerant lyre players, indicate that the works of this genre in some places have survived to this day due to their inclusion in the calendar tradition. Some of them are preserved as Christmas and Lenten songs. So, in the village Stary Lisets of the Tysmenytsa district of IvanoFrankivsk region, the psalm «About Stratenska Virgin Mary» about the siege of the monastery by the Tatars became a carol.
In the Kosiv and Verkhovyna districts of Ivano-Frankivsk region (Galician Hutsulshchyna), songs-chronicles («novyny») continue to exist. This genre of Ukrainian folklore appeared in the 17th century. Songs-chronicles reflect historical events from the time of the opryshky movement to the present day and family and household dramas. In the village Khymchyn of the Kosiv region, the author of these lines was lucky to record two songs-chronicles – about Dovbush and about the First World War. The performer alternated singing with playing on a sopilka-dencivka. The author finds out ideas of the bearers of the tradition about the correct performance of songs-chronicles. The classical performance of chronicle songs is predominantly solo (one singer and one accompanist-instrumentalist).
Folk ballads that exist in the modern Carpathian region can be divided into local and late ones, a significant part of which came from the Central regions of Ukraine in the 20th century. At the same time, part of the late ballads comes from the ancient ones that arose on the territory of the Ukrainian Carpathians in the 17th–18th centuries. Evidence of the 20th century and the records of modern collectors of Carpathian folklore show that the performance of ancient Carpathian ballads is close to the performance of songs-chronicles.
Old Carpathian ballads are characterized by a declamatory manner of singing accompanied by a violin, hurdy-gurdy or sopilka-flute and a narrow ambitus. Old ballads are associated with individual performance and folk-professional instrumentalism. Nowadays they can be heard less often than late ballads associated with collective choral singing. To get a complete picture of the context of the existence of the ancient Carpathian ballads, it is necessary to interview the inhabitants of the villages where they were recorded in the XX – at the beginning of the XXI century – Kornych, Myshyn, Cherni Oslavy, Velykyi Klyuchiv and Kosmach.
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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 (December 22, 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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Pavlova, Alla. "Axiological Paradigm of Lyro-Epic Song: Ethical and Irrational." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 14, no. 25 (2021): 111–16. http://dx.doi.org/10.34079/2226-3055-2021-14-25-111-116.
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The love in the Ukrainian folk ballad is the center of the axiological model, associated with the concepts of “care”, “tenderness”, “warmth”, “joy” and so on. At the same time, this feeling often appears in antinomies, as it can become a powerful destructive force, shattering destinies and entire worlds. The aim of the work is to clarify the dialectic of ethical and irrational in Ukrainian ballads about love and premarital relationships, family life. Among the tasks: to trace the opposition structure of the concept of “love”; to find out the dialectic of the ethical and the irrational in the folk ballad. The vital meaning of the subject is characterized by certain conceptual features: the desire to achieve love, to have a loved one, to give happiness, to die for love, to fight with the world for their feelings, to know the essence of love, to expose indifference to recklessness. Carelessness as a human defect that causes tragedy appears in several realities of the song. Love in the dramatic boundaries of the work becomes not only the world but also the universe. With the death of a loved one does not come the death of love, because a stressful situation exacerbates these feelings, and partially manifests them in the human mind. Textual analysis of ballads reveals that often in life love is associated with a change of ideas, life meanings of the subject, a state of spiritual confusion. Love is distinguished by ambivalence: through suffering or hopelessness it turns into hatred. You can draw the same parallels by exploring the existence of love in folk ballads. The antinomy of the individual and the social in the studied lyrical songs is manifested at the level of a special human reality. Important concepts of “boon”, “care”, “mercy” are taken beyond positive emotional perception: the power of love becomes another force. On the example of such ballads we can trace the realization of educational and psychological functions: to encourage rethinking of the act, to teach a person to love the world and other people with true love, to help in spiritual growth. The ambivalence of love is manifested even at the level of poetic structuring of the text. Even this oppositional structure of the concept of «love», represented in the ballad, confirms the indirect discursive orientation of folklore on the model of the anthropological model, which is structured according to the system of values of the Ukrainian ethnic group. The essential assessment of an event or character of a folklore work, presented at the level of recognition – denial, contributes to the assertion of axiological constants: love in harmony, spiritual unity, mutual aid, tenderness and care as a synthesis of ethical and rational, goodness and beauty can bring this feeling to the horizon of majesty and eternity. Thus, in a folk ballad, the folklore image of a loved one is revealed at the level of cognitive activity of the society and the whole ethnic group.
