Relevant bibliographies by topics / Ukrainian poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
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Academic literature on the topic 'Ukrainian poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Ukrainian poetry"

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Choma-Suwała, Anna. "Poezja Józefa Łobodowskiego w tłumaczeniach i krytyce Światosława Hordyńskiego." Acta Neophilologica 1, no. XXIV (May 15, 2022): 123–36. http://dx.doi.org/10.31648/an.7433.

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This paper attempts to interpret and evaluate Ukrainian translations of Józef Łobodowski’s poetry. Already in the 1930s, he was known to the Ukrainian reader primarily as a translator of Ukrainian poetry. His original work was also particularly appreciated by the Ukrainian émigré, mainly due to its pro-Ukrainian character. One of the precursors of the translations of Łobodowski’s poetry in the Ukraine was Sviatoslav Hordynsky. In the early 1950s, he translated, inter alia, the following works: Praise of Ukraine, Horse of Ataman Łobody and October Elegy. Hordyński was also a critic of Łobodowski’s works. His critical studies: Łobodowski’s poetry and its Ukrainian motifs and Józef Łobodowski and his poetry were published in Ukrainian periodicals. These essays discuss problems concerning Polish and Ukrainian poetry from the perspective of a contemporary observer, expert, and critic of Łobodowski’s work.
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Naumenko, Nataliia. "The Culture of Wine in Ukrainian Baroque Poetry." Culturology Ideas, no. 14 (2'2018) (2018): 123–30. http://dx.doi.org/10.37627/2311-9489-14-2018-2.123-130.

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The article represents the results of the culturological analysis of Ukrainian baroque poetry with ‘wine’ for the prominent image. Just as the conceit of wine was never researched profoundly by culturologists and linguists, this article is an attempt to conceptualize the imagery of wine and culture of its consumption in Ukrainian literary criticism and cultural studies. Upon researching Ukrainian baroque poetry, the author of this article revealed some new connotations of the image of wine. First of them is a symbol of reproach declared to the authorities of either sacral or secular power (the conceptual pattern of it are the writings by Ukrainian polemist Ivan Vyshensky). However, even the strongest judgements sounded hopefully thanks to stylization in the mood of Christian liturgy. Secondly, wine was a reflection of joy of life, love, or friendship in Epicurean style. Thirdly, it was set up as a philosophical image of the human self as the most precious thing in the world. This idea was also supported staunchly by H. Skovoroda. Henceforth, wine in baroque poetry is not only an image of something material within the framework of the everyday life and rituals; it is a factor of reconciliation of Christian and Pantheistic worldview in the Ukrainians. Further researches of ‘wine’ conceit in Ukrainian poetry (and Ukrainian culture as a whole) would allow confirming anew the vision of a human-within-the-world as the world-within-a-human.
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Nakhlik, Yevhen. "The Poetry of Ivan Franko." Trimarium 1, no. 1 (May 31, 2023): 282–311. http://dx.doi.org/10.55159/tri.2023.0101.12.

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This paper is based on the political, philosophical, and journalistic poetry of the Ukrainian writer, thinker, and public and political figure Ivan Franko (1856–1916), on top of the evolution of his views on the problems of national unity of eastern and western Ukrainians, the achievement of Ukrainian statehood, and the ways and means of the liberation struggle is highlighted. The poet and thinker expressed these views in poems of various genres (sonnet, epistle, manifesto, duma, dedication – posviata, apostrophe, “fairy tale,” obituary, pomennyk, “prologue,” “march,” etc.) and lyrical epics. In Franko’s early poetry, the future social and national liberation of Ukraine is linked to a universal and socialist perspectives, while the Ukrainian people play a messianic role in liberating peoples from the yoke of Russian tsarism. In the mature Franko, the messianic emphasis changes from universal to national. It is noteworthy that in Franko’s poetry of 1875–1905 the image of the national (native/our/our own) home appears regularly. At the beginning of the twentieth century, his poetry shows an awakening neo-romantic current. Franko’s state-building poetic discourse is characterized by prophesying freedom, relentless therapeutic exposure and scourging of the inert slave mentality of the oppressed nation. In his state-building pathos, Franko refers to the historical duchies, resorts to poetic allegory, and originally processes biblical (Old Testament) plots, images, and motifs, actualizing them and projecting them onto his contemporary Ukraine; he weighs the priorities between humanism and militant nationalism, and reflects on the rationale of numerous Ukrainian sacrifices in the bloody liberation struggle. Reflecting on the problem of power in history, the poet came to the conclusion that national will is measured by the degree of struggle to gain it (and the degree of its defense).
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BELIMOVA, Tetiana. "MEMORY IN MODERN REFUGEE POETRY: ENGLISH AND UKRAINIAN CONTEXTS." Astraea 4, no. 1 (2023): 10–33. http://dx.doi.org/10.34142/astraea.2023.4.1.01.

