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Journal articles on the topic 'Ukrainian Ballads'
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1
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.
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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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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.
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Karatsuba, Myroslava. "Typological Comparisons of Folk Poetry of the Ukrainians and Southern Slavs at the Figurative-Lexical Level." Slov'ânsʹkij svìt, no. 21 (December 30, 2022): 23–38. http://dx.doi.org/10.15407/slavicworld2022.21.023.
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The focus of the study proposed below is on important issues related to the identification of the common features of folk poetry of separate southern Slavs, in particular, Serbian, Croatian and Bosnian, and Ukrainian folk poetry, as well as individual works of art with a folklore component (for instance, Vila-Posestra by Lesya Ukrainka). It is, in particular, about the characteristic features of folk-poetic works at the level of imagery, poetics, and indicative lexical patterns. Common to folk poetry of the Southern Slavs and Ukrainians, especially when it comes to works of love or social nature, is the use of not only permanent epithets, but also indicative metaphors, comparisons and characteristic figurative expressions. In stages and separately considered are poetic tropes, separately their content and formal load, as well as functions when used in folk poetry of Ukrainians and South Slavs. Considerable attention is paid to lexical characteristics when creating the image of a beautiful girl in Ukrainian folk poetry and in folk-poetic South Slavonic samples, as well as to additional attributes of clothes and outfits of a young man and a girl in the folklore of the mentioned peoples. Figurative characteristics of animals, plants and natural phenomena (flowers, herbs, trees), as well as their functional purpose and place in the palette of folk-poetic works, characteristic lexical features of their reproduction in texts of epic and lyric songs, and folk ballads, do not remain without attention as well. The article compares dumas and songs and ballads about the escape from captivity, where there is also a distinct similarity in vocabulary when characterizing heroes and their actions. By collating folk poetry of Southern Slavs and Ukrainian folk songs, extraordinary factual material is revealed at the figurative-lexical level, eloquently testifying to the similarity of the texts. It is about certain clear general regularities of the overall plan, which can be traced both at the level of plot imagery in the thematic-genre dimension, and in the aspect of metaphors (constant epithets).
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Senchylo-Tatlilioglu, Nadiia, Neonila Krasnozhon, Anastasiia Sibruk, Svitlana Lytvynska, and Khrystyna Stetsyk. "Ukrainian-turkish literature relations between the 16th - 20th Centuries Nadiia Senchylo-T." Revista Amazonia Investiga 12, no. 62 (March 30, 2023): 115–23. http://dx.doi.org/10.34069/ai/2023.62.02.9.
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The article highlights Ukrainian-Turkish relationships in literature, originating from oral folklore, ballads, and historical songs since the 16th century to the present day. It emphasizes that literary communications between Ukraine and Turkey are primarily due to their close geographical proximity, intertwined geopolitics, and historical, economic, and cultural interrelations between both nations. Based on literary works, the article distinguishes key stages in Ukrainian-Turkish relationships in Ukrainian literature from the 16th to the 20th centuries and examines how individual and group-based Ukrainian identities in Ukrainian folklore of the 16th-17th centuries were formed in interaction with Turkish identities. Starting from the 19th century, changes in the context of social and political processes cause communicative vectors in literary works to change as well. Important aspects of Ukrainian-Turkish literary communication are discussed.
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Nalewajk, Żaneta. "Translations of Bolesław Leśmian’s ballads in the context of comparison between the Polish and the Ukrainian versification." Tekstualia 1, no. 5 (December 31, 2019): 167–84. http://dx.doi.org/10.5604/01.3001.0014.4109.
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The main goal of this article is to analyze translations of Bolesław Leśmian’s ballads in the context of comparison between the Polish and the Ukrainian versifi cation. This author examines the text of Świdryga i Midryga (Hopster and Bobster/ Whirlus and Twirlus) translated by Yuriy Bedryk, Marianna Kiyanovska, Yulia Lyskun, Viktor Koptylov, Vasyl Borovy, because its original rhythm is evidence that the Ukrainian culture inspired the poet in terms of sound. She also compares translations of the poem Żołnierz (Soldier) made by Rostyslav Radyshevski and Yulia Lyskun.
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Kononenko, Natalie. "Ukrainian Ballads in Canada: Adjusting to New Life in a New Land." Canadian Slavonic Papers 50, no. 1-2 (March 2008): 17–36. http://dx.doi.org/10.1080/00085006.2008.11092570.
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Tkachenko, Anatolii. "Переклад і переспів як форми міжлітературної взаємодії (на матеріалі українськомовного перевтілення балад Р. Бернза)." Studia Polsko-Ukraińskie, no. 10 (June 10, 2023): 94–104. http://dx.doi.org/10.31338/2451-2958spu.10.7.
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The concept of artistic translation, and the criteria for its requirements, are constantly evolving: what used to be considered a translation, now, based on a vastly expanded range of forms of inter-artistic interaction and intertextuality, qualifies translation, as a rehash process, as imitation, motifs’ creation, stylisation, adaptation, transplantation, borrowing, processing, citation, figurative analogy, reminiscence. Mixing them sometimes leads to arbitrary interpretations of the translation freedom degree. Ideally, the translator should know perfectly, in addition to his native language, the language and culture of the people whose literature they are working on to be congenial to the author of the original to create not only in a rational but also in an emotional register, with complete spiritual dedication. Such was the master of Ukrainian translation Mykola Lukash, who could perfectly harmonise antinomies of spirit/letter, content/form, and more. Entirely original are his transformations of Robert Burn’s ballads. The author compares the versions of the interpretation of R. Burn’s ballad “My Heart’s in the Highlands” by P. Grabovsky, V. Mysyk, S. Karavanskyi, V. Chernyshenko, M. Lukash, and concludes that the freest and melodic one is the rehash attempt by M. Lukash. This is probably the most related to folk motifs variation on the famous work of Robert Burns. The ballad “The Lass that Made the Bed for Me” is the most popular in today’s media space. Ever since the Soviet times, the translation of this ballad, made by Samuel Marshak, is still considered a classic one in the trade of translation, where both the substantive and formal parameters of the original are pretty accurately reproduced. While interpreting this ballad, Mykola Lukash also gives another name – “Adventure” – and chooses not to translate but to rehash it, without distorting the spirit of the original and, at the same time, adapting it to the mental spirit of the target audience. A masterpiece by Robert Burns, retaining the plot twists and psychological nuances Lukash re-chanted it not in the original’s lyrical size, but on the motif of the Ukrainian folk song “Oh, a girl went to pick up mushrooms” [Oѳj divchyѳ na poѳ hrybyѳ khodyѳ la]. This is evidenced not only by the rhythmic-melodic coherence but also by the lexical matches.
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Igumnov, A. G., and E. L. Tikhonova. "Material Origin in Folklore Texts of Predominantly Historical Themes." Nauchnyi dialog, no. 10 (October 29, 2021): 247–64. http://dx.doi.org/10.24224/2227-1295-2021-10-247-264.
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The article deals with the issues of architectonics of folklore texts of historical content: Russian and Ukrainian historical songs, historical ballads, dooms and epics. The relevance of the study is due to the search for a synchronous typological similarity between folklore texts of different ethnic, generic, genre, and poetic nature. Special attention is paid to three aspects of the organization of the song plot: its compositional layering, the combination of several principles in it; the plot meaning of allomotives, explicating the material principle; their styling. The definitions of the material and spiritual principles are given. The objective existence of typological similarities at the level of the allomotive organization of Russian and Ukrainian texts related to the classical, traditional and stage-by-stage types of creativity in the field of historical song folklore is shown. It is shown that this similarity can be explained by the reflection in the texts of vital, everyday empiricism and can acquire different stylistic incarnations: reduced everyday, ascertaining, idealizing. The question is raised about the reasons for the axiological differences in the Russian and Ukrainian folklore traditions. It is proved that the explication of the material principle can have different meanings in the organization of the song plot: optional, meaningful within a fragment of the text, plot-forming.
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Shirokova, Aleksandra. "The Image of a Primula in Adam Mickiewicz’s Poem “Pierwiosnek” and Its Translations into East Slavic Languages." Stephanos Peer reviewed multilanguage scientific journal 57, no. 1 (January 31, 2023): 95–106. http://dx.doi.org/10.24249/2309-9917-2023-57-1-95-106.
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The article presents an analysis of Adam Mickiewicz’s poem “Pierwiosnek”, which is a part of the romantic cycle “Ballads and Romances”, and its translations into Russian, Belarusian and Ukrainian. The nominations of the primula which function in the title, in the speech of the lyrical subject, and as the self-designation of the hero-plant in the Polish original and East Slavic translations are analyzed. A comparative analysis of the Polish original and the East Slavic translations is carried out in the designation of such attributes of the plant as its size, the color of the inflorescences, the components of the plant, the time of flowering, the place of growth. That allows us to form an idea of the similarities and differences of the images of the primula in the translations compared with the original text. The issue of compensation techniques used by translators is partially touched upon. The analysis is carried out taking into account the extensive floronymic base of the Polish and East Slavic languages.
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Stezhko, Svetlana. "FEATURES OF AGE CATEGORY OF THE BEGINNING OF 20th CENTURY." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 51–55. http://dx.doi.org/10.28925/2412-2475.2019.138.
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The article analyses propaganda plays which create a broad basis for further consolidation in the mass consciousness of ideological concepts , mythologues, and behavioral stereotypes, wholly corresponding to the so-called social order of power and society. One of the most powerful ideological plots and cliches in plays-agitation is the conceptial plot contrasting «past — future» («old world / order / custom — a new world / order / custom»). The plot lines of the propaganda play, in fact, «appropriate» folklore subjects and fragments of the national historical narrative and rewrite them in accordance with the class-social ideology of the era. Theatricalization of history, as well as theatricalization of life, is carried out using ideological cliches, but based on historical stories. In the vast majority of cases, it is not about the use of plot conflicts from the biographies of historical figures, but on the contrary — about the rebirth of the plot schemes of folk historical songs, ballads, legends, and translations. The plot lines of the propaganda plays “take credit” for folk stories and fragments of the national historical narrative and transcribe it according to the class-social ideological settings of the era. This makes it possible to create a common historical memory. Due to this memory the national heroic pathos of the Ukrainian past is replaced by the images and metaphors of the class struggle of the proletariat and the peasantry. This image is wholly opposite to the national-patriotic, partly the existential-philosophical conception of the past, created in the late 19th and early 20th centuries in the dramatic works of Liudmyla Starytska- Cherniakhivska, Spyrydon Cherkasenko, Hnat Hotkevych, Mykhailo Hrushevskyi, Bohdan Lepky, Ivan Nechui-Levytskyi and other Ukrainian writers. National pride motive is replaced by the idea of “Soviet patriotism”, in order for “Ukrainians could celebrate their past, as long as it complemented, but did not combat with Russian imperial history” as S. Yekelchik notes.
