To see the other types of publications on this topic, follow the link: Ukrainian Canadian art.
Journal articles on the topic 'Ukrainian Canadian art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Ukrainian Canadian art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Shalyha, O. "UKRAINIAN FINE ART IN CANADA (SECOND HALF OF THE 20th CENTURY)." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 136 (2018): 82–86. http://dx.doi.org/10.17721/1728-2640.2018.136.1.18.
Full textAbstract:
The article highlights the process of incipience of Ukrainian fine art in Canada. During the second half of the 20th century the Ukrainian diaspora created its own art and multiplied traditional Ukrainian art. Unfortunately, the achievements of the Ukrainian diaspora as a rule aren’t well-known to Ukrainian scientific community. The names of these people have filled up the treasury of spiritual values not only in Ukraine or Canada, but worldwide. Ukrainian artists from Canada have created artistic values reflecting the progress of the world’s fine art and have retained the best traditions of native schools. The article contains information about such organizations as the Ukrainian Association of visual artists of Canada, the Ukrainian-Canadian Art Foundation, the Alberta Council for Ukrainian Art. The article also highlights life and artistic journey of V. Kurilyk, M. Dmitrenko, Leo Mol, G. Novakivska, O. Lesyuk, M. Antoniv.
2
Siromskyi, Ruslan. "Cultural exchange between Canada and Ukrainian SSR as an tool of Soviet propaganda." American History & Politics Scientific edition, no. 10 (2020): 80–90. http://dx.doi.org/10.17721/2521-1706.2020.10.8.
Full textAbstract:
The aim of the research is to analyze peculiarities of cultural exchange between Canada and the Ukrainian SSR in the 1960s and 1980s, which took place during the Cold War. The research methodology is defined by an interdisciplinary approach (history, culture, foreign relations) and is based on general scientific and special scientific methods, first of all, retrospection and historical comparison. The scientific novelty of the research is that on the basis of archival materials determined the forms and content of cultural exchange between the Ukrainian SSR and Canada, in particular its propaganda content. The Conclusions. During the Cold War the cultural sphere became an arena of confrontation, and art (or what was meant by it) became part of ideological propaganda campaigns. Cultural exchange was seen by the Soviets as a way of representing «achievements of socialist culture» to Canadian Ukrainians and as an effective propaganda tool. Formally, on the Soviet side, cultural exchanges were carried out by specially created organizations, which, however, were managed and financed through the Central Committee of the Communist Party and the International Department of the Committee of State Security (KGB). The request to maintain cultural ties with the Ukrainian SSR in Canada was largely due to the desire of the Ukrainian community overseas to maintain spiritual ties with the Motherland. Different approaches to the interpretation of cult exchange – from approval to complete denial – have provoked a lively discussion in the diaspora. Adherents of cultural programs from the Ukrainian SSR were Canadian left-wing organizations, such as the Association of United Ukrainian Canadians. The League of Liberation of Ukraine was a categorical opponent of the cultural exchange, whose representatives saw in the artists from the USSR Soviet emissaries called to «destroy» the Ukrainian community in Canada. Organizations within the Ukrainian Canadian Committee (UCC) condemned cultural exchange as a one-sided tool of Soviet propaganda, but viewed cultural ties as a way to influence Soviet artists. Because of one-sided Soviet cultural infiltration, on several occasions the UCC voiced its protest against Canada’s cultural exchanges with this country. Ukrainian Canadian artists, choirs and dance ensembles are not permitted to perform in Ukraine unless they were politically acceptable to the Soviet authorities.
3
Berehovska, H. "William Kurelek’s “Multicultu-ralism”: author’s creative method." Culture of Ukraine, no. 72 (June 23, 2021): 176–82. http://dx.doi.org/10.31516/2410-5325.072.25.
Full textAbstract:
The purpose of the study — to analyze the phenomenon of the author’s style “multiculturalism” in the painting of the Canadian-Ukrainian artist W. Kurelek, as well as to characterize the unique author’s artistic technique.
The methodology. Symbolic-metaphysical and philosophical aspects of the artist’s work are studied on the basis of art analysis of individual paintings. The method of formal and stylistic analysis helped to identify the appearance of individual works, characterized the artistic processes that took place in the Canadian-Ukrainian environment, which had a significant impact on the work of W. Kurelek. This method effectively helped in the stylistic characterization of the canvas, in particular in identifying the formal organization of the work: space, time, color, light, rhythm, composition, perspective.
The scientific topicality. The role of W. Kurelek in the formation of the multicultural process in Canada is proved, in particular the importance of his art — chronicles of the formation and development of Canadian emigrants (Frenchmen, Irishmen, Ukrainians, Jews, Poles), as well as the first comprehensive study of the author’s creative method “multiculturalism”.
The practical significance. Theoretical material can be used in scientific art and cultural studies, as well as for teaching courses in: history of Ukrainian culture in the diaspora, art of the Ukrainian diaspora, the development of Ukrainian art in Canada, in the preparation of textbooks and manuals.
The conclusions. The author’s creative method “multiculturalism” of the Canadian artist, the grandson of the first Ukrainian emigrants W. Ku-relek has been studied. The uniqueness of this creative method lies in the system of abilities of the artist. First of all, it is a comparative approach to the selection of ideas and thematic outlines of works, which was based on a long analysis of the historical context, socio-cultural environment and futuristic predictions, which the artist observed and tried not just narratively capture in his work.
From childhood, from his first emigrant grandparents, and later from his own experience of “dual” identity, it was very important for the artist to record in painting the presence and contribution of each emigrant group that was a member of multicultural Canadian society. In order to properly crystallize the author’s style, W. Kurelek traveled to all twelve provinces of Canada, capturing the geopolitical, climatic, natural and social characteristics of each province. He studied the histories of the aboriginal tribes, the arrival of the first emigrants, and the stages of the “multiplication” and integration of the various waves of emigrants on Canadian land. The uniqueness of this style was that the artist did not generalize the standard image of “Frenchman”, “Irishman”, “Pole”, but went by inductive method, studying the history of a person, his life, as well as the history of a country, its art , traditions, music, literature, customs, even cooking.
The unique artistic author’s “mixed” technique obtained by long-term experiments and the influence of Nikolaides’ artistic method on the compositional structure of W. Kurelek’s work are also analyzed.
4
Kivshar, T. "Ukrainian Canadian connections in the culture area: art, literature and public activities of Lida Palij." Ukraïnsʹka bìografìstika, no. 14 (December 28, 2016): 71–105. http://dx.doi.org/10.15407/ub.14.071.
Full text
5
Kubik, Olha. "ENSEMBLE IN THE BANDURA ART IN THE CENTER OF THE UKRAINIAN DIASPORA: CULTURAL-HISTORICAL ASPECTS OF DEVELOPMENT." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 220–25. http://dx.doi.org/10.25264/2409-6806-2020-31-220-225.
Full textAbstract:
The article analyzes the ensemble work of the diaspora bandura players. It is noted that ensemble music has its origins in the so called “kobzarism” in Ukraine. The development of bandura art in the diaspora of the twentieth century occurred differently. This is due to the chronological, spatial, geographical and cultural factors of the countries of the world where the bandura cells were located. The history of the appearance of Ukrainian bandura players on the territories of other continents is covered, and the emigration waves that became the impetus for the development of bandura art abroad are mentioned. The leading bandura ensembles of the diaspora were analyzed – the Taras Shevchenko Bandura Band (Detroit), the Canadian Bandura Band, the Gnat Khotkevych Bandura Ensemble (Toronto), and the Maiden Bandura Band. P. Orlyk (Detroit), ensemble “Haidamaki”, children’s choir “Golden Strings” and their cooperation with various groups both in the diaspora and in Ukraine. The article also describes the repertoire, tools and their modifications in connection with certain historical events. It is noted that the Ukrainian theme became the basis for the repertoire of the diaspora bandura players – Ukrainian folk songs, patriotic, Cossack, Duma, spiritual works, carols, works of Ukrainian composers, instrumental melodies and others. The names of famous bandura masters abroad are mentioned. Ensemble performance of non-mainland Ukraine is associated with the names of many artists, including Vasyl Yemets, Mykhailo Teliga, Hryhoriy Kytasty, Hryhoriy Nazarenko, Stepan Hanushevsky, Volodymyr Lutsyv, Viktor Mishalov, Olga Gerasimenko-Oliynyk and Yuriy Oliynyk. The article mentions the close cooperation of bandura ensembles and representatives of choral and vocal art. The concert life of famous bandura groups of the diaspora and their artistic achievements are described. It is also noted that the ensemble art of the diaspora is currently actively studied by scholars of the diaspora and Ukraine.
6
Nabok, Maryna. "Ukrainian National Dumas: National Perceptions in the Process of Intercultural Communication." PSYCHOLINGUISTICS 24, no. 2 (October 3, 2018): 198–217. http://dx.doi.org/10.31470/2309-1797-2018-24-2-198-217.
Full textAbstract:
The article presents the results of empirical research on ethnopsychological groups of people living in different regions of Ukraine in the context of intercultural ideological systems. In particular, residents of Ukraine and foreign students from Africa and Middle East, which study at Sumy State University, were invited to share their impressions from the listened dumas, performed by Canadian bandurist Victor Mishalow during his concert tour in Ukraine. They also watched and listened to video recordings of such folk dumas as «Cossack Golota», «Marusya Boguslavka» performed by kobzar Mykola Budnyk and bandura player Fedir Zharko. Students analyzed the characters’ images, expressed their understanding and attitude to characters’ actions and compared them with the national heroes of their own countries.
The national peculiarities of the worldview of Ukrainians, representatives of Africa and the Middle East expressed in their language are defined. The language itself is the core of people’s psyche, way of thinking, and identity of ethnic group’s moral and ethical norms of life. The analysis of folk art helps to emphasize the peculiarity of foreign students’ perception of words, rhythm, music, and the symbolic system of folk poetic works. Author notes that the psychological of figurative system of Ukrainian dumas and folk songs of the mentioned peoples has a purely national color: it is a category of national outlook and at the same time is a artistic and aesthetic category.
The solution of these problems forms an understanding of the specific of national characters and the national world in folk poetic works of the peoples of Africa, the Middle East and Ukrainian folk dumas, which is the main purpose of the study and its novelty, because such typological comparisons are investigated for the first time.
These experimental studies, the development of the ideas of dumas studies and studies on a national character, the peculiarities of a national world perception, world outlook and world expression have substantiated the need for a deeper study of Ukrainian dumas’ role in the formation of the national personality during intercultural communication.