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The concept of “refugee poetry” or “poetry of migrants” is quite new for both English and Ukrainian literature. However, in the modern world, the phenomenon of migration, or even forced migration, is well known and researched. It is primarily about the social, political and economic dimensions of the movement of people from one continent / region / country to another. Most often, the countries that actively accepted migrants in the 19th, 20thand 21stcentury were the USA, Canada, Australia, partly Great Britain, in fact the entire English-speaking world (we are talking about different periods and factors that do not actually constitute a separate topic of research in the present study). At the same time, there was a big layer of art, in particular poetry, which reflected the difficult topic of people displacement and further integration into new societies. For some time refugee poetry (here in after the author of the article will mainly use this term), as well as the archive of memories recorded in it, were on the margins and were not the object of a deep scientific analysis in foreign literary studies. As for Ukrainian refugee poetry, it appeared in its new dimension after an almost century-long break (we are talking about poetic texts at the end of the 19thcentury and the first half of the 20th century, which coincide with the first and second waves of migration of Ukrainians) and has also been very little researched, except for several scientific articles. The object of literary analysis of the article is the English refugee poems in comparison with the Ukrainian poetic texts that appeared after 24 February 2022 upon the full-scale invasion of the Russian occupying forces in the territory of the sovereign state Ukraine when millions of Ukrainians were forced to leave their homes and become seekers of temporary shelters. Therefore, the main goal of the article is to outline the main themes and arrays of refugee English and Ukrainian poetry in a comparative aspect, as well as to visualize the archive that correlates with the national memory of a particular people and/or the state it represents. Such a comparative analysis of two poetic dimensions has not yet been the object of literary studies in Ukraine.
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Bahan, M. "Connotative Space of Modern Ukrainian Poetry for ChildrenConnotative Space of Modern Ukrainian Poetry for Children." Mìžnarodnij fìlologìčnij časopis 12, no. 1 (December 22, 2020): 22–29. http://dx.doi.org/10.31548/philolog2021.01.022.

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Bohdanova, M. "Memory of the historical past in resistance poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 16, no. 29 (2023): 5–14. http://dx.doi.org/10.34079/2226-3055-2023-16-29-5-14.