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Serhaniuk, Liubov I., Liudmyla V. Shapovalova, Yuliia V. Nikolaievska, and Oleh O. Kopeliuk. "Genre in the music communication system and the artist's mission." Linguistics and Culture Review 5, S4 (October 23, 2021): 218–33. http://dx.doi.org/10.21744/lingcure.v5ns4.1575.
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The concept of the genre in the creative practice of the 20th century is defined as a complete historical cycle. The purpose of the study is to review theoretical ideas about the role of genre in the communicative system of musical culture of the 20th century through the criterion of cooperation of the composer and performer. A. Sokhor, V. Zuckerman, Ye. Nazaikinsky, I. Kohanyk et al. explained the essence of the genre from different standpoints, revealing the fundamentally open nature of the theory itself. However, there are ontological laws of the genre development. The first law is that music genre exists as a system of functions. The second law is that genre exists in social practice as a conditional model of developed musical archetypes that reflect deep mental structures of communication. These laws are illustrated with such examples as the genre of toccata for piano (Italian composer G. Petrassi and Ukrainian composer I. Karabits); the genre of ancient ballads in the repertoire of modern kobzars; chrono-articulatory foundations of the polyphonic cycle of V. Bibik "34 Preludes and Fugues. The Second Notebook", typical communication strategies in creative work of modern artists and performers.
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Teleutsia, Valentyna, Alla Pavlova, Liliia Sydorenko, Neonila Tilniak, Yuliya Kapliyenko-Iliuk, and Natalia Venzhynovych. "Mode of Understanding the Terms "Concept" and "Folklore Concept" in Modern Humanities." Studies in Media and Communication 10, no. 3 (December 18, 2022): 40. http://dx.doi.org/10.11114/smc.v10i3.5832.
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The urgency of the study is explained by the importance of a thorough study of typology and classification of concepts in terms of modern cognitive linguistics, linguoculturology, history, ethnolinguistics, philosophy and psychology, including folklore concept as a set of signs that form a semiotic model of national and cultural experience and allow in-depth study of cultural processes in the light of historical and national factors. The aim of the article is to try to comprehend the concept and folklore concept from the standpoint of modern researchers working in various fields of humanities, to analyse, compare the main aspects of studying the problem, considering industry specific features. The main research method is a theoretical method that involves analysis, synthesis, generalisation of the theoretical basis on this topic, and the subject of study – the term concept as a tool of scientific analysis, mental construct and unit of consciousness. The article identifies the main structural and classification features of concepts, diversity of views on the problem of folklore concept from the standpoint of scholars from different fields of humanities and representatives of different cultural strata, the specific features of Ukrainian folklore are considered in detail on the example of texts of thoughts, historical songs, songs-chronicles, wedding songs, carols, Christmas carols, ballads. The materials presented in this paper will help to clarify the specific features and breadth of the mode of understanding certain cultural, folklore and historical phenomena at the intersection of various humanities and social sciences.
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Смоляк, Олег, Павло Смоляк, and Оксана Довгань. "The Image of Water in the Traditional Rituals and Folksongs of the Western Podolia." Tautosakos darbai 58 (December 20, 2019): 207–27. http://dx.doi.org/10.51554/td.2019.28398.
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The article provides a detailed discussion of the image of water in the traditional rituals of the Western Podolia. The synonymous representations of water are particularly numerous in the ritual calendar songs of the winter cycle. The article focuses on the sources of folklore and ethnology providing grounds for an exhaustive analysis of the water image as an inherent part of the human life.The article elucidates the importance of water in the ancient Slavic and particularly in the Ukrainian culture. The ancient Slavs have been recorded as worshiping and bringing sacrifices to the rivers, lakes, wells and springs. The most important water goddess for the Ukrainian ancestors was Dana, venerated as a bright and benevolent deity that would ensure life to all the living things. Therefore, the names of the greatest Slavic rivers derive from the word dana. Similar power is ascribed to the spring rain and thunder. Rain embodies the celestial water element, while thunder combines two life bringing principles – water and light.The analysis of the national cultural heritage primarily brings forth the importance of water in the traditional worldview of the Western Podolia. The sacramental aspects of water are prominent in numerous charms and spells, which distinctly reveal personification of water and surviving reflections of its divine quality. The broadly popular magical uses of water are interpreted on the grounds of the traditional local belief in its cleansing effect and healing abilities applied to all the surrounding objects. The consecrated Jordan water that was believed to provide powerful protection from all the evil spirits was regarded in Western Podolia as an indispensable attribute of all the healing and economical magic. In Western Podolia, as in many other ethnographic Ukrainian regions, the traditional bathing in water during the calendar winter festivities was widely practiced for the purposes of ensuring physical health. This ritual has survived until nowadays along with other contemporary traditions. According to the old Ukrainian collections of the traditional folksong texts, the notion of dunai is most frequent in the folksongs from the Western Podolia. In the lyrics of these songs the water of dunai commonly occurs in such synonymous manifestations as the water as such, as a river, as a lake, as a sea or an ocean, and as other shapes of water (rain or snow), also – as a faraway country. Symbolic representations of the dunai water are particularly frequent in the wedding songs from the Western Podolia. Water as personified passive side of creation provides typical environment for the woman to make herself ready for entering the matrimony and for ensuring the continuation of life. The mythical image of dunai is rather widespread in the traditional ballads from the Western Podolia as well. Here, the water appears as a relentless deity extending its fatal embrace to accommodate the young married couples or individual family members that have betrayed each other, or as a fast, deep and overwhelming stream that proves deadly to people. In other traditional socially engaged folksongs from the Western Podolia the image of dunai is considerably less frequent. Here, it is mostly identified with the “faraway lands” and can acquire the actual meaning of the Danube River.
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Osypenko, Viktoriia. "Actualization of folklore prototype images in the philosophical concept of Yurii Alzhniev’s Song Symphony “Behind the Milky Way...”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (April 29, 2024): 122–39. http://dx.doi.org/10.34064/khnum1-70.07.
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Statement of the problem. Objectives, methods, and novelty of the research. The experience of studying the archetypes of the culture of Slobozhanshchyna region is offered, through the understanding of their role in the conception of the recent composition by contemporary Ukrainian artist Yuriy Alzhniev. Specific examples of borrowing samples of folk songs from Slobozhanshchyna (the ballad “How a grey eagle competed with a grey horse” from the repertoire of kobzars; the chumak song “Hey, our chumaks were on their way”, the allegorical song “Oh, woe to that seagull”) reveal value and meaning orientations of the artist with the aim of prolonging “historical memory” in the most recent history of music. In this sense, Slobidska Ukraine has historical, stylistic and genre priorities fixed in the folk song tradition, which has never been interrupted (even during the Soviet statehood). This is evidenced by the funds of folklore laboratories of higher educational establishments (in particular, Kharkiv I. P. Kotlyarevsky National University of Arts, and the House of Folk Art). The heart of the interaction of the folk song tradition and academic music is Slobozhanshchyna singing, which is a vast genre-stylistic system. Therefore, musicologists should generalize the conceptual foundations of the creative work of those artists who continue the Slobozhanshchyna tradition. Yuriy Alzhniev occupies an honourable place among them. His resent symphony belongs to the “Slobozhanshchyna text”. The latter is a term of musical regional science, which means a collective product of folk art continuing its existence in the creative work of modern composers of Eastern Ukraine. Thus, we are talking about the actualization of Slobozhanshchyna folklore in the symphonic genre. Despite precise instructions regarding which folkloric sources (chants, genres) the composer used to build the original concept of the Symphony (Osadcha, 2019; Kliuka, 2023), in our opinion, the folkloric layer of his dramaturgy still remained undervalued by musicologists. The specifics of Yu. Alzhniev’s composition determined our research methods: the historiographic one is addressed to the genres of the folk song tradition; the intonation one allows to highlight the linguistic and stylistic polylogue of the folk song and the artist’s symphonic thinking; and the comparative one reveals the kinship and differences of folklore sources in the context of their composer interpretation. Research results. Folkloric images in the Song Symphony have a poetic-verbal and purely musical origin. So, in the examples of Ukrainian calendar-ritual poetry, eagles plow the land and carry water. In the Slobozhanshchyna region version of the folk ballad used by the composer the eagle’s wings are a symbol of spiritual flight, heavenly destination, and the strength of the horse’s legs is a symbol of life forces, endurance, and earthly way.The central in the composition ones are: the folkloric motives of fraternity in the journeys in search of happiness, a mandate to take care of small children; the symbol of Milky Way as a God’s Path, the heavenly route of birds and human souls. The latter symbol is revealed by one of the brightest genres of the folk song tradition of Sloboda Ukraine – the chumak songs, unique in the world folklore the songs of the strangers in their journeys. Among many, the composer chosen the song “Hey, our chumaks were on their way” for the key image of the third (choral) movement of the Symphony. The symbolism of the folkloric archetype of the road got a double code: the road as the destiny of every Ukrainian; the Milky Way (called “Chumak Way” in the Ukrainian folklore) as a symbol of national culture, which connects the historical path of Ukraine and the personal destiny of the Cultural Hero of the Symphony to Truth, Divine Light. It is no accident that the author refers to the song “Oh, woe to that seagull”, which became a symbol of the historical fate of Ukraine, the search by folk singers for nationality, self-identity. This song is consonant with chumak ones and folk ballads based on the motif of the care of little children while the father is looking for his fortune in a foreign land. Expressive singing contains a formula that in the Symphony performs the function of the author’s monogram, combining the thematic structure of all the movements of the Symphony. The values of traditional culture are a source of Yurii Alzhniev’s creativity. The idea of consonance, on which the Symphony’s conception based, means the special state of a human in unity with the nature. The musical folk intonation of “sub-fourth” (ascending fourth + descending second) serves as the “code” to understanding “consonance”, connection of the Ancient and Present. The composer widely uses semitone-free scales, notes the power of their influence in folk songs. For him, it is a sign of inviolability, globality, infinity of the unknown, “invisible world” (according to H. Skovoroda). The semitone-free movement of the rising chorus of the ballad (“And he argued, competed...”) gives a sense of the immensity of the space in which the heroes of folk poetry exist, as the personification of the heavenly and earthly purpose of life. The iconic nature of the genre, determined by its functionality, is consciously modelled by the composer in order to create a nationally defined musical and linguistic picture of the world. Conclusion. Yu. Alzhniev’s Song Symphony musical-philosophical conception gravitates to that spiritual tradition, in which a human is considered as the embodiment of the nation, and the art is considered as the platform for the synthesis of folkloric archetypes and individual composer creativity. The indicated signs of the folk song tradition, crystallized in the thousand-year evolutional move by steps of typifying (intonation-genre and figurative), with their natural energy, which awakes the subconscious, nourish the semantics of the author’s language. The complex of intonation signs operating at the level of genetic memory represents the archetype of “primary intonation” for the composer.