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Nikoriak, Natalia, and Alla Sazhyna. "The genre of ballad in cinematic discourse (the cinema ballad “Wild flowers“ (2000) by the Czech director F. A. Brabec)." Current issues of social sciences and history of medicine, no. 3 (31) (March 7, 2022): 71–77. http://dx.doi.org/10.24061/2411-6181.3.2021.297.
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The objective of the article is to analyze the specifics of cinematic interpretation of the ballads from the collection “A Bouquet of Czech Folk Legends” (1853), written by a famous Czech writer and folklorist K.J. Erben, in the film by F.A. Brabec “Wild Flowers” (2000) within the concept of genre continuity. Methods of research: comparative method, method of intermedial and receptive analysis. Novelty of research: the issue of intermedially oriented genre continuity is investigated for the first time within the discourse of Ukrainian Literary Criticism. Conclusions. The cinematic text of the director F. Brabec fully preserves and conveys all the basic codes of the genre of literary ballad: the preciseness of the narrative, the depth of disclosure of life, the severity of the situations described, the limited personosphere, the dramatic and unexpected denouement. Therefore, the above texts are perceived as short “concentrated tragedies”. In addition, the director broadens the main text of the ballads, supplementing each plot with a backstory; he actively applies montage and film trails, as well as reduces time parameters, fragments and dialogues, at the same time preserving the main content of the original. Particular emphasis in the research has been laid on the fact that each ballad, reproduced by means of cinematic language (“Bouquet”, “The Water-Goblin”, “The Wedding Shirts”, “Lady Midday”, “The Golden Spinning Wheel”, “Daughter’s Curse”, “Christmas Eve”), is presented as a completed independent text and is regarded as an indispensable part of the holistic author’s concept.
Dissertations / Theses on the topic "Ukrainian Ballads"
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Набок, Марина Миколаївна, Марина Николаевна Набок, and Maryna Mykolaivna Nabok. "Психологізм епічних героїв українських народних дум." Thesis, Сумський державний університет, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40586.
Full textBooks on the topic "Ukrainian Ballads"
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Pryhara, Marii͡a. The cossack Holota: Stories based on ancient Ukrainian ballads. Kiev: Dnipro Publishers, 1985.
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Hrabovet︠s︡ʹkyĭ, V. V. Oĭ, popid haĭ zelenen'kyĭ khodyt' Dovbush moloden'kyi: Etnohenez, poshyrenníà, varianty. Ivano-Frankivs'k: vyd-vo "Nova zoríà", 2000.
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V, Myshanych S., ed. Folʹklorystychni studiï: U chotyrʹokh tomakh. Donet͡sʹk: Vyd-vo Nord-Pres, 2006.
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Dem'i͡an, Hryhoriĭ. Ukraïnsʹki povstanski pisni 1940-2000-kh rokiv: Istoryko-folʹklorystychne doslidz͡henni͡a. Lʹviv: Halyt͡sʹka vydavnycha spilka, 2003.
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Narodni balady Zakarpatti︠a︡. Uz︠h︡horod: Vseukraïnsʹke derz︠h︡avne vydavnyt︠s︡tvo "Karpaty", 2013.
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Wondrous Animal : Ukrainian Folk Songs: Ballads, Ritual Songs, and Charms from Ukraine. Lulu Press, Inc., 2022.
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Ukraïnsʹki narodni balady Zakhidnoho Polissi︠a︡ (zahalʹnoukraïnsʹkyĭ kontekst i rehionalʹna svoi︠e︡ridnistʹ): Monohrafii︠a︡. Lut︠s︡ʹk: Redakt︠s︡iĭno-vydavnychyĭ viddil "Vez︠h︡a" Volynsʹkoho nat︠s︡ionalʹnoho universytet imeni Lesi Ukraïnky, 2009.