7
Kondakova, Tetiana. "EXAMINATION OF TYPES OF INFLUENCES OF THE UKRAINIAN DIASPORA, ASSESSMENT OF SPECIFIC EXAMPLES AND THEIR CHARACTERISTIC IN THE ASPECT OF CURRENT NEEDS OF UKRAINE." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 24–32. http://dx.doi.org/10.25264/2409-6806-2020-31-24-32.
Full textAbstract:
This article analyzes the impact of the Ukrainian diaspora on Ukraine using an extensive survey of more than sixty opinion leaders, scholars, representatives of Ukrainian organizations in the diaspora, as well as data shared by these organizations and relevant scientific literature. The article attempts to identify the main types of influences by areas and nature of the activity of the diaspora. One type of influence of the diaspora is informational or propaganda influence. Through the Ukrainian media, literature, art, scientific works, petitions, actions, and protests, the Ukrainian diaspora promotes information about Ukraine, contributing to the creation of a positive international image for the country. During the massacres and imprisonment of Ukrainian dissidents worldwide, student and human rights organizations set up committees to defend political prisoners under the leadership of Ukrainian diaspora representatives. The struggle for the release of Ukrainian political prisoners was also waged by the Ukrainian media that published self-published works (samvydav), research, memoirs, and documents of many Ukrainian political prisoners, documents and bulletins of the Ukrainian Helsinki Group, as well as many other materials about Soviet arbitrariness in Ukraine. Today, all Ukrainian diaspora organizations, to a greater or lesser extent, are fighting against Russian propaganda. Another type of influence of the diaspora is political influence, i.e., the ability of the diaspora to facilitate the adoption of political decisions beneficial to Ukraine by their host countries. Ukrainian diasporas are actively lobbying for Ukraine’s interests, which resulted in the proclamation of Captive Nations Week in the USA, recognition of the Holodomor as genocide of the Ukrainian people in 17 countries, the introduction of the Defending American Security from Kremlin Aggression Act and other bills to the US Senate Committee on Foreign Relations, establishment of support groups for Ukraine in the US and Canadian Parliaments, adoption of numerous laws and political documents worldwide that condemn Russia’s invasion of Ukraine, impose sanctions on the Russian Federation, and create a legal basis for providing financial, humanitarian, and military assistance to Ukraine. The economic or financial influence of the Ukrainian diaspora on the homeland is represented by remittances sent by representatives of the diaspora to their relatives who still live in Ukraine and by financial aid provided to Ukraine by diaspora organizations and patrons to achieve specific goals. Thanks to the diaspora efforts, millions of dollars in assistance were provided to Ukraine during the years of its independence. Significant results have been achieved in the field of cultural and educational impact. The most notable examples of educational and cultural influence are the return of Ukrainian folklore and traditions to Ukraine taken away by the Soviet oppression; the establishment or restoration of organizations such as Plast, the Shevchenko Scientific Society, the Ukrainian Youth Association; organization of internship programs for Ukrainian students and young specialists; creation of advisory programs for the Government of Ukraine with the participation of highly-qualified Western specialists; transfer of know-how; and creation of training programs for Ukrainian police and army. Specific examples given in the article can demonstrate the extraordinary efforts made by the diaspora to support and assist Ukraine.
8
Luciuk, Lubomyr Y. "Unintended Consequences in Refugee Resettlement: Post-War Ukrainian Refugee Immigration to Canada." International Migration Review 20, no. 2 (June 1986): 467–82. http://dx.doi.org/10.1177/019791838602000217.
Full textAbstract:
This article examines the resettlement of Ukrainian Displaced Persons (DPs) in Canada during the immediate post-World War II period (1945–1951). Allowed to emigrate from Western Europe to Canada, partially as a result of the lobbying efforts of various voluntary agencies established by Ukrainian Canadians, these DPs soon became embroiled in acrimonious debates with representatives of the previously established Ukrainian Canadian population. The DPs’ creation of a number of new organizations both alienated the receiving Ukrainian society and had deleterious effect on the latter's overseas refugee relief and resettlement operations, which lasted only until 1951.
9
Kolomiyets, Lada. "The Psycholinguistic Factors of Indirect Translation in Ukrainian Literary and Religious Contexts." East European Journal of Psycholinguistics 6, no. 2 (December 27, 2019): 32–49. http://dx.doi.org/10.29038/eejpl.2019.6.2.kol.
Full textAbstract:
The study of indirect translations (IT) into Ukrainian, viewed from a psycholinguistic perspective, will contribute to a better understanding of Soviet national policies and the post-Soviet linguistic and cultural condition. The paper pioneers a discussion of the strategies and types of IT via Russian in the domains of literature and religion. In many cases the corresponding Russian translation, which serves as a source text for the Ukrainian one, cannot be established with confidence, and the “sticking-out ears” of Russian mediation may only be monitored at the level of sentence structure, when Russian wording underlies the Ukrainian text and distorts its natural fluency. The discussion substantiates the strategies and singles out the types of IT, in particular, (1) Soviet lower-quality retranslations of the recent, and mostly high-quality, translations of literary classics, which deliberately imitated lexical, grammatical, and stylistic patterns of the Russian language (became massive in scope in the mid1930s); (2) the translation-from-crib type, or translations via the Russian interlinear version, which have been especially common in poetry after WWII, from the languages of the USSR nationalities and the socialist camp countries; (3) overt relayed translations, based on the published and intended for the audience Russian translations that can be clearly defined as the source texts for the IT into Ukrainian; this phenomenon may be best illustrated with Patriarch Filaret Version of the Holy Scripture, translated from the Russian Synodal Bible (the translation started in the early 1970s); and, finally, (4) later Soviet (from the mid1950s) and post-Soviet (during Independence period) hidden relayed translations of literary works, which have been declared as direct ones but in fact appeared in print shortly after the publication of the respective works in Russian translation and mirrored Russian lexical and stylistic patterns.
References
Белецкий, А. Переводная литература на Украине // Красное слово. 1929. № 2. С. 87-96. Цит за вид.: Кальниченко О. А., Полякова Ю. Ю. Українська перекладознавча думка 1920-х – початку 1930-х років: Хрестоматія вибраних праць з перекладознавства до курсу «Історія перекладу» / Укладачі Леонід Чернований і Вячеслав Карабан. Вінниця: Нова Книга, 2011. С. 376-391.
Бурґгардт, Осв. Большевицька спадщина // Вістник. 1939. № 1, Кн. 2. С. 94-99.
Dollerup, C. (2014). Relay in Translation. Cross-linguistic Interaction: Translation, Contrastive and Cognitive Studies. Liber Amicorum in Honour of Prof. Bistra Alexieva published on the occasion of her eightieth birthday, Diana Yankova, (Ed.). (pp. 21-32). St. Kliminent Ohridski University Press. Retrieved from https://cms13659.hstatic.dk/upload_dir/docs/Publications/232-Relay-in-translation-(1).pdf
Dong, Xi (2012). A Probe into Translation Strategies from Relevance Perspective—Direct Translation and Indirect Translation. Canadian Social Science, 8(6), 39-44. Retrieved from http://www.cscanada.org/index.php/css/article/viewFile/j.css.1923669720120806.9252/3281
Дзера, О.. Історія українських перекладів Святого Письма // Іноземна філологія. 2014. Вип. 127, Ч. 2. С. 214–222.
Філарет, Патріарх Київський та всієї Руси-України, Василь Шкляр, Микола Вересень, В’ячеслав Кириленко. Розмова В’ячеслава Кириленка із Патріархом Київським та всієї Руси-України Філаретом. Віра. У кн.: Три розмови про Україну. Упорядник та радактор В. Кириленко. Х.: Книжковий Клуб «Клуб Сімейного Дозвілля», 2018. С. 9-92.
Flynn, P. (2013). Author and Translator. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4, (pp. 12-19). Amsterdam / Philadelphia: John Benjamins Publishing Company.
Gutt, E.-A. (1990). A theoretical account of translation – without a translation theory. Retrieved from http://cogprints.org/2597/1/THEORACC.htm
Коломієць Л. В. Український художній переклад та перекладачі 1920-30-х років: матеріали до курсу «Історія перекладу». Вінниця: «Нова книга», 2015.
Іларіон, митр. Біблія – найперше джерело для вивчення своєї літературної мови / Митр. Іларіон // Віра і культура. 1958. Ч. 6 (66). С. 13–17.
Іларіон, митр. Біблія, або Книги Святого Письма Старого и Нового Заповіту. Із мови давньоєврейської й грецької на українську дослівно наново перекладена. United Bible Societies, 1962.
Jinyu L. (2012). Habitus of Translators as Socialized Individuals: Bourdieu’s Account. Theory and Practice in Language Studies, 2(6), 1168-1173.
Leighton, L. (1991). Two Worlds, One Art. Literary Translation in Russia and America. DeKalb, Ill.: Northwestern Illinois UP.
Лукаш М. Прогресивна західноєвропейська література в перекладах на українську мову // Протей [редкол. О. Кальниченко (голова) та ін.]. Вип. 2. X.: Вид-во НУА, 2009. С. 560–605.
Майфет, Г. [Рецензія] // Червоний шлях. 1930. № 2. С. 252-258. Рец. на кн.: Боккаччо Дж. Декамерон / пер. Л. Пахаревського та П. Майорського; ред. С. Родзевича та П. Мохора; вступ. ст. В. Державіна. [Харків]; ДВУ, 1929. Ч. 1. XXXI, 408 с.; Ч. 2. Цит за вид.: Кальниченко О. А., Полякова Ю. Ю. Українська перекладознавча думка 1920-х – початку 1930-х років: Хрестоматія вибраних праць з перекладознавства до курсу «Історія перекладу» / Укладачі Леонід Чернований і Вячеслав Карабан. Вінниця: Нова Книга, 2011. С. 344-356.
Munday, J. (2010). Introducing Translation Studies: Theories and Applications. 2nd Ed. London & New York: Routledge.
Pauly, M. D. (2014). Breaking the Tongue: Language, Education, and Power in Soviet Ukraine. Toronto Buffalo London: University of Toronto Press.
Pieta, H. & Rosa, A. A. (2013). Panel 7: Indirect translation: exploratory panel on the state-of-the-art and future research avenues. 7th EST Congress – Germersheim, 29 August – 1 September 2013. Retrieved from http://www.fb06.uni-mainz.de/est/51.php
Плющ, Б. O. Прямий та неопрямий переклад української художньої прози англійською, німецькою, іспанською та російською мовами. Дис. …канд. філол. наук., Київ: КНУ імені Тараса Шевченка, 2016.