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Ivannikova, Liudmyla. "Kobzar Songs and Dumy of the 1930s – 1950s: Between Amateurism and Folk Tradition." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 107–17. http://dx.doi.org/10.15407/mue2021.20.107.
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The analysis of the authors’ songs and dumy, created by kobzars and lirnyky in the 1930s – 1950s is submitted in the article. The materials for the analysis include the sound records preserving in the IASFE record library. The recordings have been made in expeditionary and studio conditions. This study is aimed at the ascertaining the affinity of these works with folklore and the reason why they have not become an organic part of the oral epic and song tradition. The events of the 20th century are glorified in most of these works: the so-called October Revolution, Civil and Patriotic War, a happy collective farm life and the outstanding socialism projects. The performers have glorified the leaders Lenin and Stalin, the Soviet army, the «great» achievements of the Soviet government, the reunification of Ukrainian lands in 1939, etc. The Bolsheviks have tried by all means to place kobzars at the service of Soviet power and made them create «new heroic Soviet epos». This is the beginning of the tragedy of Ukrainian kobzarstvo and the destruction of the kobzar tradition. The kobzars Yehor Movchan and Volodymyr Perepeliuk have been endowed with a special musical talent. The events of the Second World War are covered in many works by Yehor Movchan. The duma On the Events in the Village of Protopopiv refers to the shooting of the villagers and the forcible deportation of young people to Germany. The author has used successfully folk melody and the structure of dumy. It includes the beginning, the ending, multiple repetitions, free meter. However, the text of the duma itself has nothing common with the oral epic tradition. This is indicated by the absence of folklore formulas in it, their replacement by newspaper stamps of the Soviet period. Therefore, despite its musical affinity with the Ukrainian folk epos, duma is still of artificial and literary nature, resembling an agitation leaflet in style. Though Yehor Movchan other songs are close to the folklore tradition, they have not become its property because of a completely opposite content to folk works. They have glorified and exalted what the people satirize and curse. The events poetized in them have contradicted the historical truth. The heritage of Hryhorii Ilchenko is a typical example of an «artificial fabrication of a new epos» in order to create the so-called «Soviet people’s dumy». His repertoire is marked by a large number of created for the stage specially original songs that have nothing common with folk epics. In particular, such forgery of folklore is A Duma on a Widowed Mother. The mechanisms of duma creation are described in the article. All this is only a superficial pastiche of folklore, primitive and artificial. The same applies to the ballads by Volodymyr Perepeliuk. Thus, most of the authors songs have quite an indirect relation to the oral folk tradition. That’s why they haven’t become and can’t become its property.
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Vavshko, Iryna. "Rock ballad in Ukrainian music." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 124 (April 25, 2019): 115–24. http://dx.doi.org/10.31318/2522-4190.2019.124.165415.
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Tarnashynska, Liudmyla. "How Terribly the Plow of History Plows..." Trimarium 3, no. 3 (December 18, 2023): 122–52. http://dx.doi.org/10.55159/tri.2023.0103.05.
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In the poetry of the prominent Ukrainian writer Lina Kostenko, the category of “historical memory” is conceptualized in ontological and philosophical dimensions: her philosophical discourses on history and the nation are built on this foundation. By “trying on” eternity (with the manifest: “I am floating into life from eternity”), she comes to philosophical self-awareness and artistic reflection of history, with vivid and convincing motifs / collisions / concepts / plots / images. In her epic poems, she measures human existence throughout epochs through the triad of the dominants of humanity / nation / family, giving each of them nation-building meanings. Her time is always anthropological, with an expressive psychological “face”, heavy with tragedy and endowed with a potential for the future. Her lyrical pieces have the same temporal tint. Through an inte- gral conceptual sphere, in which the category of time remains fundamental (dramatic poems and ballads Skifska Odisseia [Scythian Odyssey], Marusia Churai, Berestechko, Duma pro brativ neazovskykh [A duma on brothers other than the Azov ones], Snih u Florentsii [Snow in Florence], and a number of poems), Lina Kostenko tries to embrace the temporal and anthropological paradigm of man-history-man with her artistic imagination, where the problems of individual and national identity are given primary importance. In this context of the historically conditioned formation of national and national-cultural identity, she unfolds her own idea of a person’s home within history, especially national history, while professing the principle of “simultaneity of non-simultaneities” (R. Kozellek) of a series of past events. The author examines certain “semantic circles” of the writer’s narrative, discovering new semantic historio- sophical projections that in Kostenko’s works eventually form a coherent, verified anthropocentric conceptual model of the decisive role of the individual in the historical progress of the nation, showing, with the help of artistic and figurative means, how she creates the historical and psychological canvas of past events / collisions / interpretations that set the direction for the future. At the same time, the author emphasizes that the poet always upholds the position of the artist’s ultimate accountability in the face of national history.
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Пилипчук, Святослав. "‚‚Сік укра'п'нських пісень народних”, ‚‚перетворений в кипучу кров поета”: Франкове прочитання Шевченкового Перебенді." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 1, no. 1 (2015): 207–18. http://dx.doi.org/10.15804/pomi201514.
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Sap of Ukrainian Folk Songs”, "Transformed into the Poet's EbuIIient Blood”: Franko Reception of Shevchenko's Perebendia. The article analyzes Franko's conceptual recepb'on of Shevchenko's poem Perebendia. It has been remarl<ed how organicallv Shevchenko wove oral elements belonging to different levels into the text canvas and hovv scrupulouslv Franko managed to trace the folKlore code of Kobzar's poetic vvorld. It has been emphasized that the ballad genre performed a special role in Shevchenkols oeuvre. Focus has been placed on the effect of ballad components, which are significant psychological markers.
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Naumenko, N. V. "FORMAL AND SUBSTANTIAL FACTORS OF UKRAINIAN FREE-VERSE BALLAD." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 2, no. 4 (2021): 256–61. http://dx.doi.org/10.32838/2710-4656/2021.4-2/42.
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Dmytrenko, Mykola. "Terminological Arsenal of Ukrainian Folkloristics: the Contribution of Oleksii Dei (On the Occasion of the 100th Anniversary of the Scholar’s Birthday)." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 31–37. http://dx.doi.org/10.15407/mue2021.20.031.
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The article is dedicated to the centenary of birthday of an outstanding Ukrainian scholar Oleksii Dei. His biography, contribution to the research of folklore are reflected. It is emphasized on the formation of a young scientist as a researcher of I. Franko’s folkloristic activity. The significance of O. Dei as an organizer of scientific studies, instructor of projects, head of the Folkloristics Department of IASFE, editor-in-chief of the journal Folk Art and Ethnography is described briefly. Such aspects of scientist’s activity are called, as participation in international symposiums, forums of slavists, conferences; training of scientific cadres, official opponing of theses, creation of Kyiv scientific academic school of folkloristic researches. O. Dei work as a member of Scientific and the Specialized Scientific Councils at the M. Rylskyi IASFE of the AS of Ukraine, T. Shevchenko KSU is shown. O. Dei as a compiler and editor has taken an active part in the preparation and publication of literary heritage and works of I. Franko in 50 volumes, Lesia Ukrainka in 12 volumes, M. Rylskyi in 20 volumes, Ukrainian Literary Encyclopedia in 5 volumes, publication of the series Folk Art of the Dnipro Publishing House in 15 volumes, the series Ukrainian Folk Songs Recorded by the Writers in 20 collections. He is the author of chapters and articles in the History of the Ukrainian SSR, Ukrainian Soviet Encyclopedia. O. Dei has promoted actively Ukrainian folklore in periodicals, on the radio, in a special program about Ukrainian folk songs Word – Song on Ukrainian TV. O. Dei has devoted many pages of his scientific works to the figure, literary and artistic heritage of T. Shevchenko, the image of the poet in folklore, the problem of folklore and literature. The scholar’s interpretation of folkloristic terms legend, traditional story, ballad is considered. Attention is paid to O. Dei views on the problems of classification of Ukrainian folklore, songs of Slavic peoples, history of Ukrainian Folkloristics. His contribution to the voluminous series Ukrainian Folk Art as the editorial board’s chairperson, editor-in-chief, compiler is analyzed. His monographic works Poetics of Ukrainian Folk Song, Ukrainian Folk Ballad, which are still relevant in the scientific folkloristic discourse, are mentioned.
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Bohdanova-Dashak, Iryna. "“The Ballad of War” by Oleksandr Bilash as a National Example of the Mono-Opera Genre." Folk Art and Ethnology, no. 2 (June 30, 2024): 19–26. http://dx.doi.org/10.15407/nte2024.02.019.