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The article examines the memory of the historical past in the poetry of the Resistance. This research contributes to debunking the myths created by Soviet propaganda, restoring historical justice, and overcoming national complexes and traumas. In this regard, the process of forming a culture of historical memory during the years of independence and the contribution of the Ukrainian Institute of National Memory (established on 31 May 2006) have been analysed. Literature of the unconquered, in particular: Marko Boieslav, Marta Hai, Petro Volosh- Vasylenko - Petro Hetmants, Myroslav Kushnir, Yuriy Lypa, Oleh Olzhych, Olena Teliha, etc., diaries and memoirs of the participants of the events and their families are an inexhaustible source for clarifying the historical truth and restoring the memory of the heroic struggle of the Ukrainian people during the Second World War. The article shows that in Ukrainian literary criticism, the literature of the Ukrainian Insurgent Army participants has several definitions: "poetry of resistance", "Ukrainian poetry of resistance", and "poetry of the unconquered". The article analyses the peculiarity of the interpretation of the past based on the works of Petro Volosh-Vasylenko - Petro Hetmants (My Insurgent Marches), Marko Boieslav (Disobedient Words), and Myroslav Kushnir (Words from the Book of Battle). Historical memory in the poetry of the insurgents is represented by image symbols of the times of Kyiv Rus and the Cossack era. The authors also include the heroic struggle of the Ukrainian Insurgent Army under the leadership of the Organisation of Ukrainian Nationalists in this historical framework. The Ukrainian struggle is also expressed through symbolic traumas, losses that sharpen the collective experience of Ukrainians, help establish the logic of the national liberation struggle and motivate the lyrical hero to armed resistance, which develops into a vigilante revolt for the sake of justice. National traumas are expressed through the voices of people who witnessed the Holodomor and totalitarian repressions. The symbolic function is performed by the image of betrayal, which we have traced at the general and personal levels. The analysis of memoir literature by first-hand participants of the events made it possible to trace the spiritual dimensions of the UIA poets, whose key values are Christian: love for the Motherland, God, and neighbour. Betrayal of the Motherland is equal to betrayal of God. Each of the artists saw their life and social mission in serving God, the Motherland, and the Ukrainian people. That is why all the works are permeated by the motive of performing a certain "duty". The study is of literary, cultural, and historical significance, as it fills a certain gap in understanding the artistic originality of the texts at the level of analysing external and internal factors of influence; it contributes to the disclosure of falsified facts of the past about the insurgency. The study proves that the poetry of the Resistance represents the nation's ability to the collective resistance and refutes the image of a victim nation created by Soviet propaganda. Keywords: historical memory, image, symbol, Resistance literature, Ukrainian Insurgent Army, Organisation of Ukrainian Nationalists, traumatic memory, totalitarianism.
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Бахтіна, Анна. "La universalidad fonética de la poeísa de Taras Shevchenko en la traducción Espaňola: tempo, ritmo, métrica." Літератури світу: поетика, ментальність і духовність 11 (September 19, 2018): 18–27. http://dx.doi.org/10.31812/world_lit.v11i0.2027.

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The article deals with the phonetic system of the Ukrainian and Spanish languages on the example of Spanish translations of poetry “Kobzar” by Taras Shevchenko. This paper investigates the strategies of phonetic and phonemic recombinations of translation, that contribute to the Ukrainian identity reproduction in Spanish. The research states that the reflection of Ukrainian euphony, in particular the language of Taras Shevchenko, excites due to phonetic, grammatical, syntactic and semantic reconstruction of language units. It also determines that the ethnic paradigm encoded into the language worldview of Ukrainians is explicated in Spanish by preserving ethnic symbols in their phonetic and / or lexical and semantic interpretation. Moreover, it states that the reproduction of rhythm and melody in the poetry of T. Shevchenko is fragmentary in Spanish translation. It is possible due to the structural elasticity and the euphony of the Spanish language. The other reason is connected with synthetic origin of Ukrainian and analytical nature of Spanish. It should be mentioned that even though the special selection of the proper vocabulary, which is not similar to syllabic system of the original poems, allows creating close mimic sounding of rhythms in Shevchenko poetry. In fact, the impossible reproduction is observed at the level of letter combination, since the letters in each language of the world have their own emotional and semantic characteristics, dependent on mentality. During the analysis of the syllabic and tone system of original verse writing in Taras Shevchenko poetry and its Spanish translation, a phonetic universality of the writer’s works is discovered, which is characterized by a tonal manifestation.
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Prushkovska, Iryna. "THE MATRIX OF A POETIC WORK: PROBLEMS OF TRANSLATION (BASED ON THE MATERIAL OF THE TURKISH TRANSLATION OF "CONTRA SPEM SPERO" BY LESYA UKRAINKA)." Grail of Science, no. 20 (October 7, 2022): 123–25. http://dx.doi.org/10.36074/grail-of-science.30.09.2022.021.

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The translation of fiction plays an important role in the knowledge of the "other". Today, the news about Ukraine comes from the entire world's mass media because of Russia's full-scale war against Ukraine, because of the pain and grief that the Ukrainian people are experiencing. But do all civilized countries know well the "other" – Ukrainians, their history, traditions, culture, or is cultural material and artistic material – poetry, prose, drama, written by Ukrainian authors well presented in the world languages? Unfortunately, it is not enough, and each new translation of Ukrainian literature into foreign languages brings one step closer to familiarity with Ukrainians, their internal culture, sense of dignity, self-sacrifice, civic position, and patriotism. The Ukrainian art includes many talented names, each of which deserves more than one study.
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Karatsuba, Myroslava. "Typological Comparisons of Folk Poetry of the Ukrainians and Southern Slavs at the Figurative-Lexical Level." Slov'ânsʹkij svìt, no. 21 (December 30, 2022): 23–38. http://dx.doi.org/10.15407/slavicworld2022.21.023.