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Narodna obri︠a︡dova tvorchistʹ Shat︠s︡ʹkoho poozer'i︠a︡: Monohrafii︠a︡. Lut︠s︡ʹk: Volynsʹkyĭ nat︠s︡ionalʹnyĭ universytet imeni Lesi Ukraïnky, 2012.
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Plave kacha po Tysyni ...: Persha svitova viĭna u karpatorusynsʹkomu pisennomu folʹklori : monohrafichne doslidz︠h︡enni︠a︡. Uz︠h︡horod: Vydavnyt︠s︡tvo V. Padi︠a︡ka, 2017.
Find full textBook chapters on the topic "Ukrainian Ballads"
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Osipov, Petro, and Nataliia Bulyk. "TRANSLATION OF CLASSICS OF GERMAN POETRY IN UKRAINIAN." In Trends of philological education development in the context of European integration. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-069-8-9.
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Translation issues have long been in the field of view of translators and philologists-researchers. The focus was on the definition of the translation process in view of its psychological and lexical-semantic features and its perception as a certain creative action. The translation process is always functionally and thematically defined and controlled. Its main purpose is to provide the necessary information and establish communication between people of different languages and cultures. Considering translation as an interlingual communication process, we address the question of what language operations should be performed to ensure the integration of source and target texts and at the same time eliminate their interlinguistic structural differences at the conceptual and stylistic levels. The dominant of any translation is its goal (skopos), because differences in the definition of translation goals cause, in turn, differences in interlingual translation strategies. The translator's understanding of the text presupposes his knowledge of the history of society, institutions, social conditions, religious beliefs, culturally and situationally determined patterns of speech activity and behavior of the "source culture", as well as knowledge of the syntax and semantics of the "source text" and their structures. Each translation creates a dynamic connection and is an intercultural transfer of the text insofar as it takes into account the culturally specific comparison of language, situation and object in question. From the standpoint of hermeneutics and from the point of view of translation, the difference of cultures means the difference between "source culture" and thus – the culture of "source language" and "target culture" and thus - the culture of "target language". The analysis focuses on the translation of the most famous poems of German classics. In J. Goethe, along with the ballad "Erlkönig" ("The Forest King"), it is his popular excerpts from the tragedy "Faust". The translation was made by famous writers B. Hrinchenko and M. Rylsky. F. Schiller's poetry is represented by his ballads "Pirnach" ("DerTaucher") and "Glove" ("DerHandschuh"). The latter was translated by the famous poet and translator M. Orest. Heine's works were translated into Ukrainian by such well-known writers as I. Franko, L. Pervomaisky and others.
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Popenhagen, Ron J. "Feigned and Distorted Bodyscapes." In Modernist Disguise, 88–114. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474470056.003.0004.
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Creative interdisciplinarity in performance and scenography permeate the masking and disguising of the avant-garde. Chapter Four highlights the artistic collaboration of choreographers, composers, visual artists and writers in Paris and beyond, beginning with the production of Parade in Paris (1917) and concluding with work of Vsevolod Meyerhold in Moscow in the 1920s. Popular performance disguising by Liesl Karlstadt and Karl Valentin in Munich, as well as Alexander Vertinsky’s Ukrainian Pierrot, contrast with much of the abstraction proposed in other urban bodyscapes. The bold distortions of Aleksei Granovsky’s mises en scène with the State Yiddish Chamber Theatre complement the masquerading described in Paris with the Swedish Ballet and the Ballets Russes. This chapter parades a line-up Charlie Chaplin, Clowns and Pulcinella interpreters alongside the omnipresent Pierrots who offer an escape from the troublesome years of war. In this era, disguising also proliferated in domestic and military circumstances as malingerers and ‘Aspirants and Pretenders’ displayed Chaplinesque masquerading skills throughout the belligerent communities and battlefields of Europe.