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The Ballad of War mono-opera (1971) by the outstanding Ukrainian composer-songwriter Oleksandr Bilash, based on The Ballad of Genes poem by Ivan Drach, is studied in the article. It is emphasized that the work of O. Bilash – I. Drach is extremely relevant today, as it reveals the painful and tragic theme of war and its destructive impact on human destinies. It is defined that O. Bilash’s mono-opera has become a part of a general trend in the Ukrainian musical theatre of the 1960s–1970s associated with the tendency to chamberization and psychologization of opera. It has caused the exceptional popularity of the one-act monodrama genre among contemporary composers (V. Hubarenko, H. Zhukovskyi, Y. Ishchenko, etc.). It is described that I. Drach’s poetic text is used as the basis for the mono-opera with minor modifications (the changes have affected the title and only a few phrases). The structure of the poetic text has a significant impact on the composition of the mono-opera (the central episode is the protagonist’s story about the circumstances surrounding her birth, the extreme sections contain her beloved addresses). The connection between the opera’s system of leitmotifs and key phrases in the poetic text is detected. The leitmotifs are important in cementing the form of the mono-opera – it is in their repetition that the unifying role of the principle of through refrain is revealed. The Ballad of War contains two figurative and intonational spheres of war (scherzo, sharp dissonance, cluster consonances, chromatisation, grotesque syncopated rhythms, «cold» orchestral origin) and peace («warm» vocal origin, ariosity, melodic recitative, songfulness, vocalisations, luxurious Bilash’s melodies). O. Bilash has used various household genres actively: alullaby (an image of the incessantness of Life), a march («military» heroics), a cancan (personification of the image of aggression and spirituality), a Boston waltz (lyrical reflection and psychological solution). The composer uses the technique of stylizing church singing. The technique of sound imitation (movement of a steam locomotive, steam claps) is equally important. O. Bilash’s The Ballad of War mono-opera is a bright, original work and plays an important role in the development of the mono-opera genre both in the composer’s heritage and in Ukrainian music of the 1960s–1970s in general.
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Baraban, Elena V. "Ukraine in Soviet Narratives about the October Revolution: A Case Study of Ihor Savchenko’s Film Ballad About Cossack Holota (1937)." Warsaw East European Review XIII, no. 1 (June 15, 2024): 23–40. http://dx.doi.org/10.61097/22992421/weer/2024/23-40.
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Ukraine’s social, political, and cultural history has become a controversial issue since the 1990s. Dominant until the fall of the Soviet Union in 1991, the discourse about the Soviet brotherly nations has since been contested by depictions of Ukraine as politically and ideologically divided over the course of its 20th-century history. Russia-Ukraine war that began with the full-scale Russian invasion of Ukraine on 24 Feb 2022 has had a dramatic impact on the process of replacing the formerly standard version of Ukraine’s past with new interpretations. At the same time, Russia’s war on Ukraine has also demonstrated that Soviet-era collective memory about the key events in Soviet history has outlived the Soviet state and has been mobilized for political use. When in pain of heart a Ukrainian politician says that Russia’s invasion of Ukraine has cancelled a shared past of Ukraine and Russia, he refers to a familiar discourse about these nations’ familial ties (Tkach). With this discourse now shattered, the question of particular salience is: How was the idea of brotherhood between Ukraine and other Soviet nations expressed and sustained? How did it evolve? In light of Russia-Ukraine war, the stories that were building blocks of the Soviet foundational narrative about Ukraine and Russia as fraternal nations are worth revisiting. An analysis of such stories reveals the mechanism of making Ukraine’s part an integral part of Soviet culture. In this paper, I discuss the issue of the evolution of the Soviet discourse about ‘eternal friendship of Ukrainian and Russian peoples’ in the example of Igor Savchenko’s film Ballad About Cossack Holota ( Duma pro kozaka Golotu, 1937), released by the Gorkii Film Studio as part of the celebrations of the twentieth anniversary of the October Revolution. Igor Savchenko (Ihor Savchenko in 24 | WEEReview 13 | 2024 Ukraine in Soviet Narratives about the October Revolution Ukrainian) was a Ukrainian Soviet film director who made films both in Russian and Ukrainian film studios; his work played an important role in promoting the idea of familial ties between Ukraine and Russia. Ballad About Cossak Holota is based on Arkadii Gaidar’s novella for children R.V.S. (1925) that is set during the Civil War in Ukraine, following the October Revolution. Savchenko’s film is especially interesting in how he reworks Gaidar’s story; he depicts events of the Civil War in the context of Ukraine’s 17th-18th-century history, drawing on Ukrainian folklore. Cossack Holota, a character from Ukrainian folklore, becomes a symbol of the revolutionary liberation of Ukraine, a promise of a just social and political order. Drawing on memory studies, post-colonial theory, and theory of deconstruction, I discuss the artistic means that Savchenko used in order to integrate Ukraine’s experience of the revolution and the Civil War into the Soviet discourse about the fight for Soviet power. Savchenko constructs Ukraine’s response to the revolution by making use of tropes of a big family, Biblical imagery, elements of folk culture, conventions of the adventure film. The study of Savchenko’s film contributes to our understanding of the debates about Soviet-era and presentday collective memory about the October Revolution and the Civil War in Ukraine and Russia. As the discourse about the biggest Soviet nations’ familial unity is yet another casualty of Russia-Ukraine war, it is important to consider how the idea of brotherhood between Ukraine and other Soviet nations was expressed in Soviet cinema. Such analysis explains why Ukrainian’s common emotional response to the start of the war was that of a feeling of shock and betrayal.
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Lanovyk, Zoriana. "CONCEPT OF THE NIGHT IN THE STRUCTURE OF OSTAP TARNAWSKY’S POETICAL THINKING." Polish Studies of Kyiv, no. 35 (2019): 207–15. http://dx.doi.org/10.17721/psk.2019.35.207-215.
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The article deals with the poetical legacy of the Ukrainian writer in Exile Ostap Tarnawsky from the point of view of his philosophic vision. The main attention is drawn to the poetic and semantic representation of the artistic image of the Night, which is revealing its evolution from symbolically-allegorical to philosophically universal meaning. Poet’s lyric is analyzed in the key of the hermeneutical methodology with the dominant aspect of the intermedial sphere in the meaning of interrelation of the verbal and musical arts. It is stressed that the theme of night travelling is one of the dominant in the works of Ukrainian writers in Exile at large. A person is viewed in the poetical works of the Ukrainian emigrants as a nomad at the eternal way of life. Thus it touches the problems of human being and reveals them in existential focus (namely in the aspects of the human destiny, suffering, death etc.). Poetic of the lyrics is analyzed at the different text levels such as nigh landscapes, phonic figures (alliteration, as- sonance, and dissonance), personification etc. Imagery level is out viewed from the position of its connection with folk- lore imagery as well as the old Ukrainian literature (“The Tale of Igor`s Campaign”) and world masterpieces (“Hamlet” by William Shakespeare, “The Drunken Boat” by Arthur Rimbaud, poems by T.S.Eliot and others). Much attention is paid to the main colours of the O.Tarnawsky’s artistic world with its subjective understanding where the contrary to the black is blue. The author of the paper comes to conclusion that the lyrics of O.Tarnawsky is deeply philosophic and reveals the main concept of the poet about the Myth of death and immortality of human being. The most vivid this concept is embodied in the poems “Ballad about the Myth of the Death”, “Ballad about the Black Night”, “Ballad about Eternal Guard”, “Universe of the Heart”, “Under the Window of Eternity”, “Phantoms in the Emptiness” and others. Symbolic theme of the night way according to the words of Bertrand Russell “The life of Man is a long march through the night” is extended in O.Tarnawsky’s poetry to the concept of the generation succession as the death march of the whole nation with existential questions (Who will lead us to eternity? Will silent sky speak to us? etc.). Nocturnal world out view was formed by his emigrant destiny and understanding of historical injustice of his nation. And in that aspect O.Tarnawsky is the most representative poet among the Ukrainian writers in Exile in the second half of the 20th century.
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HOLIKOVA, Nataliia. "«LINGUOCULTUREMA «MARUSIA CHURAI» IN THE UKRAINIAN LITERATURE OF THE XIX – XX CENTURIES»." Culture of the Word, no. 92 (2020): 36–51. http://dx.doi.org/10.37919/0201-419x-2020.92.3.
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The article describes the folklore and literary evolution of the historical figure Marusia Churai in the prose, poetic, dramatic works of writers of the XIX– XX centuries. The concept of «folk song» is actualized, where folklorisms have a text-centric purpose for linguistic portrayal of the studied character. It is noted that Marusia Churai was the probable author of several dozen songs, which are now considered folk, and that the history of entering the literature of the author of the songs began with the folk ballad «Oh, don’t go, Hryts», which echoes similar pagan mythological legends. Based on the research of famous scientists, all the author’s texts, integrated with the plot of Hrits’s poisoning, are divided into two groups: 1) those that freely interpret the ballad; 2) those in which the content of the folk song is intertwined with ancient legends about Marusia Churai. A comparative analysis of semantic-semantic transformations, indicative of individual-author verbalization of thought in a number of artistic texts. Emphasis is placed on the novel «Marusia, Malorussian Sappho» by O. Shakhovskyi and on the historical novel in verse «Marusia Churai» by L. Kostenko. These are key works in which the precedent name of the author of the songs reflects the essence of the linguistic and aesthetic signs of Ukrainian culture, plays the role of a mythologeme or linguoculture, respectively. In conclusion, it is emphasized that Ukrainian society, being at the turn of worldviews, needs the protection of ethnolinguistic cultural values that maintain the connection of generations, accumulate the historical memory of the people.
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Terekhova, Irina. "CRЕATIVE INTERPRETATION OF THE FОLKLОRE PHYTONYM "PERECOTYPOLE" IN THE UKRАINIAN LІTERATURE OF THE XIX CЕNTURY." LITERARY PROCESS: methodology, names, trends, no. 17 (2021): 65–71. http://dx.doi.org/10.28925/2412-2475.2021.17.8.