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The focus of the study proposed below is on important issues related to the identification of the common features of folk poetry of separate southern Slavs, in particular, Serbian, Croatian and Bosnian, and Ukrainian folk poetry, as well as individual works of art with a folklore component (for instance, Vila-Posestra by Lesya Ukrainka). It is, in particular, about the characteristic features of folk-poetic works at the level of imagery, poetics, and indicative lexical patterns. Common to folk poetry of the Southern Slavs and Ukrainians, especially when it comes to works of love or social nature, is the use of not only permanent epithets, but also indicative metaphors, comparisons and characteristic figurative expressions. In stages and separately considered are poetic tropes, separately their content and formal load, as well as functions when used in folk poetry of Ukrainians and South Slavs. Considerable attention is paid to lexical characteristics when creating the image of a beautiful girl in Ukrainian folk poetry and in folk-poetic South Slavonic samples, as well as to additional attributes of clothes and outfits of a young man and a girl in the folklore of the mentioned peoples. Figurative characteristics of animals, plants and natural phenomena (flowers, herbs, trees), as well as their functional purpose and place in the palette of folk-poetic works, characteristic lexical features of their reproduction in texts of epic and lyric songs, and folk ballads, do not remain without attention as well. The article compares dumas and songs and ballads about the escape from captivity, where there is also a distinct similarity in vocabulary when characterizing heroes and their actions. By collating folk poetry of Southern Slavs and Ukrainian folk songs, extraordinary factual material is revealed at the figurative-lexical level, eloquently testifying to the similarity of the texts. It is about certain clear general regularities of the overall plan, which can be traced both at the level of plot imagery in the thematic-genre dimension, and in the aspect of metaphors (constant epithets).
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Pavlenko, Yuliia. "HRYHORII SKOVORODA AS А METATEXT OF POETS-«KHATIANY»." CONTEMPORARY LITERARY STUDIES, no. 19 (March 15, 2023): 44–50. http://dx.doi.org/10.32589/2411-3883.19.2022.274045.

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The article presents a study of the motif of freedom in poetry, which was published in the magazine «Ukrainian Khata» in the intertextual field with Skovoroda’s poetry. The motif of freedom sounded loudest in Ukrainian poetry on the pages of turning points in history. Now Ukraine is experiencing the exact time. hundred years ago, at the beginning of the 20th century. Ukraine had a chance to defend its national freedom.This was reflected in the works of Ukrainian poets, which were published in the magazine «Ukrainian Khata» (1909-1914). The motif of freedom did not sound in every poem of every poet that was published on the pages of «Ukrainian Khata». The article highlights the names of those who emphasized the motif of freedom in their poems. The life and work of Skovoroda is a metatext of Ukrainian poetry of the beginning of the 20th century:Maksym Rylskyi, Pavlo Tychyna, Oleksandr Neprytskyi-Hranovskyi, M. Dontsiv, O. Nedolia, Yakiv Mamontov, Sydir Tverdokhlib, Mykola Voronnyi, Oleksandr Oles, Khrystyna Alchevska, Hryhorii Chuprynka, Mykola Filianskyi. In their poetry on the pages of the «Ukrainian Khata» magazine, motifs and metaphors explain the lyrical heroes’ desire to be free, to reject patterns, to discover inner boundless freedom in unity with nature. This brings the poets of the magazine «Ukrainian Khata» closer to Skovoroda. So The Garden of Divine Songs of Hryhory Skovoroda is a pretext for their poetry. With the help of thematic criticism, the leading themes of the poems of the authors of the beginning of the 20th century were determined: addressing the theme of free Ukraine in the historical past (M. Dontsiv, O. Nedolia, Alchevska), depicting the state of the Ukrainian spirit of freedom in the present (Mykola Voronnyi, Oleksandr Neprytskyi-Hranovskyi, Hryhorii Chuprynka, Sydir Tverdokhlib, Yakiv Mamontov), deep feelings for the fate of the people (Mykola Filianskyi), a desperate desire to achieve national freedom (Maksym Rylskyi). These themes in the poetic texts of «Ukrainian Khata» allow us to consider the named poets as heirs of Hryhoriy Savovych.
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Dissertations / Theses on the topic "Ukrainian poetry"

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Nazarenko, Tatiana. "Contemporary visual poetry in Russian and Ukrainian, a critical study." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0005/NQ39572.pdf.