Ringmar, M. (2012). Relay translation. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4 (pp. 141-144). Amsterdam / Philadelphia: John Benjamins Publishing Company.
Simeoni, D. (1998). The pivotal status of the translator’s habitus. Target, 10(1), 1-39.
Солодовнікова, М. І. Відтворення стилістичних особливостей роману Марка Твена «Пригоди Тома Сойера» в українських перекладах: квантитативний аспект // Перспективи розвитку філологічних наук: Матеріали ІІІ Міжнародної науково-практичної конференції (Хмельницький, 24-25 березня). Херсон: вид-во «Гельветика», 2017. С. 99-103.
Sommer, D, ed. (2006). Cultural Agency in the Americas. [Synopsis]. Durham, NC: Duke University Press.
Špirk, J. (2014). Censorship, Indirect Translations and Non-translation: The (Fateful) Adventures of Czech Literature in 20th-century Portugal. Newcastle upon Tyne: Cambridge Scholars Publishing.
Venuti, L. (2001). Strategies of Translation. In M. Baker (ed.). Routledge Encyclopedia of Translation Studies, (pp. 240-244). London & New York: Routledge.
References (translated and transliterated)
Beletskii, A. (1929). Perevodnaia literatura na Ukraine [Translated literature in Ukraine]. Krasnoe Slovo [Red Word], 2, 87-96. Reprint in: Kalnychenko, O. A. and Poliakova, Yu. (2011). In Leonid Chernovatyi and Viacheslav Karaban (Eds.). Ukraiins’ka perekladoznavcha dumka 1920-kh – pochatku 1930-kh rokiv: Khrestomatiia vybranykh prats z perekladosnavstva do kursu “Istoriia perekladu” [Ukrainian translation studies of the 1920s – early 1930s: A textbook of selected works in translation studies for a course on the “History of Translation”]. (pp. 376-391). Vinnytsia: Nova Knyha,
Burghardt, O. (1939). Bolshevytska spadschyna [The Bolsheviks’ heritage]. Vistnyk [The Herald], Vol. 1, Book 2, 94-99.
Dollerup, C. (2014). Relay in Translation. Cross-linguistic Interaction: Translation, Contrastive and Cognitive Studies. Liber Amicorum in Honour of Prof. Bistra Alexieva published on the occasion of her eightieth birthday, Diana Yankova, (Ed.). (pp. 21-32). St. Kliminent Ohridski University Press. Retrieved from https://cms13659.hstatic.dk/upload_dir/docs/Publications/232-Relay-in-translation-(1).pdf
Dong, Xi (2012). A Probe into Translation Strategies from Relevance Perspective—Direct Translation and Indirect Translation. Canadian Social Science, 8(6), 39-44. Retrieved from http://www.cscanada.org/index.php/css/article/viewFile/j.css.1923669720120806.9252/3281
Dzera, O. (2014). Istoriia ukraiinskykh perekladiv Sviatoho Pysma [History of Ukrainian translations of the Holy Scripture]. Inozemna Filologiia, 127, Part 2, 214-222.
Filaret, Patriarch of Kyiv and all Rus-Ukraine et al. (2018). Rozmova Viacheslava Kyrylenka iz Patriarkhom Kyivskym ta vsiiei Rusy-Ukrainy Filaretom. Vira [A Conversation of Viacheslav Kyrylenko with Patriarch of Kyiv and all Rus-Ukraine Filaret. Faith]. In: Try rozmovy pro Ukrainu [Three Conversations about Ukraine], compiled and edited by V. Kyrylenko. Kharkiv: Family Leisure Club, 9-92.
Flynn, P. (2013). Author and Translator. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4, (pp. 12-19). Amsterdam / Philadelphia: John Benjamins Publishing Company.
Gutt, E.-A. (1990). A theoretical account of translation – without a translation theory. Retrieved from http://cogprints.org/2597/1/THEORACC.htm
Kolomiyets, L. (2015). Ukraiinskyi khudozhniy pereklad ta perekladachi 1920-30-kh rokiv: Materialy do kursu “Istoriia perekladu” [Ukrainian Literary Translation and Translators in the 1920s-30s: “History of translation” course materials]. Vinnytsia: Nova Knyha.
Ilarion, Metropolitan (1958). Bibliia – naipershe dzherelo dlia vyvchennia svoiei literaturnoi movy [The Bible is the first source for studying our literary language]. Vira i kultura [Faith and Culture], No. 6 (66), 13–17.
Ilarion, Metropolitan. 1962. Bibliia abo Knyhy Sviatoho Pusma Staroho i Novoho Zapovitu. Iz movy davnioievreiskoi i hretskoi na ukrainsku doslivno nanovo perekladena. Commissioned by United Bible Societies.
Jinyu L. (2012). Habitus of Translators as Socialized Individuals: Bourdieu’s Account. Theory and Practice in Language Studies, 2(6), 1168-1173.
Leighton, L. (1991). Two Worlds, One Art. Literary Translation in Russia and America. DeKalb, Ill.: Northwestern Illinois UP.
Lukash, M. (2009). Prohresyvna zakhidnoievropeiska literatura v perekladakh na ukraiinsku movu [Progressive West European Literature in Ukrainian]. Protei. Vol. 2. Edited by O. Kalnychenko. Kharkiv: Vydavnytstvo NUA, 560-605.
Maifet, H. (1930). [Review]. Chervonyi Shliakh [Red Path], 2, 252-258. Review of the book: Boccaccio G. Decameron. Tr. by L. Pakharevskyi and P. Maiorskyi; S. Rodzevych and P. Mokhor (Eds.).; introduction by V. Derzhavyn. Kharkiv: DVU, 1929. Part 1. XXXI; Part 2. Reprint in: Kalnychenko, O. and Poliakova, Yu. (2011). In Leonid Chernovatyi and Viacheslav Karaban (Eds). Ukraiins’ka perekladoznavcha dumka 1920-kh – pochatku 1930-kh rokiv: Khrestomatiia vybranykh prats z perekladosnavstva do kursu “Istoriia perekladu” [Ukrainian translation studies of the 1920s – early 1930s: A textbook of selected works in translation studies for a course on the “History of Translation”]. (pp. 344-356). Vinnytsia: Nova Knyha.
Munday, J. (2010). Introducing Translation Studies: Theories and applications. 2nd Ed. London & New York: Routledge.
Pauly, M. D. (2014). Breaking the Tongue: Language, Education, and Power in Soviet Ukraine. Toronto Buffalo London: University of Toronto Press.
Pieta, H. & Rosa, A. A. (2013). Panel 7: Indirect translation: exploratory panel on the state-of-the-art and future research avenues. 7th EST Congress – Germersheim, 29 August – 1 September 2013. Retrieved from http://www.fb06.uni-mainz.de/est/51.php
Pliushch, B. (2016). Direct and Indirect Translations of Ukrainian Literary Prose into English, German, Spanish and Russian. PhD thesis. Manuscript copyright. Kyiv: Taras Shevchenko National University of Kyiv.
Ringmar, M. (2012). Relay translation. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4 (pp. 141-144). Amsterdam / Philadelphia: John Benjamins Publishing Company.
Simeoni, D. (1998). The pivotal status of the translator’s habitus. Target, 10(1), 1-39.
Solodovnikova. M. I. (2017) Vidtvorennia stylistychnykh osoblyvostei romanu Marka Tvena “Pryhody Toma Soiera” v ukrainskykh perekladakh: kvantytatyvnyi aspekt. Perspektyvy rozvytku filolohichnykh nauk: Book of abstracts of III International Scientific Conference (Khmelnytskyi, 24-25 March). Kherson: Helvetyka Publishing House. (99-103).
Sommer, D., Ed. (2006). Cultural Agency in the Americas. [Synopsis]. Durham, NC: Duke University Press.
Špirk, J. (2014). Censorship, Indirect Translations and Non-translation: The (Fateful) Adventures of Czech Literature in 20th-century Portugal. Newcastle upon Tyne: Cambridge Scholars Publishing.
Venuti, L. (2001). Strategies of Translation. In Routledge Encyclopedia of Translation Studies, (pp. 240-244). M. Baker (ed.). London & New York: Routledge.
10
Suchacka, Weronika. "‘Alimentary Assemblages’ at Intersections: Food, (Queer) Bodies, and Intersectionality in Marusya Bociurkiw’s Comfort Food for Breakups: The Memoir of a Hungry Girl (2007)." Studia Anglica Posnaniensia 55, s2 (December 1, 2020): 353–73. http://dx.doi.org/10.2478/stap-2020-0018.
Full textAbstract:
Abstract Clearly devoted to the analysis of various issues of belonging, the work of Marusya Bociurkiw, a Ukrainian-Canadian queer writer, director, academic, and activist, examines culture, memory, history, and subjectivity in a fascinatingly unique way. Such a thematic composition is, however, not the only aspect that visibly marks and unities Bociurkiw’s multi-generic oeuvre; what clearly stands out as yet another distinguishing characteristic that Bociurkiw’s works have in common is the idea that seems to stand behind their creation – an impelling notion that “[t]o have one’s belonging lodged in a metaphor is voluptuous intrigue” (Brand 2001: 18). Consequently, what Bociurkiw’s works vividly portray is the writing-self “in search of its most resonant metaphor” (Brand 2001: 19). In one of her works, Comfort Food for Breakups: The Memoir of a Hungry Girl (2007), this metaphor is food as the art of food-making and the act of eating become here a crucial background against which the issues of belonging are played out. The aim of this article is thus to show how Bociurkiw finds her way of discussing various aspects of subjectivity by means of writing about food, whether about preparing it, tasting it, or recollecting its preparation and tastes. Ultimately, however, the article is to prove that food in Bociurkiw’s memoir not only reflects identity but is presented as a vital site of intersectionality. Thus, embedded in intersectionality discourse, and particularly instructed by Vivian May’s Pursuing Intersectionality, Unsettling Dominant Imaginaries (2015), the analysis of Comfort Food for Breakups is carried out from an interdisciplinary perspective because it is simultaneously grounded in food studies theory, i.e., the ideas developed by Elspeth Probyn in Carnal Appetites: FoodSexIdentities (2000), confirming, in this way, that vital connections can and should be made between the two, ostensibly unrelated, fields of study.
11
Tkachenko, Viktor. "HISTORIOGRAPHIC STUDIES FROM REGIONAL AND ORNAMENTAL FEATURES OF EASTER EGGS PAINTING." Journal of Ukrainian History, no. 40 (2019): 61–68. http://dx.doi.org/10.17721/2522-4611.2019.40.8.