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Thе relevance of this scientific statistic will begin before we start, as the Ukrainian literature of the 19th century will require more detailed reassessment. We are very important in the development of folklore warehouse, some of the folklore itself has become an unacceptable dzherel for the establishment of the actualization of artistic themes and images that were given to the dobies. Folklorе images were found in the folk culture and integrated in the creative palette of Ukrainian writing. After the hour of writing robots, a hermeneutic, descriptive, systemic and systematic method of reading has been obtained. This аrticle is devoted to the problem of creative interpretation of the folk phytonym "perekotypole" on the basis of works of Ukrainian literature of the XIX century, in particular the article considers the ballad "Pokotypole" by A. Metlinsky, the Russian-language story nun "and the poem" We are so similar in autumn "by T. Shevchenko, L. Glibov's fable" Perekotypole ". Allusions to European romantic literature have also been identified in the study of the creative interpretation of the folklore image of the perekotypol. In the cоurse of research it is proved that the folk tale about perekotypole is consonant with F. Schiller's ballad "Ivik's cranes". Both works show that both the steppe plant and the cranes in the sky can be silent witnesses to the ruthless violent death of a person, and in the end they help solve the murder and help punish the thief. Among all the works analyzed in the article, it is worth noting the Russian-language story "Perekatypole" by G. Kvitka-Osnovyanenko, which at one time was not republished at all and was removed from the list of the author's academic publication. Thе study highlights the levels of transformation of the folk image of the perekotypol in various literary genres of Ukrainian literature of the XIX century: direct, secondary, indirect. The emotional and semantic load of the folk phytonym "perekotypole" in the artistic texts of the mentioned period is also determined. This image in the structure of the lіterary text serves as a silent witness to the murder (folk tales about Perekotypole, the bаllad "Pokotypole" by A. Metlinsky, "Perekotypole" by G. Kvitka-Osnovyanenko), symbolizes the state of loneliness, orphan destiny (poetry of T. Shevchenko), еmbodies the image of barrenness and alienation (L. Glшbov's fable "Perekotipole"). The study is promising in terms of further study of Ukrainian literature of the nineteenth century, its links with folklore, as well as with the European literature of Romanticism.
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Balandina, Nadiya, and Alla Bolotnikova. "Polish-Ukrainian song “Hej, sokoły!” (“Hey, Eagles!”) as an intercultural communicative phenomenon." Przegląd Wschodnioeuropejski 11, no. 1 (June 30, 2020): 231–40. http://dx.doi.org/10.31648/pw.5983.
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The subject of the study is the Polish version of the song “Hej, sokoły!” regarded as a multi-dimensional intercultural communicative phenomenon from the point of view of the external and internal contexts and correlations of its individual and social aspects. The analysis has been undertaken using the method of sociocultural interpretation of the external context, the method of information decoding for identifying the author’s intentions and functions of textual symbols. For the systemic and incremental study of the song the author uses the modeling method, in particular, the linear model of communication with considering the constituents: w h o – w h a t – b y w h a t m e a n s – t o w h om. In the framework of this model the article has studied the motives of writing the song, its genre peculiarities. The ways of verbalizing its semantic dominants and the addressee of the song have been determined. The conclusion states that “Hej, sokoły!” is not just a romantic ballad tinged with grief for the lost, but a certain intercultural Ukrainian-Polish phenomenon that teaches not to forget history and given a lesson in patriotism.
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Medvedchuk, O. P. "THE WOMEN'S MYTHOLOGICAL IMAGES IN THE TARAS SHEVCHENKO'S AND YURIJ VYNNYCHUK'S WORKS." Shevchenko Studies, no. 1(24) (2021): 38–45. http://dx.doi.org/10.17721/2410-4094.2021.1(24).38-45.
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The article gives a detailed analysis of the mythological women images' transformation in Taras Shevchenko's and Yurij Vynnychuk's works. The peculiarities of using of these images in the poem "Witch", the ballad "Insane woman" by Taras Shevchenko and short stories "Hornlet", "Taste of birch" by Yutij Vynnychuk are examined. It is shown that respectful attitude to women was typical feature of the Ukrainian nation from the remotest times, as a woman plays the most important role in our mental sensation of the world – the role of mother and tradition-keeper. Therefore it is understood that in Ukrainian mythology the images of a witch and a mermaid have not obtain negative connotation, as they have in many other mythologies. The comparative analysis is given, common and different features of the witch and mermaid images in the Taras Shevchenko's and Yurij Vynnychuk's works are determined. The common peculiarity of picturing their heroines as positive and kind women in both authors' creations is defined. Such a position suits the general believes of the Ukrainian nation and represents national and common to mankind values that are reflected in our mythology. Besides, the both authors impart their mythic women with typical for human soul feelings and emotions, such as love, sadness, care, compassion and ability to forgive. The main difference is the fact, that Yurij Vynnychuk combines Ukrainian mythology with European and adds own descriptions in describing the appearance of mermaids and withes, while Taras Shevchenko follows Ukrainian mythological concepts. The reason of this difference is caused by the great lapse of time in almost two centuries between the authors and different peculiarities of style of their works.
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Pavlova, A. K. "THE LOVE AS A DIMENSION OF THE UNIVERSE IN THE UKRAINIAN FOLK BALLAD: ACHIEVING AMBIVALENCE." Тrаnscarpathian Philological Studies 2, no. 19 (2021): 199–203. http://dx.doi.org/10.32782/tps2663-4880/2021.19.2.38.
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Dmytriv, Iryna. "CREATIVITY OF “LOGOS” WRITERS THE PERIOD OF EMIGRATION." Polish Studies of Kyiv, no. 35 (2019): 121–26. http://dx.doi.org/10.17721/psk.2019.35.121-126.
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The article attempts an integrated analysis of the creativity of the “Logos” group activities of the emigration period on the background of the literary process of the first half of the twentieth century. The aesthetic, religious and national principles that underlie the multifaceted activity of the “Logos” are considered. The “Logos” group should be described by six writers: Hryhor Luzhnytsky, Olexandr-Mykola Moh, Stepan Semchuk, Petro Sosenko (junior), Vasyl Melnyk and Roman Skazynsky. Hryhor Luzhnytsky is the author of more than 500 artistic, scientific, popular scientific works, numerous journalistic works, reviews, essays. After leaving for the United States in 1949, the writer continues his activity and takes on adventure and sensational and spyware. Vasyl Melnyk (Limnychenko) is a “writer-wanderer” and a “political emigrant”. Beyond the borders of his native land continues to write poetry (“Ode to the book”, “Ballad about the Truth”, “Ballad about White Letters”, “Ballad about the Sun in the Bridge” and others). A certain generalization of the writer’s life experiences was his journalistic works “Ukrainian Crusaders”, “Religion and Life”. A peculiar “bridge” between poetry and journalism became essays. Stepan Semchuk − a poet, a journalist, a publicist. Becoming a priest, Stepan Semchuk leaves for Canada, but he does not cease to write there. Out of his native land he published poetic collections. Stepan Semchuk worked as an active publicist, author of the historical and literary articles. Association of catholic writers “Logos” was occupied noticeable place in literary life of Western Ukraine of intermilitary period of the 20th century. “Logos” writers expressly declared that they were the creators of Catholic literature, and tried to outline the concept of “Catholic worldview” and “Catholic literature”. Ideological principles of “Logos” were a christian moral; the main tasks were popularization of religious subject and christian ethics. “Logos” writers literary works are skilful collage of biblical images, motifs, allusions, reminiscences, christian ceremonies, symbols.
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Hrachova, T., and N. Naidonova. "INTERPRETATION OF UKRAINIAN DEMONOLOGICAL CHARACTERS IN V. SHEVCHUK’S LYRIC-CHIMERIC NOVEL-BALLAD “THE HOUSE ON THE MOUNTAIN”." International Humanitarian University Herald. Philology 2, no. 47 (2021): 195–98. http://dx.doi.org/10.32841/2409-1154.2021.47-2.44.
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Semashko, T. F. "Stereotypes of Ukrainian ethnic connection in the visual sector of potential (on the material of Taras Shevchenko's ballad texts)." Mìžnarodnij fìlologìčnij časopis 10, no. 3 (October 23, 2019): 25–36. http://dx.doi.org/10.31548/philolog2019.02.025.
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Sobkovych, Olha. "Folk poetics in creative work of Petro Kholodnyi Senior." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 66–78. http://dx.doi.org/10.37131/2524-0943-2019-42-10.