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Romanets, Maryna. "Between Trompe-l'oeil mirrors, contemporary Irish and Ukrainian women's poetry in post-colonial perspective." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/nq23963.pdf.

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Achilli, A. "DIALOGO E SPERIMENTAZIONE: LA LIRICA DI VASYL' STUS." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/257953.

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My dissertation explores the poetry of Vasyl' Stus (1938-1985), a major Ukrainian writer and intellectual of the second half of the 20th century. This work aims at presenting the evolution of Stus' poetic oeuvre from his beginnings in the late Fifties up to his mature poetry of the Seventies. Moreover, it inquires the complex intertextual network of Stus' dialogue with Ukrainian, Russian, and German literature. The first chapter includes a brief sketch of Stus' biography, a discussion of the cultural setting of his human and artistic growth, as well as a critical survey of secondary literature on Stus' life and work. Stus' move to Kyiv at the beginning of the Sixties coincides with the final phase of the Thaw. The historical and literary specificity of the Ukrainian shistdesiatnytstvo, which promoted a fundamental and manifold renewal of Ukrainian culture, is at the core of the chapter. The history of Stus' reception shows how his complex and highly intellectual modernist poetical heritage has not been aptly inquired into by critics. The second chapter deals with Stus' literary essays and letters, with particular regard to his frequent remarks on literature. Stus' dissatisfaction with several trends in the development of Ukrainian literature clearly shows his willingness to contribute actively to its modernization. His many observations on the poetry of Rainer Maria Rilke, Boris Pasternak and other writers confirm his deep interest in their work and justify the search for intertextual links with them in his own production. The third chapter analyzes Stus' poetry, starting from his juvenilia, which include his early collections Delo №13 / BE1339 and Kruhovert', then focusing on Zymovi dereva and Veselyi cvyntar from the late Sixties, and eventually turning to his both masterpieces Chas tvorchosti / Dichtenszeit and Palimpsesty from the Seventies. The fourth chapter is dedicated to a discussion of Stus' modernist poetics in the context of the history of European and Ukrainian poetry of the 20th century. This implies a summarization of the intertextual knots identified in the previous part of the dissertation, with the aim of identifying the main features of Stus' dialogue with his preferential interlocutors, such as Rilke, Pasternak, Cvetaeva, and Shevchenko.
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Дядченко, Ганна Вікторівна, Анна Викторовна Дядченко, Hanna Viktorivna Diadchenko, Юлія Олексіївна Кліпатська, Юлия Алексеевна Клипатская, and Yuliia Oleksiivna Klipatska. "Evaluative nominations of a woman in the ukrainian poetic texts of the end of XXth − beginning of the XXIth centuries." Thesis, Sumy State University, 2019. https://essuir.sumdu.edu.ua/handle/123456789/77018.

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Lexical and semantical field "woman" turns to be one of the most active in the modern Ukrainian poetry. The aim of the work is to observe functioning of the evaluative (both positive and negative) nominations of a woman in the modern Ukrainian poetic texts. The present aim is supposed to be revealed through such tasks as analyses of the secondary nominations, syntactic forms of poetic speech as well as positive and negative nominations review. Among its most frequent implementors the images of a mother, girl, Poetry, Muse can be named. The poetic images named below create the micro paradigms of their own: mother − mummy, great mother, Blessed Virgin, Holy Mother; girl − girl, young woman, daughter, dolly, heifer, maiden, childwoman, etc. The special type of the associative and imaginative correlation is represented by the images of the Poetry, Muse, by the proper name Melpomene and by the image of the poetess.
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Дядченко, Г. В. "Семантико-стилістичне моделювання образу батька в мові сучасної української поезії." Thesis, Сумський державний університет, 2017. http://essuir.sumdu.edu.ua/handle/123456789/66097.