Full textAbstract:
The article deals with the national historiography in which problems of regional-ornamental peculiarities of easter eggs painting are highlighted. The purpose of the proposed research is the analysis of the existing sources related to the historiography of regional ornamental peculiarities of easter eggs painting as a type of decorative and applied art in general. The main task: to find out the current state and degree of study of the problem. The methodological basis is the general scientific principles and methods of research. Among them - problem-chronological, search, analysis and synthesis, generalizations that allowed to explore this issue and identify works that highlight the topics. Symbols of Easter eggs, their ornamentation and semantics have attracted the attention of researchers: F. Vovka. M. Sumtsov, M. Kordubi, K. Sherotsky, V. Scherbakovsky, A. Lyashenko for a long time. Historiographical studies of regional peculiarities of easter eggs and ornamentation of certain historical and ethnographic zones and regions are practically absent. Among the authors we can mention works by V. Tkachenko, N. Bendyuk. Consideration of ethnographic materials from Volyn on the pages of the Canadian edition "Chronicle of Volyn" is devoted to the article by V. Nadolnoy. A. Dmitrenko explores the traditional and everyday culture of this historical and ethnographic region of the second half of the 20th century, including Easter eggs. Regional historiography and sources are covered in works: M. Maslovsky - Zhytomyrshchyna; O. Yanoshchak-Pshibili – Prykarpattya; I. Dmitruk - Hutsulshchyna; O. Kozholyanka – Bukovina; V. Savchuk – Podillya. O. Khalachanska devoted her research to the symbolism of Easter eggs and its possible use in the lessons of linguistics while working with the works that paid attention to the Poltava Pysanka. Recently, many works are published in which ornamentation is explored in its various aspects. In particular, N. Lolina from Kyiv examines the development and features of the geometric ornament used in the Easter eggs. The author of the article about the abstract sign in the geometric ornamentation of the Ukrainian Easter eggs, A. Dubriva analyzes the historical and cultural preconditions of the emergence, formation and development of abstract art. A. Gotsaliuk tries to reveal the sacred role of the eggs as a protective symbol, its development from paganism and to the present, without neglecting the importance of eggs in the Christian religion. Considering the historiography of Easter eggs painting, A. Gotsalyuk notes that M. Sumtsov "first studied Easter eggs as a folk art ritual, having determined the importance and place of Easter eggs in the culture of Ukraine, paying special attention to the semantics of their ornament". In the article O. Poyannyk from the "Vasyl Stefanyk Precarpathian National University" features peculiarities of preserving the traditions of Easter eggs painting in the education of children of the Ukrainian Carpathians. Covering the historiography of the problem of ceramic Easter eggs of the XI-XIII centuries. Researcher A. Sushko notes that the greatest attention to such products was paid in the works by T. Makarova and H. Shovkoplyas. Among the researchers of the time of the Independence of Ukraine, who considered ceramic Easter eggs, she gives the names of V. Titiynuk, D. Pozhozhuka, A. Valush and V. Tkachenko. For the newest historiography a significant increase in different publications, articles, monographs, etc. is characteristic. About that not all works have and bear historiographic works of literature on art-study issues, including ornamentation of pysanka paintings, etc. Thus, the study considers the historiographic work of scientists on the study of pysanka painting and its ornamental peculiarities. It is noted that the problem of historiographical sources studies of regional pysanka painting and symbolic-semantic significance of motifs is now one of the least developed in the national historical and ethnological and art-studying science. One can confidently say only a few studies that partly claim to historiographic reviews of the study of Easter eggs of Ukraine.
12
Makar, Vitaliy. "Canada – from its establishment until the modern day." Історико-політичні проблеми сучасного світу, no. 35-36 (December 20, 2017): 14–23. http://dx.doi.org/10.31861/mhpi2017.35-36.14-23.
Full textAbstract:
This year Canada celebrated the 150thanniversary of its official establishment, when the Act of British North America came into force. However, the Dominion was established, the British Parliament retained the ability of limited control over Canada until 1982. The Autonomy was granted by the Canadian Act of 1982, which freed Canada from the remaining dependence of the British Parliament forever. Canada is a federal parliamentary democracy with a constitutional monarchy as a formof the government. Noteworthy, the power of the monarch is purely nominal, and is represented by the Governor-General.
On the surface, if compared with other countries, Canada appears to be quite recently formed state. In reality, Canada has made significant progress in its development. Importantly, Canada is a member of the G-7. Leading countries and international organizations value the opinion and authority of the Maple Leaf Country. It is one of the most ethnically and culturally varied countries in the world, since it has always depended on immigration, which is governed by federal and provincial governments. Canada has one of the highest indicators of transparency of the government, civil liberties, economic freedom, quality of life and education in the world.
The article examines the stages of Canada’s establishment, political structure, economic development and potential opportunities. The author also focuses on the importance of Canadian-Ukrainian relations and collaboration. Currently, Canada is a special partner and pays considerable attention to all events that take place in Ukraine.
Keywords: Canada, provinces, territories, political structure,parliament, economy, Canadian-Ukrainian relations
13
Nahachewsky, Andriy. "New Ethnicity and Ukrainian Canadian Social Dances." Journal of American Folklore 115, no. 456 (2002): 175. http://dx.doi.org/10.2307/4129218.
Full text
14
Nahachewsky, Andriy. "New Ethnicity and Ukrainian Canadian Social Dances." Journal of American Folklore 115, no. 456 (2002): 175–90. http://dx.doi.org/10.1353/jaf.2002.0019.
Full text
15
Senyk, Yaroslav. "«Highly respected master!»: correspondence of Jacques Hnizdovsky and Roman Ferencevych. 1977–1985 (in the Manuscript Division of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv)." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 387–457. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-18.
Full textAbstract:
The article describes correspondence of the world-known artist Jacques Hnizdovsky and the editor Roman Ferencevych, kept in the Manuscript Division of Stefanyk National Scientific Library of Ukraine in Lviv. Thirty three letters of Jacques Hnizdovsky that reveal his creative workshop during the heyday of his artistic talent, as well as twelve letters of Roman Ferencevych are presented to the scholar public for the first time. The Appendix contains six letters of R. Ferentsevych’s correspondence concerning Jacques Hnizdovsky, and also the letter of Stefanie Hnizdovsky. Roman Ferencevych, a printer and then a broadcaster in the Voice of America (Ukrainian service), first met Jacques Hnizdovsky in Svoboda printing plant in Jersey City, N. J. where he made impressions of larger-sized woodcuts. Hnizdovsky made a bookplate woodcut for the book collection of R. Ferencevych in 1979. The artist used the ink roller as a symbol of the noble profession of printing. In 1985 Jacques Hnizdovsky made the second bookplate using the Cyrillic initials «РФ». The following issues were reflected in the correspondence: creativity, directions of activity and various professional interests of the artist, ways of popularizing his art in the USA, Great Britain, Canada, China; his cooperation with art and professional organizations, academic institutions, as well as art galleries in the USA, Canada, and Western Europe; application of the Ukrainian alphabet letters in printing art; activities of Ukrainian art institutions in the US and Canada. Keywords: Jacques Hnizdovsky, Roman Ferencevych, Correspondence, Bookplate (Ex Libris), Woodcut.
16
Berezutska, Maryna. "The Development of Bandura Music Art Between the 1920s and 1940s." Journal of Ethnology and Folkloristics 14, no. 2 (December 1, 2020): 44–66. http://dx.doi.org/10.2478/jef-2020-0015.
Full textAbstract:
AbstractBandura art is a unique phenomenon of Ukrainian culture, inextricably linked with the history of the Ukrainian people. The study is dedicated to one of the most tragic periods in the history of bandura art, that of the 1920s–1940s, during which the Bolsheviks were creating, expanding and strengthening the Soviet Union. Art in a multinational state at this time was supposed to be national by form and socialist by content in accordance with the concept of Bolshevik cultural policy; it also had to serve Soviet propaganda. Bandura art has always been national by its content, and professional by its form, so conflict was inevitable. The Bolsheviks embodied their cultural policy through administrative and power methods: they created numerous bandurist ensembles and imposed a repertoire that glorified the Communist Party and the Soviet system. As a result, the development of bandura art stagnated significantly, although it did not die completely. At the same time, in the post-war years this policy provoked the emigration of many professional bandurists to the USA and Canada, thus promoting the active spread of bandura art in the Ukrainian Diaspora.
17
Nikolenko, R. V. "M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 168–80. http://dx.doi.org/10.34064/khnum2-14.12.