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Summary. The defined issue is the new angle to study Petro Kholodnyi Sr. heritage, that allows to research the thematic interest features and style synthesis specific to artist`s original language, where we can trace the modernist style, symbolism, byzantine style and impressionism echoes. It was observed an important group of artwork by Kholodnyi Sr. in the article. Together with the sacral heritage, they have played a significant role in the reviving of the Ukrainian national art in the first part of XX century - the compositions on the folk themes. The comprehensive review of the folk poetics in creative work by Petro Kholodnyi Sr., is lightened in context of the current historical and art-cultural realities of the defined period, that allowed to distinguish the characteristic, typical and novel features in creating, by Petro Kholodnyi Sr., the Ukrainian national art through appealing to the folk poetics. It was marked, that Petro Kholodnyi Sr. engagement in folklore was natural in context of two essential interdependent tendencies of that period: the idea of the “national reviving” in the Ukrainian culture in the first part of XX century, among the characteristic features of which – appealing to folklore as the field of the national spirit preserving and “tradition discovery”. It is defined the peculiarities of trendsetting technical performance and ideological-stylistic understanding and rendering of the folk poetics in the visual form, that expanded the idea of this source interpretation abilities in form and sense aspects of that period art searches context. Methods. For holistic analysis, author applied the following methods: form and style analysis to explore the art peculiarities of the artwork, on the Ukrainian folklore motives, by Petro Kholodnyi Sr.; comparative style analysis to detect the features of artist creation manner and its change according to certain one or other ideological-sensitive or emotional message, and to distinguish the differences, between comprehension and visual implementation of the folk poetics in Kholodnyi Sr. creative work in comparison with Russian artists, who, in their creative activities, appealed to the folk well-springs. Results. Through folk poetics, which he felt delicately, Kholodnyi Sr. propagates the most current messages of “national reviving” in early XX century. In particular, the Ukrainian national history pages he exposes via appealing to such source of its study as ballad (thought) (“The thought of the Black sea windstorm”), that added some folk-poetic colours to the theme; also he refers to one of the most famous ancient Rus literature memorials of the late XII century – “The Lay of Igor’s Campaign”, which is saturated with Slavic folk poetry motives. In compositions created by these sources, Kholodnyi Sr. not so much emphasized the ballad subject illustrations or historical annals context as the poetic highness. So there is in his artwork, even on historic themes, a strong, musical in its harmonic melody, rhythm of colourful spots and lines. That’s the important individuality of his creations. The same powerful national poetics we can also feel in his creative works on Ukrainian tales, corals and songs motives, where the emphasis is put on enlarging the emotional-sensitivity edge, but not on the external plot, that we can see in such works as “Oh, there is rye on a field”, “Ivasyk and witch” and “The tale of a girl and a peacock”. Poetry and subjective-emotional components of two last creations point out on the affinity to symbolic-modern worldview, where the reality and tale are mixed at the moment. In his works on folk themes, he combined the style trends early XX century with the national painting traditions. Particularly “The Tale of a girl and a Peacock” corresponds by style to plastic language of modern with its emphasized decorativeness, softness of lines and clear lineal drawing, but in composition “Oh, there is rye on a field” we can see the signs of late modern which includes into its art language the method of stylization one or other famous historical pattern, in this case - byzantinism. Both art work performed in discovered by artist tempera technique which allowed to get that colour tints that enchanted in the ancient Galician icons. So these paintings possess you by delicately harmonized tincture which together with folk motive, its subject and ethnographic details, like heroes’ cloths, creates the folk-national sound of composition.
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Bilіatska, Valentyna. "“Ukraine and Jesus Christ suffered the most severe torments in their life” Addressed lyrics by Oleksa Hai-Holovko." Synopsis: Text Context Media 30, no. 1 (2024): 15–23. http://dx.doi.org/10.28925/2311-259x.2024.1.3.
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The poetic legacy of Oleksa Hai-Holovko, a Ukrainian writer and diaspora activist, is presented in three volumes of selected works. His lyricism has been predominantly studied in the context of themes and motifs of Ukrainian-language poets in Canada (I. Nakashidze): love for Ukraine, nostalgia, the image of the steppe, and so forth. The addressed lyrics of the poet have not been thoroughly studied, so this article aims to analyze the features, motifs, and define the uniqueness of the portrayal of the subject and addressee in the writer’s dedicatory verses. The research is conducted using comparative-historical, semiotic methods, contextual analysis of the text, principles of receptive aesthetics with reference to the works by Ukrainian scholars regarding genealogical trends, and genre specificity of addressed lyricism (L. Bondar, Yu. Klymiuk, Yu. Kovaliv, V. Nazarets, L. Skoryna, M. Tkachuk). The novelty of the research lies in the examination of dedicatory poems by O. Hai-Holovko, in which through the prism of a specific addressee, the destiny of Ukraine and the Ukrainian people in “commune-moscow slavery” is predominantly represented. The “Lyrical Portraits” by O. Hai-Holovko vary in genre modification: dedicatory poems to “Friends”, “Full-blooded Sheep”, “Taras Shevchenko”; letter-dedications “Letter to Mother”, “Letter to Yurii Smolych”; address-invocations “My People”, “To Valerian Revutsky”, “To Yurii Holovko”; dedication-epitaphs “To Fedor Odrachiv”, “To Vasyl Stefanyk” and so on. Dedicatory verses do not always reflect the genre in the title, in such poems, after the title, the addressees are indicated with a concise reference or indication of the event: “Ballad to the Warriors” for Yuriy Stefanyk, “Song” for V. Rusalskyi, “Do Not Grieve, My Great Friend” for Y. Pozichanyuk. The peculiarity of addressed lyrics by O. Hai-Holovko is autobiographism, with Ukraine being the overarching image, enslaved by the “commune”, the native people “bound by chains”, and “suppressed by non-glory”. By reinterpreting biblical-Christian motifs and images (“To Metropolitan Ilarion”, “To Bishop Boris on the Day of Departure to Edmonton”, “Burned”) the tragedy of his fate and the fate of the Ukrainian people in a totalitarian society is reproduced. The dedicatory poems by O. Hai-Holovko have significant importance in preserving and retransmitting individual, historical, and cultural memory. They serve as artistic documents of the crimes of the totalitarian regime (“To the Chekists”, “To Stalin”, “To moscow occupiers and their little russian janissaries”) and as important interpretative codes that allow the recipient to discern the importance and scale of the issues raised, hidden meanings, and mysteries of the human soul.
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Wang, Duangui. "Re-semantization of A. Pushkin’s poetry in the creative work of V. Kosenko (on the example of “The Five Romances”, op. 20)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 89–102. http://dx.doi.org/10.34064/khnum1-50.07.
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Formulation of the problem. In the chamber-vocal genre, the composer exists in two images: he is both the interpreter of the poetic composition and the author of a new synthetic music and poetic composition. The experience of the style analysis of one of the best examples of Ukrainian vocal lyrics of the first third of the 20th century shows that the cycle op. 20 characterizes the mature style of the composer, which was formed, on the one hand, under the influence of European Romanticism. On the other hand, the essence of the Ukrainian “branch” of the Western European song-romance (“solo-singing”) is revealed by the prominent national song-romance intonation, filled with not only a romantic worldview, but also with some personal sincerity, chastity, intimate involvement with the great in depth and simplicity poetry line, read from the individual position of the musician. The paradox is as follows. Although Pushkin’s poetry is embodied in a “holistic adequacy” (A. Khutorskaya), and the composer found the fullest semantic analogue of the poetic source, however, in terms of translating the text into the Ukrainian language, the musical semantics changes its intonation immanence, which naturally leads to inconsistency of the listeners’ position and ideas about the style of Russian romance. We are dealing with inter-specific literary translation: Pushkin’s discourse creates the Ukrainian romance style and system of figurative thinking. The purpose of the article is to reveal the principle of re-semantization of the intonation-figurative concept of the vocal composition by V. Kosenko (in the context of translating Pushkin’s poetry into the Ukrainian language) in light of the theory of interspecific art translation. Analysis of recent publications on the topic. Among the most recent studies of Ukrainian musicology, one should point out the dissertation by G. Khafizova (Kyiv, 2017), in which the theory of modelling of the stylistic system of the vocal composition as an expression of Pushkin’s discourse is described. The basis for the further stylistic analysis of V. Kosenko’s compositions is the points from A. Hutorska’s candidate’s thesis; she develops the theory of interspecific art translation. The types of translation of poetry into music are classified according to two parameters. The exact translation creates integral adequacy, which involves the composer’s finding a maximally full semantic analogue of the poetic source. The free translation is characterized by compensatory, fragmentary, generalized-genre adequacy. Presenting the main material. The Zhitomir period for Viktor Kosenko was the time of the formation of his creative style. Alongside the lyrical imagery line, the composer acquired one more – dramatic, after his mother’s death. It is possible that the romances on the poems of A. Pushkin are more late reflection of this tragic experience (op. 20 was created in 1930). “I Loved You” opens the vocal cycle and has been dedicated by A. V. Kosenko. The short piano introduction contains the intonation emblem of the love-feeling wave. The form of the composition is a two part reprising (А А1) with the piano Introduction and Postlude. The semantic culmination is emphasized by the change of metro-rhythmic organization 5/4 (instead of 4) and the plastic phrase “as I wish, that the other will love you” sounding in the text. Due to these melodies (with national segments in melo-types, rhythm formulas and harmony) V. Kosenko should be considered as “Ukrainian Glinka”, the composer who introduced new forms and “figures” of the love language into the romantic “intonation dictionary”. In general, V. Kosenko’s solo-singing represents the Ukrainian analogue of Pushkin’s discourse – the theme of love. The melos of vocal piece “I Lived through My Desires” is remembered by the broad breath, bright expression of the syntactic deployment of emotion. On the background of bass ostinato, the song intonation acquires a noble courage. This solo-singing most intermediately appeal to the typical examples of the urban romance of Russian culture of the 19th century. “The Raven to the Raven” – a Scottish folk ballad in the translation by A. Pushkin. V. Kosenko as a profound psychologist, delicately transmits the techniques of versification, following each movement of a poetic phrase, builds stages of the musical drama by purely intonation means. The semantics of a death is embodied through the sound imaging of a black bird: a marching-like tempo and rhythm of the accompaniment, with a characteristic dotted pattern in a descending motion (like a raven is beating its wings). The middle section is dominated by a slow-motion perception of time space (Andante), meditative “freeze” (size 6/4). The melody contrasts with the previous section, its profile is built on the principle of descending move: from “h1” to “h” of the small octave (with a stop on S-harmony), which creates a psychologically immersed state, filled by premonition of an unexpected tragedy. In general, the Ukrainian melodic intonation intensified the tragic content of the ballad by Pushkin. The musical semantics of V. Kosenko’s romances is marked by the dependence on the romantic “musical vocabulary”, however, it is possible to indicate and national characteristics (ascending little-sixth and fifth intervals, which is filled with a gradual anti-movement; syllabic tonic versification, and other). Conclusion. The romances (“solo-singings”) by V. Kosenko belongs to the type of a free art translation with generalized-genre adequacy. There is a re-semantization of poetic images due to the national-mental intonation. Melos, rhythm, textural presentation (repetitions), stylization of different genre formulas testify to the rare beauty of Kosenko’s vocal style, spiritual strength and maturity of the master of Ukrainian vocal culture. Entering the “Slavic song area”, the style of Ukrainian romance, however, is differenced from the Russian and common European style system of figurative and intonation thinking (the picture of the world).