Full textAbstract:
Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural positive state» [2], and defined Postmodernism as «the general direction of modern European culture, formed in 1970–80-es» [2]. Now there is no single definition of «postmodern», probably, due to the incompleteness, continuity of formation of this phenomenon. Some philosophers, in particular, J. Habermas, D. Bell and Z. Bauman, consider postmodernism as the result of politics and ideology of neo-conservatism, which is characterized by aesthetic eclecticism [3]. Italian philosopher and writer U. Eco understands postmodernism as a process of changing one cultural era to another, perceiving it as «... the answer to modernism: since the past cannot be destroyed, because its destruction leads to dumbness, it needs to be rethought, ironically, without naivety» [5: 77]. This approach most accurately reveals the essence of postmodern art. In the field of aesthetics, the work of F. Jameson, «Postmodernism or The cultural logic of late capitalism», where postmodernism is represented as a «cultural dominant» is quite indicative. The philosopher defines such typical phenomenon of postmodern culture as a simulacrum, weakening of affects, the consequence of which is «the replacement of alienation of the subject by its fragmentation» [1: 105], the disappearance of the individual subject and the emergence on this basis of the practice of pastiche [1: 108], the loss of historicity. In musicology, the question of the essence of postmodernism has not yet received a sufficient scientific basis. From the latest works of Ukrainian researchers, in our opinion, it is disclosed most complete in the D. Ruzhinsky’s article “Specificity of the manifestation of postmodernism in musical creativity” [4]. The object of presented research is the specificity of postmodernism manifestations in an art; the subject of research are the postmodern landmarks in the individual style of outstanding Canadian pianist and composer M.-A Hamelin. The purpose of the article is to reveal the interrelation of the composer’ and performing style by M.-A. Hamelin with the aesthetic paradigms of Postmodernism. The methodological basis of the research consists of the concepts of postmodern philosophy and aesthetics presented in the works of J. Habermas, D. Bell, Z. Bauman. U. Eco, F. Jameson. For more full understanding of specificity of the postmodern traits implementation in M.-A. Hamelin’s activity, the “creative portrait” genre as well as analyses of some fragments of his music was used. Presenting the main material. The art of postmodernism reflects a fundamentally new attitude to the process of creativity, which includes of such typical features as 1) quoting or using famous plots, which are the realities of the culture of previous eras; 2) intertextuality; 3) the prevalence of the audience interpretation over the composer’s idea, when the author’s position is not decisive (according to M. Foucault, “the death of the author”); 4) syncretism; 5) the irony and the parody-game designing of works. The creativity of Marc-André Hamelin (b.1961) – the world-renowned Canadian virtuoso pianist and composer – is one of the brightest personifications of these principles, as well as their individual understanding. In 1985, he won the First prize at the competition at Carnegie hall, with which he began his ascent to the musical Olympus as a performer. To date, M.-A. Hamelin, an outstanding pianist and soloist, performs with many leading world orchestras, and his discography total more than 60 albums, including both his own works and the works of many composers of different genres and eras. In addition to intensive performance and interpretation activities, the Canadian artist is also engaged in composition, and his artistic search is concentrated mainly within the framework of piano music, which is quite natural. Among the works for piano solo the transcriptions can be identified, such as the “Etude-fantasy ‘Flight of the bumblebee’” by Rimsky-Korsakov (1987), “Waltz-minute, in seconds” (transcription of Chopin’s waltz). Another group of works ‒ miniatures are, for example, the “Little Nocturne” (2007), “Preamble to the imaginary piano Symphony” (1989), “My impressions about chocolate” (2014); the cycles of miniatures – “Con intimissimo sentimento” (1986–2000); the larger-scale pieces – “Barcarolle” (2013), “Chaconne” (2013). The composer wrote the three cycles of variations and the cadenzas for piano concertos by Mozart (K453 and 491), for the Fourth piano Concerto by Beethoven, the Third and Fourth Concertos by Haydn and The second Hungarian Rhapsody by Liszt. In addition to the solo piano music, the composer turned to the chamber genre (“Fanfare” for three trumpets, “Passacaglia”» for piano quintet, «Four perspectives» for cello and piano). His style is characterized by the frequent using of thematic material from the works by other composers of different eras. From the very beginning, Hamelin rethinks this material, not introducing it in its original form, but transforming it. For example, in the “Variations on The theme of Paganini” the theme of the Twenty-fourth Caprice is already “modernized”: maintaining the harmonic basis of it, the author adds the non-chords sounds and the remark to tempo, which notes that the theme should be played “with a groove”, as it is typical for salsa, rock and fusion style. Interpretations of the quoted material are not in the original, but in its creative processing can see although in the Seventh variation with the theme of the Third variation of Sonata No. 30 by Beethoven. Another typical feature of postmodernism of the Canadian artist’s work is manifested in a certain game with the listener, because to catch all the allusions, to understand the quotes and styles of different eras, he must be intellectually well prepared. Some of the noted features of the composer’s creation find their direct projection in the performing pianistic style of M.-A. Hamelin. For example, virtuosity, which is present in his works in both explicit and veiled form, fully manifests itself in the interpretation of the works of other composers. Another characteristic feature of the performing style of M.-A. Hamelin is his aspiring to end-to-end development and cyclicity. In his discography, there are many different cycles, sometimes quite voluminous, performed by him as a whole. In practice of composition this is manifested at the level of the musical form (cycles, parts of which often follow directly one after another, and sometimes even the final harmony of one of the parts becomes the beginning of the next part). Conclusion. The results of the research confirm the idea of the relationship of Hamelin’s individual creative style with the basic ideas of postmodernism aesthetics. Quite typical for the manner of writing of the Canadian artist is the attraction to the throughness of development, to the creation of micro-cycles (as well as to the performing of cyclic works of other composers); the combination of ironic rethinking of thematic material with virtuosity; the playing with the listener on the basis of the introduction of quotation material and work with it; the combination of different styles within one work. Such manner requires a prepared, meaningful perception, that is, to paraphrase U. Eco, the «ideal listener».
18
Sokolowski, Stefan. "Rhonda Hinther. Perogies and Politics: Canada’s Ukrainian-Canadian Left, 1891–1991." University of Toronto Quarterly 89, no. 3 (February 2021): 622–24. http://dx.doi.org/10.3138/utq.89.3.hr.62.
Full text
19
Rudenko, Oleh. "The importance of «interprint» in the development of Ukrainian graphics." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 60–65. http://dx.doi.org/10.33838/naoma.29.2020.60-65.
Full textAbstract:
The article studies Ukrainian graphic art of the late twentieth century, undergoing changes caused by political events in Eastern Europe. Two iconic exhibitions became the turning point for native art as they revealed the Ukrainian graphic arts, and broke through the "iron" curtain of the totalitarian regime. The ideological seclusion of the USSR focused solely on the themes celebrating the life of a happy worker, peasant, or intellectual, did not let the works of another content to be displayed in public. Moreover, all areas of art creativity were controlled by the Union of Artists of Ukraine, headed by people with party membership cards. This prohibition referred especially to works of national-patriotic, conceptual, abstract, or surrealistic nature. The idea to hold an international exhibition that would present Ukrainian graphics to the world arose in the heads of a few independent politicians. At the state level, that idea certainly did not gain any support, but some people contributed to its implementation. Interestingly, the first exhibition of graphics "Interdruk'90" took place just before the collapse of the USSR, and the second, "Interdruk'92", in an already independent Ukraine. The exhibitions showed a high level of Ukrainian graphics, which equaled and sometimes surpassed the works of foreign masters. Among the exhibited art were works by such masters of national graphics as Valeriy Demya- nyshyn, Oleg Denysenko, Mykhaylo Alexandrov, Volodymyr Gumenny, Konstantin Kalinovich, Ivan Kravetz, Pavlo Makov, Mychaylo Moskal, Volodymyr Pinigin, Igor Podolchak, Yuriy Pshenychny, Roman Romanyshyn, Yevgen Ravsky, Alexander Aksinin et al. Their works reflected the whole spectrum of current life themes, which were seen and interpreted in new ways, imaginative technical and formal solutions. Most of those national artists had been exhibited abroad and won the most prestigious graphic contests, yet they were little known in their Motherland. On the other hand, the Ukrainian audience got a chance to learn about the works and achievements of graphic artists from France, Great Britain, Argentina, Korea, Israel, Spain, Holland, Poland, Canada, Russia, Japan, Italy and other countries. We may state that those two exhibitions of printmaking art opened the way to the development of graphics in independent Ukraine.
20
Armstrong, John A. "Political Thought of The Ukrainian Underground 1943-51. Edited by Peter J. Potichnyj and Yevhen Shtendera. The Canadian Library in Ukrainian Studies. Edmonton: Canadian Institute of Ukrainian Studies, University of Alberta, 1986. xxix, 406 pp. Cloth." Slavic Review 46, no. 3-4 (1987): 628–29. http://dx.doi.org/10.2307/2498140.
Full text
21
Holii, Roman. "The phaleristic items (1919–1939) which are collected in the Institute of Research of Library’s Art Resources of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 516–30. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-22.
Full textAbstract:
The library holds 87 phaleristic awards 1919–1939, from Austria, Great Britain, Canada, Czech Republic, France, Germany, Hungary, Poland, Serbia, Sweden, Ukraine, USA. Among these awards we can conditionally distinguish the following thematic groups: Ukrainian and Ukrainian related awards, foreign phaleristic, international professional congresses. In these groups it is possible to distinguish subgroups representing different individual aspects of social life in Ukraine and in other countries in 1919–1939. Ukrainian and Ukrainian related honors include: Ukrainian-language honors made in Ukraine; honors of the Ukrainian Diaspora; non-Ukrainian-language honors made on Ukrainian lands. Foreign phaleristics are represented by thematic subgroups: state distinctions (Serbian Order of Saint Sava, Polish medals, etc.); non-state public awards; phalleristics of public organizations (the Red Cross, associations of librarians, doctors, electricians, technicians and others); German and Polish phaleristics on the occasion of a plebiscite in Silesia in 1921; monuments of cultural and artistic events; business awards (ASEA, Leica, Germany) and more. Distinctions of international professional congresses concern mainly medical organizations: I General Congress of Slavic Physicians in Warsaw 1927; The 1st, 2nd and 3rd Congresses of the Union of Slavic Dermatologists (in Warsaw in 1929, in Belgorod in 1931 and in Prague in 1934); The Third International Pediatricians Congress, London, 1933; IX International Congress of Dermatologists in Budapest 1935. Available in the library’s collection a memorial award of the International Congress of the World Union of Electricity Producers and Distributors in Paris, 1928 (two variants of decoration with different mounting methods). Keywords: phaleristics, awards, international professional congresses.
22
Vernyhor, Dmytro. "Ukrainian Dance – Global Hallmark (Dedicated to the Anniversary of the National Honoured Dance Ensemble of Pavlo Virsky)." Diplomatic Ukraine, no. XIX (2018): 757–66. http://dx.doi.org/10.37837/2707-7683-2018-47.
Full textAbstract:
The article is concerned with life and creative path of P. Virskyi and the ensemble he leads in the context of cultural diplomacy. The author analyses that the aspiration to create realistic and folk plays by nature has influenced the artist in his exploring and further developing the folk dance. Therefore, applying the experience of folk talents, Virskyi was committed to create characters of Ukrainian stage dance, expanded and enriched its expressiveness. Pavlo Virskyi directed some choreographic performances already in the first days of his activity as choreographer, but his actual work on the formation of the Ukrainian stage dance started in 1936, particularly following successful performance of the outstanding theatrical play “Zaporozhets za Dunaiem” (Eng. A Zaporizhian (Cossack) Beyond the Danube).In 1937, Virskyi and Bolotov organized the first ever in Ukraine folk dance ensemble and quit Taras Shevchenko National Opera and Ballet Theatre of Ukraine, where they headed a ballet group. The choreographers involved in the ensemble skilled young people as well as a team of experienced ballet dancers, among whom was M. Ivashchenko − their old friend and companion, brilliant performer of folk dances. Later B. Tairov and I. Kurylov engaged in choreographic process. The ensemble captured people’s attention, successfully performing at the VI World Festival of Youth and Students in Moscow in the summer of 1957. The group of youngsters of the ensemble attained the title of winners of the VI World Festival and was awarded gold medals and the first-place diploma (soloists V. Kotliar, L. Zastrozhnova, H. Chapkis, N. Birka, L. Sarafanov, B. Mokrov, V. Holyk). Artists of the dance ensemble of the Ukrainian SSR performed for the audience from many countries of the world: Poland, Czechoslovakia, China, Vietnam, Cuba, Angola, France, Austria, Portugal, Spain, Belgium, USA, Canada, Mexico, Argentina, Brazil, Peru, Chile, Colombia, Venezuela. All of the countries equally acknowledged the ensemble. The troupe performances abroad not only were a great success, but also sparked a massive political resonance. The national press continuously wrote about the unsurpassed art created by renowned Ukrainian choreographer P. Virskyi and his invaluable contribution to the development of Ukrainian folk dance choreography. V. Korniichuk, Honoured Journalist of Ukraine, author of the article “To pioneer of Ukrainian folk dance” noticed the festive concert dedicated to the 90-annivarsary of P. Virskyi’s birth. In his speech before the concert, Y. Stanishevskyi, Doctor of Arts, Honoured Art Worker of Ukraine, member of the International Academy of Dance, declared, “P. Virskyi is a distinguished master of choreography, director and pioneer of Ukrainian folk dance, who not only formed a unique dance group, but also glorified Ukraine on all continents by the high art.” Keywords: cultural diplomacy, Ukrainian folk dance, art, artistic view, Virskyi.
23
Raeff, Marc. "The Ukrainian Impact on Russian Culture, 1750-1850. By David Saunders. Canadian Library in Ukrainian Studies. Edmonton, Alberta: Canadian Institute of Ukrainian Studies, 1985. x, 415 pp. $14.95, paper. Distributed by the University of Toronto Press, Ontario, Toronto." Slavic Review 45, no. 4 (1986): 767–68. http://dx.doi.org/10.2307/2498374.
Full text
24
Bohachevsky-Chomiak, Martha. "Visible Symbols: Cultural Expression Among Canada's Ukrainians. Edited by Manoly R. Lupul. Edmonton, Alberta: Canadian Institute of Ukrainian Studies of Alberta, 1984. xvi, 204 pp. Figures. Illustrations. Cloth." Slavic Review 44, no. 2 (1985): 354–55. http://dx.doi.org/10.2307/2497790.
Full text
25
Kramarenko, Grigoriy. "Development of the UAOC (Sobornopravna) flows in the free world and their destiny." Ukrainian Religious Studies, no. 6 (December 5, 1997): 16–19. http://dx.doi.org/10.32420/1997.6.111.
Full textAbstract:
In Ukraine, in October 1921, Metropolitan Vasyl Lipkivsky was quipped by the UAOC, which in the 1930s was completely liquidated in Ukraine.
In 1924, Metropolitan Vasyl Lipkovsky sent to the United States Archbishop I. Theodorovich, who organized the UPA of the parish in the USA and Canada, and thus created the UAOC on the American continent. In his letter to Archbishop Ioan Teodorovich on March 27, 1946, Bishop Mstislav wrote: "... solemnly declare that I recognize the grace of the hierarchy of the Ukrainian Autocephalous Orthodox Church in the United States of America and in Canada, the hierarchy that has renewed the function of the episcopal serving as the act of the First All-Ukrainian Orthodox Church Council in Kyiv, in the month of October 1921, as well as the sanctity of all the mysteries of the Church by that hierarchy of completed and completed in the past Church. "Unfortunately, it must be said that Archbishop Mstislav very much Ro broke his solemn affirmation of "the observance of the Autocephaly of the Ukrainian Orthodox Church in the United States of America and in Canada, and the church and people's sovereignty of its system."
26
Stefancic, David. "The Ukrainian-Polish Defensive Alliance, 1919-1921: An Aspect of the Ukrainian Revolution. By Michael Palij. Toronto: Canadian Institute of Ukrainian Studies, 1995. viii, 390 pp. Notes. Bibliography. Index. Maps." Slavic Review 56, no. 2 (1997): 350. http://dx.doi.org/10.2307/2500801.
Full text
27
Himka, John-Paul. "The Ukrainian National Movement In Galicia: 1815-1849. By Jan Kozik. Edited by Lawrence D. Orton. Translated by Andrew Gorski and Lawrence D. Orton. Canadian Library in Ukrainian Studies. Edmonton: Canadian Institute of Ukrainian Studies, University of Alberta, 1986. xxi, 498 pp. Photograph. Paper." Slavic Review 49, no. 1 (1990): 135. http://dx.doi.org/10.2307/2500440.
Full text
28
Mokrushyna, Halyna. "Is the classic diaspora transnational and hybrid? The case of the Ukrainian Canadian Congress." Nations and Nationalism 19, no. 4 (September 20, 2013): 799–818. http://dx.doi.org/10.1111/nana.12032.
Full text
29
Shevelov, George Y. "Ukrainian Literature in English: Articles in Journals and Collections, 1840-1965. Comp. Marta Tarnawsky. Edmonton: Canadian Institute of Ukrainian Studies Press, 1992. xii, 176. Indexes. Paper." Slavic Review 54, no. 1 (1995): 167. http://dx.doi.org/10.2307/2501154.
Full text
30
Sysyn, Frank E. "The Ukrainian National Movement in Galicia: 1815-1849. By Jan Kozik. Edited and with an introduction by Lawrence D. Orton. Translated from the Polish by Andrew Gorski and Lawrence D. Orton. The Canadian Library in Ukrainian Studies. Edmonton: Canadian Institute of Ukrainian Studies, University of Alberta, 1986. xx, 498 pp. Map." Slavic Review 47, no. 4 (1988): 757–59. http://dx.doi.org/10.2307/2498219.
Full text
31
Nikolenko, R. V. "Historical retrospective in the composer creativity by M.-A. Hamelin." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 238–52. http://dx.doi.org/10.34064/khnum1-56.15.
Full textAbstract:
Introduction. Art would always be a great mirror that reflects various historical epochs with their unique philosophical ideals, aesthetic and ethical principles, and the twenty-first century is no exception in this sense. At the same time, a specific feature of contemporary art is the desire to actualize the heritage of past centuries in the conceptual dialogue of cultures remote in time and space – a tendency that belongs to the basic philosophical and aesthetic characteristics of postmodernism as the dominating cultural paradigm of the XXI century. In modern musical art, the actualization of cultural heritage occurs in many ways, among which the most well-known and studied are citation, collage and stylization. All these phenomena are the subject of close attention of musicologists and cultural scientists. It is worth referring to the famous works of U.Eco, F.Jameson, V. Bibler. Of the Ukrainian musicologists who study these phenomena, let’s call D. Ruzhinskaya, O. Protopopova, O. Samoilenko. But music practice constantly generates new phenomena that also require attention. A striking example of the original use of musical material from previous eras is the compositional work of the Canadian virtuoso pianist Marc-André Hamelin. Having received recognition as an outstanding performer, he also created his own recognizable writing style, and his opuses are of undoubted interest for the music community. The objective of this article is to consider the specifics of the postmodern tendency to actualize the cultural heritage of the past and implementation of this intention on the example of the composer creativity by M.-A.Hamelin. This research is based on structural-functional and genre-style methods. The methodological basis is the works of U. Eco, F. Jameson, V. Bibler, dedicated to the philosophical and aesthetic concepts of postmodernism and, especially, the dialogue of cultures, which reflect the problem of interaction of the old and new in modern art. Research results. The compositions by M.-A. Hamelin are presented now by a significant number of piano miniatures, the cycle of “12 Etudes in all minor keys”, by variation cycles and transcriptions. Most of them involve someone else’s thematic material in one way or another. It can be presented as quotations, which, however, are not entered in the original form, but undergo certain changes at the first appearance. One of the ways of the composer’s interpretation of thematicism is to transfer melodies to a new multi-voiced context, which is so different from the original one that a theme is no longer just a new re-harmonization. For example, M.-A. Hamelin’s Toccata is based on the melody of the famous Renaissance song “L’homme armé” (“The Armed Man”). This work was commissioned as a mandatory piece for the Fifteenth international Van Cliburn piano competition. Using a song theme in the Toccata genre, M.-A. Hamelin accelerates movement not only due to the tempo (molto movimentato, ansioso (ma non senza nobiltà)), but also the relentless movement of the sixteen in the accompaniment, creating the effect of continuous development. The important point in the composer interpretation of the source material is also the “register” transformations of the melody transferring in different octaves. The bright example of reinterpretation of the thematic material of the Renaissance is the variation cycle “Pavane Variée” on the theme “Pavane Belle qui tiens ma vie” borrowed from Tuano Arbo’s treatise “Orchesografia”. This work, like the previous one, was written to order: for the ARD International music competition 2014. When presenting the Pavane theme, the composer almost exactly preserves its original appearance, but makes small changes in the harmony that “modernize” the theme. Further development of the theme is based on a significant transformation of its textural and figurative content. The variation cycle as a whole is characterized by a modified harmonic component, thanks to which the Pavane finds itself in atypical conditions, and as if it begins to “talk” in the musical language of impressionism and jazz, as well as gets away on a rather significant distance from the original theme. For example, in variations No. 1, 2, 4, 5, 7, 8, 9, only the general outline of the topic is guessed. In addition to the actual themes of past eras, M.-A. Hamelin sometimes uses old musical forms, filling them with new content. Such example is Ländler III from the collection of plays, which is called “Con intimissimo sentimento”. In this work, the artist imitates the form of an old French couplet Rondó, the peculiarity of which is the thematic similarity between the refrain and the episodes and the immutability of the refrain itself. Precisely following this specific form, M.-A. Hamelin creates a vivid theme for the refrain and develops it in three episodes. At the same time, by its harmonious language, the play approaches to the style of M. Ravel, and is interpreted in an impressionistic character. Conclusions. Referring to the musical heritage of past eras, M.-A. Hamelin covers various historical periods of time. The composer does not limit himself to the use of musical themes, but also refers to early musical forms. Considering the ways of processing themes in the work of M.-A. Hamelin, it is worth highlighting the desire to exhibit the material in a modified form, while the degree of change can be quite different: from a slight modification of the melody and harmony, to a fairly significant change in the harmony and texture of the theme. However, in both cases, the themes are recognizable, and their form is preserved. It is also noteworthy that the Renaissance themes chosen by the author are moved to an atypical virtuoso context, since they are included in the works written to order for music competitions, however, this interpretation gives more freedom for its disclosure in various aspects. When using old forms, M.-A. Hamelin fills them with a new harmonious meaning and combines the various genre elements (such as the features of Landler and Rondó). Through the interaction of forms, genres and harmonic means belonging to different epochs, M.-A. Hamelin’s works possess the effect of a cultural polylogue, which makes it possible to consider retrospection an important feature of his compositional thinking.
32
Struk, Danylo H. "Modernists, Marxists and the Nation: The Ukrainian Literary Discussion of the 1920s. By Myroslav Shkandrij. Edmonton: Canadian Institute of Ukrainian Studies Press, 1992. xii, 265 pp. Index. Hard bound." Slavic Review 54, no. 2 (1995): 514–16. http://dx.doi.org/10.2307/2501695.