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Antofiichuk, Volodymyr. "Poetic Metaphysics of Ivan Kovaci’s Prose." Pitannâ lìteraturoznavstva, no. 107 (June 30, 2023): 160–84. http://dx.doi.org/10.31861/pytlit2023.107.160.
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The article under studies presents the first ever attempt to reveal the basic features of the prose of the prominent Ukrainian poet, prose writer, literary critic, and journalist Ivan Kovaci (born in 1946). It lays particular emphasis on the peculiarities of modeling the chronotope of the prose contained in three books by the writer: “A Sycamore Tree Alone in the Field” (1974), “Chuha” (1976), and “Orange Ballad” (2006). It also analyzes the narrative strategy of the writer’s artistic thinking at the level of lyrical confession of the narrative, investigates its genre specificity and the role of leitmotif detail, as well as traces the synthesis of arts in writer’s creative workshop at the level of coloring, etc. In terms of genre and style features, Ivan Kovaci’s prose is comprised of stories of various types: both lyricized, with a weakened plot, and works that are close to the genre of the classical short story. Their structure is based on an eloquent detail that creates an appropriate emotional coloring. The article claims that prose is an organic and natural part of Ivan Kovacs’s creative activity. Lyricized short stories, etudes, short stories with classical architectonics, a short story-ballad, confessional lyrical prose, together with poetry, create the unity of his artistic world. The peculiarity of the poetic metaphysics of the writer’s prose lies in his peculiar worldview pantheism and subtle sense of beauty. It is essential that the time-space of prose is also close to poetry: it is a “point” chronotope, located at the intersection of the coordinates of the “objective” (given in the narrator’s perception) and subjective-experiential space-time. This feature is especially evident in the story “Chuha”, a kind of mosaic of life. Fictional time and space are subject to mythologization and symbolization, as the lyrical hero is constantly trying to cross the line that separates him from the “golden age” of childhood. Another sign of the poetic nature of the writer’s prose is its deep psychology combined with lyricism. The most eloquent feature of Ivan Kovaci’s style is his special ability to use color. This peculiar synthesis of arts in the writer’s creative palette turned out to be a special, symbolic load of images with a bright coloristic dominant.
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Tarnashynska, Lyudmyla. "AESTHETICS OF SHOCKS IN THE CONTEXT OF CURRENT EVERYDAY LIFE." CONTEMPORARY LITERARY STUDIES, no. 18 (December 13, 2021): 143–52. http://dx.doi.org/10.32589/2411-3883.18.2021.247020.
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Everyday life – regardless of its geographical status – has different dimensions: on the one hand, it is a routine, and on the other hand, it is an attempt to escape from it, to create at least some holiday. In the context of current everyday life, it makes sense to look at its other side: everyday life as stress, affectation of consciousness, etc. It is interesting to observe how the aesthetics of the shock, brought to Ukrainian literature, in particular, by the realities of the 1990s, is modified and filled with new meanings literally before our eyes, and how modern times deform human consciousness, herewith changing the «curve» of surrealism. This is about a phenomenon of the global world – a pandemic as a new experience that has actualized the issue of coexistence and co-responsibility. Experience, preventively studied through fiction and cinema (if «The Plague» by Albert Camus is about the past, then the «The Eyes of Darkness» dystopia by Dean Koontz is about the lethal microorganism «Wuhan 400» in the 1989 edition, which was called «Gorki-400» in the original 1981 version and is a warning fromthe past), now needs a new understanding. After A. Camus’s «The Plague,» one can also appeal to books on the same pandemic theme that have not yet been translated into Ukrainian: for example, Karel Čapek’s play «The White Plague» (1937), «The Steel Spring» by Swedish writer Per Wahlöö (1968), as well as «Blind Faith» dystopia by Ben Elton (2007), where the action takes place in the near future against the background of constant epidemics, and the research focuses on the current topic of vaccination. As a sensitive tool, literature received the reinterpreted theme of ageism for artistic reflection (one can find striking consonance, say, in Japanese literature, in particular in «The Ballad of Narayama» novel by Shichirō Fukazawa), as well as the theme of discrimination on other grounds and social inequality; the theme of a person endowed with power/opportunities and his/her choice to give or not to give the right to life to another; the topic of the area of personal/collective responsibility, boundaries of openness/closedness of societies, as well as the topic of the limit of pragmatism/rationalism, the limits/depth of cynicism. That is, it is about actualizing the presumption of the right to life, the preservation of humanity, which problematizes the other/different content of old, eternal plots of Ukrainian and world literature.
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Toloshnyak, Natalia, and Liudmila Rudenko. "THE PERSONALIZATION OF RUSSIAN AGGRESSION IN O. BILASH’S MONO-OPERA “BALLAD OF WAR” IN THE CONTEXT OF THE RECOVERY OF THE UKRAINIAN STATE." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, no. 49 (2023): 67–71. http://dx.doi.org/10.32782/2310-0583-2023-49-10.
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Kovalets, Lidiia. "Taras Shvchenko in the Space of his Reading: The Time before 1837." Pitannâ lìteraturoznavstva, no. 108 (December 29, 2023): 69–96. http://dx.doi.org/10.31861/pytlit2023.108.069.
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The paper examines the beginning of Taras Shevchenko’s history as a reader – the period up to 1837, which is the date of the first known work of the young genius, the ballad “Insane” (“Prychynna”). Three stages (“the ages”) are distinguished in this period: childhood (until 1828), pre-bachelorhood (1828–1831), and bachelorhood (1831–1837). The analysis involves direct self-evidence (memoirs of relatives and acquaintances, Shevchenko’s autobiographical novels and letters), scholarly and popular science studies of Shevchenko studies, samples of historical and biographical Shevchenko studies, etc. The main method used is the “reverse optics” method, aimed at cognizing the object of attention “from the outside” and “from the inside”. The article traces, in addition to social, purely private (home) prerequisites for Taras’s long-lasting interest in books, noting that the latter had not only a paper equivalent at that time: living history was learned from stories, folk songs also penetrated his mind and taught him. The features of the boy’s psychological communication with books in the elementary school of Kyrylivka, as well as during his stay in Vilno and in the first years after his arrival in St. Petersburg, are also discussed. Also outlined is the range of Shevchenko’s reading at this time, it is indicated which lectures the future poet met sporadically, by chance, and which he had long-term, one might say, lifelong, external and internal relations with. These are primarily religious books, then works of fiction by Ukrainian and foreign authors, works on history, etc. The article also discusses the people who supported Shevchenko’s unusual interest in reading and how these efforts correlated with the multicultural and spiritual contexts in which Taras was living at the time. Some attempts to ideologize the topic (such as the artificial attempts of Soviet artists to “infantilize” the image of Shevchenko in his childhood and youth, noted by H. Hrabovych) are also pointed out. It is concluded that even in this state, in the grip of merciless circumstances (early orphanhood, social slavery), Taras not only sought but also worked to broaden his horizons, as a result of which reading and knowledge contributed to his relatively broad erudition even for that time, and was a form of creative socio-cultural activity, a way of self-defense and self-realization. Obviously, this is how the unique reading consciousness of the genius was formed, not to mention that a bright, outstanding type of Ukrainian creative intellectual was cultivated.
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Marach, Оleksandr, and Vasyl Moisiiuk. "THE CHOIRS PRELUDES-SONGS BY PYLYP KOZYTSKYI AS MUSICAL-HISTORICAL AND ARTISTIC MATERIAL." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 65–72. http://dx.doi.org/10.25128/2411-3271.19.2.9.
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The article analyses the features of P. Kozytskyi’s choral letter in the cycle “Eight Preludes- Songs”. Written in the traditions of M. Leontovych, the works of P. Kozytskyi show new views on the interpretation of a capella sound as an individually interpreted “choral instrumentalism”. The works demonstrate analysed two of the main semantic spheres of the choral genre in Ukrainian folklore music. The first sphere is the tragedy in the ballad “Oh, in the field, the room was standing...”, where poetic symbolism and polyphonic musical development are attained, as in the best works of M. Leontovych, such as “Pryalya” and others. The second sphere is a baby carol, which goes back to the ancient folklore patterns in music, and resonates with M. Leontovych’s “Dudaryk” and “Shchedryk”. The Eight Prelude Songs cycle by P. Kozytskyi is a collection of pearls of Ukrainian choral music. The purpose of the article is to outline the characteristic features of the works of the choral cycle “Eight Preludes-Songs” by P. Kozytskyi in musical-historical and artistic aspects on the example of selected works. Written as a tribute to the memory of M. Leontovych, this artistic material is set out in the mentioned traditions of musical folklore and “choral instrumentalism” of the Master, and bears the mark of the best modernist quest of the time. P. Kozytskyi’s style in the early 1920’s has quite different incarnations and actively evolves, which M. Yurchenko traces on the example of spiritual works: in the early compositions (1910’s) the influence of the “Petersburg style” is felt, as early as in the 20th. in those years avant-garde features, connected with intense imagery, bold conflicting comparisons, a peculiar mode sphere with natural reversals, harmony with harmless consonants, rare-life doubles, tolerant dissonances, impositions, livings, interferences, are clearly manifested. The musical compositions of the cycle are polyphonic miniatures on folk-song basis, created in continuation of M. Leontovych’s method. The latter, according to P. Kozytskyi, is based on “choral instrumentation” – the interpretation of choral parts as instrumental, which provides the “song soul” with a special colour and richness of the choral palette, in which the choir is a “magic lantern" designed to set the meaning of the song, that is, to be the newest means of creating artistic and emotional expression. Written in the traditions of the contemporary M. Leontovych, a few years after the death of the artist, P. Kozytskyi’s works show new views on the interpretation of acapella sound, above all as individually interpreted “choral instrumentalism”. As a result of the conducted research, we come to the conclusion about the innovative features of P. Kozytskyi’s choral letter in the series “Eight Preludes-Songs”. Written in the traditions of the contemporary M. Leontovych, a few years after the artist’s death, P. Kozytskyi’s works show new facets of the acapella sound, above all as individually interpreted “choral instrumentalism”.