Full text
33
Wood, Elizabeth A. "Feminists Despite Themselves: Women in Ukrainian Community Life, 1884-1939. By Martha Bohachevsky-Chomiak. Edmonton: Canadian Institute of Ukrainian Studies, University of Alberta, 1988. xxv, 460 pp. Plates. Cloth." Slavic Review 49, no. 3 (1990): 477–78. http://dx.doi.org/10.2307/2500020.
Full text
34
Himka, John-Paul. "The Ukrainian Greek Catholic Church and the Soviet State (1939-1950). By Bohdan Rostyslav Bociurkiw. Edmonton: Canadian Institute of Ukrainian Studies Press, 1996. xvi, 310pp. Index. Plates. Hard bound." Slavic Review 56, no. 1 (1997): 136–38. http://dx.doi.org/10.2307/2500669.
Full text
35
Chomitzky, Katya. "Pandemic, but Make It Fashion: Ukrainian Embroidered PPE in the Time of COVID-19." FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 24 (July 16, 2021): 27–50. http://dx.doi.org/10.17161/folklorica.v24i.15689.
Full textAbstract:
Embroidered pandemic wear has become one of the newest cultural fashion trends to emerge in Ukraine and within its Canadian diaspora. This article explores the ways in which embroidery as a traditional form of culture retains meaning within modern contexts, while also serving as a vehicle for experimenting with atypical applications of cultural symbols and representations. Throughout the COVID-19 pandemic, cloth masks have been recommended by public health officials, including the World Health Organization, as a preventative measure to limit the spread of the virus. On the basis of digital fieldwork, I discuss the meanings and inspirations behind these embroidered masks, while conducting a material culture analysis of the objects themselves. I argue that, through a subversion of their common purpose— to hide one’s identity— masks have been used in the pandemic as an open/performative display of culture. I contend that this display acts as a means to promote tradition through ephemera and assert cultural importance. This, coupled with the personal/private use of embroidery as a protective talisman, has fueled a trend of embroidered personal protective equipment in popular culture. In this article, I examine the purpose, use, and form of these masks in order to bring light to the ways in which cultural traditions and objects act (and developed prevalence) as a form of pandemic response.
36
Stites, Richard. "The Cultural Renaissance in Ukraine: Polemical Pamphlets, 1925- 1926. By My kola Khvylovy. Edited and translated with an introduction by Myroslav Shkandrij. The Canadian Library in Ukrainian Studies. Edmonton: Canadian Institute of Ukrainian Studies, University of Alberta, 1986. xi, 266 pp. Cloth." Slavic Review 46, no. 2 (1987): 337–38. http://dx.doi.org/10.2307/2498947.
Full text
37
Amato, Anthony J. "Galician Villagers and the Ukrainian National Movement in the Nineteenth Century. By John-Paul Himka. Edmonton: Canadian Institute of Ukrainian Studies, 1988. xix, 358 pp. Appendices. Illustrations. Maps. Tables. Bibliography. Index. Hard bound." Slavic Review 52, no. 4 (1993): 891–92. http://dx.doi.org/10.2307/2499690.
Full text
38
Shtohryn, Dmytro M., and Robert H. Burger. "Encyclopedia of Ukraine, Volume 1: A-F. Edited by Volodymyr Kubijovyč et al. Toronto, Buffalo, and London: University of Toronto Press for the Shevchenko Scientific Society (Sarcelles, France), the Canadian Institute of Ukrainian Studies, and the Canadian Foundation for Ukrainian Studies, 1984. xv, 952 pp. Figures. Illustrations. Maps. Photographs. Tables. Plates. $115.00, cloth. - Encyclopedia of Ukraine: Map & Gazetteer. Edited by Volodymyr Kubijovyč et al. Toronto, Buffalo, and London: University of Toronto Press for the Shevchenko Scientific Society (Sarcelles, France), the Canadian Institute of Ukrainian Studies, and the Canadian Foundation for Ukrainian Studies, 1984. 30 pp. Maps. Tables. Cloth." Slavic Review 45, no. 1 (1986): 106–8. http://dx.doi.org/10.2307/2497926.
Full text
39
Farmer, Kenneth C. "Politics and Society in Soviet Ukraine, 1953–1980. By Borys Lewytzkyj. Edmonton: Canadian Institute of Ukrainian Studies, 1984. x, 219 pp. Tables. Paper." Slavic Review 44, no. 3 (1985): 559. http://dx.doi.org/10.2307/2498042.
Full text
40
Klier, John D. "From Nationalism to Universalism: Vladimir (Ze’ev) Jabotinsky and the Ukrainian Question. By Israel Kleiner Foreword, Wolf Moskovich. Edmonton: Canadian Institute of Ukrainian Studies Press, 2000. xvi, 199 pp. Appendix. Notes. Bibliography. Index. $34.95, hard bound. $19.95, paper." Slavic Review 60, no. 4 (2001): 846–47. http://dx.doi.org/10.2307/2697516.
Full text
41
Naydan, Michael M. "Poza traditsiï: Antolohiia ukraïns'koï modernoï poeziï v diiaspori. Comp. Bohdan Boychuk. Gen. ed. Irena R. Makaryk. Toronto: Canadian Institute of Ukrainian Studies Press and Ukrainian Studies and Research Endowments, University of Ottawa, 1993. 473 pp. $24.95, hard bound." Slavic Review 54, no. 4 (1995): 1125–26. http://dx.doi.org/10.2307/2501485.
Full text
42
Liber, George O. "Post-Communist Ukraine. By Bohdan Harasymiw. Edmonton: Canadian Institute of Ukrainian Studies Press, 2002. xiv, 469 pp. Notes. Bibliography. Index. Tables. $49.99, hard bound. $24.99, paper." Slavic Review 63, no. 2 (2004): 396–97. http://dx.doi.org/10.2307/3185750.
Full text
43
Luciuk, Lubomyr. "Litopys ukrains'koho zhyttia v Kanadi. The Annals of Ukrainian Life in Canada. By Ol'ha Woycenko. Vol. 8, Striving For A New Canada: Official Bilingualism and Multiculturalism 1970-1979. Edmonton: Canadian Institute of Ukrainian Studies Press, University of Alberta, 1992. 594 pages. Index. Hard bound." Slavic Review 54, no. 2 (1995): 502. http://dx.doi.org/10.2307/2501686.
Full text
44
Freeze, Gregory L. "Archives and Manuscript Repositories in the USSR: Ukraine and Moldavia, Book 1, General Bibliography and Institutional Directory. By Patricia Kennedy Grimsted. Harvard Series in Ukrainian Studies and the Canadian Library of Ukrainian Studies. Princeton, N.J.: Princeton University Press, 1988. liii, 1107 pp. Maps. Tables. $125.00, cloth." Slavic Review 50, no. 1 (1991): 215. http://dx.doi.org/10.2307/2500647.
Full text
45
Ciapalo, Roman T. "Hryhorij Savyč Skovoroda: An Anthology of Critical Articles. Ed. Richard H. Marshall, Jr. and Thomas E. Bird. Edmonton: Canadian Institute of Ukrainian Studies Press, 1994. xv, 319 pp. Index. Hard bound." Slavic Review 55, no. 2 (1996): 476–77. http://dx.doi.org/10.2307/2501957.
Full text
46
Hamm, Michael F. "Letters from Kiev. By Solomea Pavlychko. Trans. Myrna Kostash. New York: St. Martin’s Press in assoc. with the Canadian Institute of Ukrainian Studies, University of Alberta, 1992. viii, 177 pp. Photographs. $35.00, hard bound." Slavic Review 53, no. 1 (1994): 286. http://dx.doi.org/10.2307/2500385.
Full text
47
Protsiv, Mykola. "ZINOVY STOKALKO (BEREZHAN). UNKNOWN… UNDISCOVERED… UNEXPLORED…" Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 240–45. http://dx.doi.org/10.25264/2409-6806-2020-31-240-245.
Full textAbstract:
The article considers the activities of the famous bandura player, modernist poet, student activist and doctor, doctor of medicine, and student of Berezhany gymnasium – Zinoviy Shtokalko (Berezhan). Who is he? His father’s genes to some extent determined the life path of his son Zinoviy. In my subjective opinion, I defined them as follows: Doctor. Bandurist! Writer… Artist? .. Punctuation rather shows my understanding of Zinoviy Shtokalko as of today. Attention is focused on his stay in Germany (study at the Ludwig-Maximilian University in Munich; public activities in the field of international student movement led by the Ukrainian student community, the Foreign Students Associations; edition of weekly issue “Students news” & its publications, poetic creativity and concert activity of a bandura player) and the USA (professional activity as a doctor; concert and artistic activity of a bandura player, preservation and popularization of bandura art; literary work). Based on original documents from the funds of Berezhany Museum of Local Lore and private collections, some aspects of the biography have been clarified (period of study at the Lviv Medical Institute, arrival in the USA, performances as a bandura player in the USA). According to the research results, the catalog “Zinoviy Shtokalko (Berezhan) and his family in the Berezhany Museum of Local Lore and in private collections” was published. It includes 358 original photos, letters, books, documents and objects. All of that covers quite a wide time range (1891–2020). “Geographical” coverage is the following: Berezhany, Brody, Kalne, Lviv, Sokal, Munich, Canada, Germany, USA… Research continues: unrecognized photos, negatives and photo albums, unread letters from the family, manuscripts of Zinoviy’s father – priest Pavel Shtokalko, and documents in the archives of various institutions are awaiting processing.
48
Pidporinova, K. V. "Laughter as a direction of Marc-André Hamelin’s composer searches." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 158–80. http://dx.doi.org/10.34064/khnum2-15.08.