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Makliuk, Dmytro. "Chamber and vocal work by Yuliy Meitus: genre-style and performance aspects." Aspects of Historical Musicology 32, no. 32 (November 15, 2023): 22–38. http://dx.doi.org/10.34064/khnum2-32.02.
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Statement of the problem. Ukraine’s gaining of independence was an extremely important event for the country’s artistic life. Hundreds of artists who did not have the opportunity to freely express their own opinion gained the opportunity to work in any musical styles and genres. Th e independent status of the country made it possible to find and bring back to life a whole layer of various works of art, which has both significant artistic and historical value. This statement also applies to music. An important part of the mentioned cu ltural layer is the work of Yuliy Meitus. In particular, we are talking about the composer’s chamber vocal work, which is a significant part of his creative heritage distinguished by its volume and genre diversity. And although during the time of independe nt Ukraine, the artist’s work is gaining more and more relevance in performing and musicological circles, currently this process cannot be called complete. The importance of the revival of Meitus’s creative output also lies in the fact that the artist was a representative of the Kharkiv school of composers, which makes it possible to more fully illuminate its history and development milestones. Objectives, methods and novelty of the research. The purpose of the study is to determine the genre, style and performance features of Yu. Meytus’ solo vocal lyrics. The insufficient study of the composer’s chamber vocal work determines the scientific novelty of the r esearch. The article presents a musicological, comparative, image semantic analysis of selected sam ples of Yu. Meitus’ solo sings, namely, the composer’s works based on verses by poets of various styles and historical periods (“Green wind, grass smells...” to the text of V. Sosiura, “Little Ballad” to the poem by R. Burns, “Seven strings I touch” to the words of Lesia Ukrainka). Conclusion The conclusion refers to the formation of features of a new stage of the evolution of Ukrainian chamber vocal art in Yu. Meitus’ solo songs, which organically combines the genre stylistic signs of the classical romantic and modern musical art. In particular, we are talking about the harmonic component of musical works, in which the elements of the classical romantic major minor system are organically combined with the heritage of music of the 20 th centu ry, for example, with chains of fourth chords or various polytonal complexes. Creating thematic material, the composer, however, relies on the intonation dictionary of Romantic art, which gives his style even greater originality.
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Breslavets, G. "Artistic reconstruction of the folklore text in the works of Yu. Illienko (on the example of a film-apologue “A well for the thirsty ones”)." Culture of Ukraine, no. 72 (June 23, 2021): 71–75. http://dx.doi.org/10.31516/2410-5325.072.10.
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The topicality. The factors that influence the disclosure nature of the director’s and composer’s creative concept are the leading artistic polystylistic tendencies — stylistic layers and trailblazing experiments in the formation of sound-timbre and visualized combinations, where ancient intonations together with modern sound formation and video performance create new sound and performance realities.
The purpose. To determine the role of artistic reconstruction of the folklore text and the specifics of their artistic embodiment in the film parable “A well for the thirsty ones” by the popular Ukrainian film director Yu. Illienko; to determine the specifics of the embodiment of the signs of cultural codes in the musical-sound score of the film by composer L. Hrabovskyi.
The methodology. The culturological approach applied in revealing the issues of the article made it possible to consider the peculiarities of the drama and musical-sound score of Yu. Illienko’s film “A well for the thirsty ones” in a broad cultural context. The interpretive approach helped to highlight the importance of cultural codes of the folklore text, the specifics of their embodiment in the director’s idea through the artistic reconstruction of the folklore text.
The results. Yu. Illienko and L. Hrabovskyi, addressing the folk song tradition, create a new intonation world, embodied in separate “emergings” of female solo singing (verses of the ballad one by one are strung like beads throughout the picture), in lamentations, in incantations, in children’s amusements when playing on pots, that intersperse with a general, very concise and minimalist sound score of the film. The characteristic and figural semantics of the musical-sound background of the film is saturated with active rhythmics, complex sound palette of combination of electronic sounds with natural ones, which demonstrates the author’s (at the choice of director and composer) special sound complex. Folklore texts in the film create a single hypertext, which is manifested at the appropriate levels — auditory, visual and dramatic.
The novelty. The article considers for the first time the specifics of the embodiment of artistic reconstruction of a folklore text as the basis of the drama of Yu. Illienko’s film “A well for the thirsty ones” and defines sense forming and semantic role of the embodiment of the cultural codes signs in the musical-sound score of the film by composer L. Hrabovskyi.
The practical significance. The artistic reconstruction of the folklore text in the film is based on the introduction of polystylistic tendencies and features of sound (timbre) thinking into the cinematographic process. Prospects for further study of this issue is the study of modern manifestations of artistic reconstruction of the folklore text, the processes of formation of semiotic space both in cinema and in culture in general.
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Hrinik, Tetiana. "The practice of interpreting an artistic text. Punctuation as a mean of expressiveness and acquisition of phonation skills." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 102–20. http://dx.doi.org/10.34064/khnum1-50.08.
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Background. Actuality of the research theme. The awareness of the importance of mastering the treasures of the native language is dictated by the rapid development of modern Ukrainian statehood. The problems of artistic culture are very acute today, and the educational role of national literature, theater, cinema, broadcasting, television in modern society is increasing. One of the ways of forming a linguistic culture is the constant contact of the country’s population with the artistic word presented at the appropriate professional level. Therefore, the professional skill of the artist-actor as the bearer of the artistic word and the direct interpreter of cultural values embodied in the artistic work becomes of great importance as a means of fulfilling this vital aesthetic-educational mission. Thus, the study of the process of improving the actor’s professional skills of the stage language, the ways of optimizing of modern education in this field seems very relevant. Analysis of recent publications on the research topic. The problems of the culture of speech, the expressiveness of the oral word, the creative nature of the artistic language and its contemporary sound on the stage are highlighted in many scientific works of theatrical teachers, linguists and theatrical scholars, psychologists and sociologists. The special investigations in the field of stage language in recent years are the works of the practitioners of artistic word, the Ukrainian actors and teachers R. Cherkashin, Yu. Sheyko, L. Vazhniova, A. Gladysheva and others. So, Yu. Sheyko pays much attention to the norms of Ukrainian oral literary speech, and insists on the need for the development of the intelligence of a contemporary actor. As the techniques of speech are an integral part of the learning process, the tutorials of L. Vazhniova and A. Gladysheva are devoted to the development of skills of high-artistic embodiment of the work. However, the special studies devoted to the formation of actor voice skills as part of the process of understanding the important role of punctuation marks in the artistic interpretation of the work were not carried out. Methodology, goals, objectives, practical value of the research. The combination of training and creative aspects of the theory and practice of the stage language requires a great deal of methodological flexibility. The proposed article, devoted to the improvement of the actor’s educational activity on mastering the skills of the stage language, uses a complex methodological base, which combines a wide cultural and highly specialized, purely methodical, approaches to the analysis of the process of work on the acquisition of practical skills of the stage language. The first involves entering adjoining artistic spheres – literary and musical; the second refers to concrete – to the practice of stage action. Their combination allows us to construct an optimal algorithm for the work of the actor over the interpretation of artistic text within the framework of the study, which is his goal. Such an algorithm, aimed at perfect mastering the heights of professional skill, can be used successfully in the acting practice of the stage speech. The results of the study. The article emphasizes the importance of the stage of analytical work with literary text, both in a broad historical and stylistic context, and in details, in order to “appropriate” the position of author of the work and, further, create self-own actor’s interpretation. A versatile analysis of the text, preparing it for reading, can be done in this way. 1. Determine the type of work – is this the entire work or a fragment; if this is a fragment, then what is exactly? (Excerpt from the poem, a passage from the ballad, prose, etc.). 2. Having defined the species, it is necessary to give the work the cultural and historical characteristic (at what time it is written, to which national culture belongs, on which social ground it arose, what is the outlook and life positions of the author of the text and peculiarities of his work, the place of work in the author’s creativity, the distinctive features the era in which the author worked, and the one about which the work tells, is the text original or translated etc.). 3. To carry out the ideological-thematic and plot analysis of the work, to determine its main idea, to disclose in connection with it the logical content of the text, to determine what kind of plot vicissitudes prevail. 4. To analyze, how much the author turns to sensual, visual, auditory phenomena. 5. Identify and “view” the spectacular content of the text. 6. It is necessary to understand what the form of a work is, which stylistic and author’s techniques are used to create an artistic whole. 7. On the basis of such a detailed analysis, one should check the first impression of the whole and redefine the content-like structure of the work. 8. Determine the personal attitude to the work. 9. To work on the “vision” of the text. 10. Based on our findings and in depth study of the work, we should outline the line of the dynamic and tempo-rhythmic interpretation of the work. Assistants of the actor in the awareness of the author’s intention become punctuation marks, which also mark the way to artistic expression of speech. Like a musician, an actor should distinguish them by intonation: by changing pitch, volume, tempo, rhythm of speech. Therefore, in our opinion, the creative using of analogies with musical syntax (pauses, leagues, rubato, etc.) and with performing touches of a musician (legato, marcato, etc.) is appropriate in working on the stage speech. The next key point in creating a convincing stage interpretation is his own acting “visions” (K. Stanislavsky’s term), which the performer creates in his imagination based on his previous sensual, intellectual, life experience. Tied to a verbal text, they make it possible for an actor to experience an emotoin of such a force that is able to establish “feedback” with the audience at the time of the stage embodiment of the work. Conclusions and perspectives of the research. The presence of a “feedback” with audience is a prerequisite for the fact that the stage speech, as a special kind of literary language and, at the same time, a socially prestigious form of communication, forms a linguistic culture. It is inextricably linked with the development of society and is the bearer of language traditions of the people. Therefore, the prospects of studying the speech art are seen in the ways of its improvement: the creative decision of the main tasks of the course of the stage speech, the most important of which is a full and meaningful presentation to the audience of art intention through a set of skills aimed at voice expressiveness, precision of diction and clarity of pronunciation in the process of theatrical communication. Punctuation is the way to expressive speech. Punctuation marks discipline our language, and this must be remembered by everyone – students, actors, everyone who is working on a language, because excessive hastiness is the greatest enemy of beginners.