Full textAbstract:
Background. Contemporary musical art is an open stage for collision and coexistence of various artistic ideas, landmarks, styles, etc. The work of the recognized Canadian pianist-composer Marc-André Hamelin (born in 1961) raises a particular interest. The fact that the peculiarities of the musician’s performing and composing style are insuffi ciently covered in Ukrainian musicology determines the research rationale. It is also caused by the need to identify the specifi c features of the author’s inheritance, ensuring its consistency with the present time, where the laughter phenomenon becomes an important component of the picture of life. Objectives of the study are the comprehension of Marc-André Hamelin’s composer searches in the aspect of laughing cultural tradition and the defi nition of the author’s proposed ways of its embodiment in music. Methods. The research is based on the principles of complex approach, which involves using the biographical, the systematic, the genre and style, the structural and functional, and the comparative methods, etc. Results. M.-A. Hamelin appears to be a universal personality. He implements his creative intentions in various performing incarnations – as a soloist-pianist, a distinct interpreter and recognized virtuoso and intellectual; a performer who actively collaborates with the orchestra; a piano duo participant; a chamber ensemble participant and a studio musician. The repertoire palette he chose includes world-famous works, opuses of transcendental complexity, rarely performed music, and his own music works. His choosing some of the original works outlines the sphere of laughter as he searches new performing techniques, which has an infl uence on him as a composer. The original style of M.-A. Hamelin aims to create a special “rebus” fi eld, where the multiplicity of artistic perception is related to the degree of immersion into a given playing situation. The piano cycle “12 Études in all minor keys” was intended to be hommage to the samename work by Charles-Valentin Alkan. The iconic ceremoniousness of the title forms a special fi eld of culture, which creates a laughter background. Most of the cycle items correspond to the creativity of a particular artist whose musical image appears through the original style of writing. The synthesizing type of composer’s thinking contributes to the combining the music and the colorifi c etude, that is, the virtuoso music piece and the exercise at the same time, and a graphic sketch-drawing, and to the creation of a musical portrait “gallery” (F. Chopin, N. Paganini, F. Liszt, Ch. Alcan, D. Scarlatti , P. Tchaikovsky, J. Rossini, V. Goethe and the author himself). Using masks, theatrical techniques, bright characters is manifested at all levels and serve as markers of a carnival. The existing playing mode ensures the importance and essentiality of laughter. M.-A. Hamelin refers to the established palette of the piano techniques and formulas, while demonstrating new algorithms of interpreting the existing traditions. A musical rebus is the leading idea. To embody this idea, it is required to use not only artistic ingenuity, but also the competition elements. These are “Triple” etudes Nr. 1 (after Chopin) and Nr. 4 (after Alkan), where counterpoint techniques are enriched by the principle of combination. The other side of “rebusness” is demonstrated in the Etude Nr. 8, where the plot of “The Elf King” ballad by Goethe is very accurately reproduced through the piano means of expressiveness. Competitive ingenuity presides in the Etude Nr. 7 for the left hand (“The Lullaby” by P. Tchaikovsky) and Nr. 3 – an alternative transcription of “La campanella” by N. Paganini, which turns into an evil joke compared to Liszt’s interpretation. This is another side of laughter, a dark one, an enhancement of grotesque imagery. Etude Nr. 5, “Toccata grottesca”, looks similarly. Here, the grotesque images are represented by transcendental pianism, unceasing “drive”, change of metric pulsation and rhythmic groups, and wide dynamic amplitude. The lookalike expressive complex is also used in another music piece – toccata “L’Homme armé”. Another variant of laugher is the creation of a musical “shapeshifter” – re-interpretation of an original source to the point where it is hardly recognized. For example, Etude Nr. 9 (after Rossini) and Nr. 10 (after Chopin), where the principle of transformation is prevailing. The presence of a highly-intellectual play allows us to draw a parallel with baroque inventory. In the latest etudes of the cycle, M.-A. Hamelin uses such genres as “Minuetto” (Nr. 11) and “Prelude and Fugue” (Nr. 12). Therefore, using a certain genre model, the composer places it in different context conditions, creating a special laughter-playing space, where all the main sources of comic elements are involved: a parody, implemented through the stylization or the style dialogue-collision; daily mode of like, which is refl ected in a festive-carnival worldview, and fantasy, which determines the composer’s inventiveness. M.-A. Hamelin chose the same creative strategy when composing “Variations on the theme of Paganini” for piano solo. A playful piece “Waltz-Minute” is another example of the laughter potency. It resembles either a relative transcription of the famous work by F. Chopin, or a music sketch, or a fi xed improvisation. In the reprise, the graceful and airy waltz turns into a friendly caricature through using the dissonant seconds, the change of touche and an excellent artistic presentation. This creates the effect of distance in time, in epochal or individual style, even in the own “Me”. Another area of the laughter direction employment is the actualization of the playing sound image of the instrument. These are music pieces designed for a player piano. It is signifi cant that the composer tends to the theme of circus, which echoes with carnival, stunts, and fun. Conclusions. Being a universal personality, the artist determines the predominance of combinatorics as a guiding principle of author’s thinking. The key to understanding the composer’s style is the laughter tradition. The main artistic ideas are: portrait, character, mask, “rebus”, competition, creation of “shapeshifting” music pieces, “duality”. Talking about the level of musical stylistics, these features appear through the usage of a quoted material, stylization, grotesque, caricature and pamphlet elements. They are also expressed through the transformation of the original themes, re-interpretation, using multiple rhythmic layers, redesign of modes and counterpoint ingenuity.
49
Shevchuk, Oleksandr, Volodymyr Maryniv, Yuliia Mekh, Oleksandra Shovkoplias, and Oksana Saichuk. "Aspects of legal regulation of the provision of medical services." Revista Amazonia Investiga 9, no. 27 (March 21, 2020): 357–66. http://dx.doi.org/10.34069/ai/2020.27.03.39.
Full textAbstract:
The article focuses on the need to respect human rights in the provision of medical services in Ukraine. It is strictly unacceptable to restrict citizens of Ukraine in receiving free medical services, since such a right is provided for by Art. 49 of the Constitution of Ukraine. It is proposed to consider that a medical service includes all types of medical care and is a special activity in relation to human health. The concept and main signs of medical services are revealed, it is established that the state, local governments, legal entities and individuals, including the patient, can be the customer of medical services. Ukrainian legislation governing the provision of medical services does not meet international standards. The positive experience of the EU countries (France, Denmark, Slovakia) and the world (Australia, Canada) shows that access to medical services is provided within the framework of medical insurance, in most cases free of charge, and is controlled by authorized state organizations. The purpose of the article is to determine the content, signs of medical services, classification criteria for their subjects, disclose the features of their legal regulation, clarify the problems of legalization of medical services and improve legislation taking into account foreign experience. The research methodology is based on a systematic approach, which is determined by the specifics of the topic of the article, and is also associated with the use of general and special research methods. The comparative legal method and the method of legal analysis were used in the study of legislative rules governing the provision of medical services. Using the method of legal analysis, groups of subjects of medical legal relations in the field of medical services are determined and their powers are analyzed. The formal logical method was used to differentiate the criteria for distinguishing between the legal structures “medical care” and “medical service”. The results of the study contributed to the identification of certain legal problems that arise when citizens receive medical services and require immediate resolution. It is also advisable to introduce compulsory state health insurance.
50
Zhang, Guangqian. "Composer Zhang Zhao: a look at the development of modern Chinese piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 85–100. http://dx.doi.org/10.34064/khnum1-52.06.
Full textAbstract:
Background. The article is devoted to the creative activity of the outstanding Chinese composer, pianist, teacher and public figure Zhang Zhao (born in 1964). The musical heritage of Zhang Zhao covers a wide range of genres and includes symphonic, piano music, instrumental compositions, works for Chinese traditional instruments, vocal, chamber music, ballets, music of cinema and television programs, and music for large social events. Despite his notoriety in China, the United States, Canada and many European countries, Zhang Zhao is little known in Ukraine. Thus, Ukrainian musicians to date have been deprived of the opportunity to get acquainted with his work. Since the music of Zhang Zhao sounds in many countries of the world, it resonates powerfully in a variety of areas, and in particular, research. To date, the work of the composer is actively studied by Chinese musicologists. However, among the publications, small articles devoted to a narrow range of problems predominate. Large-scale studies devoted to any area of his music have not yet been created. One of the most important topics relating to the composer’s work is the study of his views on musical art. Zhang Zhao’s vision of the further development of Chinese piano art reveals the composer’s worldview, his creative credo. This question is decisive for studying the composer’s musical heritage, defining his genre-style priorities. Objectives. The purpose of the article is to reveal the peculiarities of Zhang Zhao’s artistic worldview in order to promote the fullest possible identification of the ideas of the composer, the disclosure of the artistic concepts of his works. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Important for the disclosure of the creative worldview of the composer is the study of his statements on the ways of further development of musical art. His attitude and vision of his role in this process, the Chinese musician has repeatedly stated in an interview with domestic journalists. According to Zhang Zhao, the main issue that should concern modern composers is the place of the musical art of their country in world culture. Zhang Zhao found in the face of the pianist virtuoso his Yundi Li adherent. The collaboration between the composer and the performer began in 2011. Zhang Zhao took part in a large-scale theatrical performance at the Third Congress of BRICS leaders in Sanya. Then Yundi Li performed on the stage of the concert hall of Zhang Zhao’s play “In the most remote place” and “Chinese piano dream”. Zhang Zhao is committed to the concept of inheritance and the promotion of a culture of national music. The Chinese compare Zhang Zhao with the outstanding leader of the Polish people Chopin, who dedicated his life to the transformation in piano music of various genres. Piano works by Zhang Zhao adorned the world culture with the introduction of Chinese national motives into it. The composer introduced listeners to the air melodic lines of original works and filled his works with a complex texture, making them attractive for acquaintance with the rich traditional culture of China. Developing national piano art, Zhang Zhao inscribes the Chinese chapter in the world culture with his inherent passion and love for life. In addition to studying composition, performing and teaching, Zhang Zhao, is active in public activities, being a music professor at the Central University for Nationalities. He pays great attention to the development of the artistic taste of students, shares his own musical ideas and aesthetic principles. The composer made great efforts and energy to create the “Chinese piano dream”. To popularize this work, they, together with Yundi Li and the Shanghai People’s Orchestra conducted nationwide tours, visited Taiwan, and outlined other projects. Despite the fact that Professor Zhang Zhao has a very tight work schedule, he nevertheless finds time to talk with his students about the place of national music and its prospects. In the “Chinese Piano Dream”, the composer sought to reflect the essence of the musical culture of the Chinese nation. He embodied the dreams of the older generation of pianist composers and performers about the perfection of the Chinese piano scene, set a high goal – to show the artistic value of the Chinese piano piece on the world stage, took on the mission to inherit the national culture and pass it on to the next generations. In the works of Zhang Zhao, the interests of the Chinese and global world level intersect. This is due to the amazing richness of the composer’s creative worldview, which is open to everything significant in life and art. On this basis, the composer came to important conclusions about the role of contemporary classical musical art in people’s lives in China and in the world. Conclusions. For more than twenty years, Zhang Zhao is in the creative search for his musical style. He carefully investigated the development of ethnic music, which enabled him to create his piano works, which are distinguished by a unique and mature language.