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Gurga, J. "Echoes of the past : Ukrainian poetic cinema and the experiential ethnographic mode." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1380194/.

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This thesis introduces the concept of the Experiential Ethnographic Mode to describe fiction film in which a particular approach is adopted during the filmmaking process, one which involves time spent on location and close collaboration with local residents. This filmmaking process forms an integral part of the filmic product, which seeks to evoke within the viewer a sense of the filmmakers’ experience of being there. The Experiential Ethnographic Mode is elaborated according to its three basic components – time, space and sound – which are fundamental to the experience of being there and, of course, to the cinematic medium. In order to explain the concept of the mode, this thesis takes as its illustrative example the school of Ukrainian poetic cinema. The Experiential Ethnographic Mode is offered as a defining characteristic of this school, and its identification enables a new interpretation of the films. These films, produced principally in the 1960s at the Dovzhenko Studio in Kyiv, are characterized by a blend of fiction and non-fiction; the use of local, non-professional actors and experimental soundtracks; and a concern with the issue of cultural heritage. The works can be connected to the traumatic events of the country’s recent past, events which transformed the relationship between the people and the land. Rather than seeing the films as oriented on the past and a lost way of life, however, this thesis shows how they are anchored in the present and assert the continuity of traditions. Employing Marianne Hirsch’s notion of ‘postmemory’ to describe the relationship of the second generation to the trauma of the first, it is argued that the films, through their use of the Experiential Ethnographic Mode, can be seen to engage in ‘postmemorial work’ and attempt to rebuild intergenerational connections.
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Привалова, Наталія Валентинівна, Наталия Валентиновна Привалова, and Nataliya Valentynivna Pryvalova. "Михайло Петренко - забутий поет-романтик Лебединщини." Thesis, Сумський державний університет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/33486.

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Михайло Миколайович Петренко – автор 19 поезій, надрукованих протягом 1841-1848 рр. у харківських альманахах «Сніп», «Молодик», «Южный русский сборник». При цитуванні документа, використовуйте посилання http://essuir.sumdu.edu.ua/handle/123456789/33486
Михаил Николаевич Петренко - автор 19 поэзий, напечатанных в течение 1841-1848 гг. в харьковских альманахах «Сноп», «Новолуние», «Южный русский сборник». При цитировании документа, используйте ссылку http://essuir.sumdu.edu.ua/handle/123456789/33486
Mikhailo Petrenko is the author of 19 poems published during 1841-1848 in Kharkov's anthologies "Snip" ("Sheaf"), "Molodyk" ("Young man"), "South Russian miscellany". When you are citing the document, use the following link http://essuir.sumdu.edu.ua/handle/123456789/33486
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Kowbel, Jean. "Kanadiiskyi farmer : poetry in Canada's first Ukrainian newspaper." 2005. http://hdl.handle.net/1993/7908.

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This is a study of the poetry written by Ukrainian immigrants and published in Kanadiiskyi farmer, the first Ukrainian newspaper in Canada, during the period from 1905 to 1910. It provides an analysis of representative works out of a total of 127 poems written by 63 poets. It describes the poetry under the major themes of Oppression/Exploitation in Ukraine, Nostalgia/Homesickness/Pioneer Hardships, New Life in Canada, Patriotism, Education, Need for Collective Action, Improving morals, and other everyday themes. The complete Ukrainian text of the 127 poems is included in an appendix. The thesis argues that newspaper poetry was an important tool used by the Ukrainian immigrant leadership in their quest for advancement of their people in Canada, and that newspaper poetry is a rich source of information on the Ukrainian immigrants and is therefore worthy of scholarly attention.
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Миненко, Ю. В. (Y Mynenko). "Геральдична поезія в українському літературному бароко (Heraldic poetry in Ukrainian literary baroque)." Дисертація, 2011. https://eprints.oa.edu.ua/1664/1/Mynenko.pdf.

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У дисертації детально розроблено жанр української геральдичної поезії, популярної у літературі бароко. З’ясовано ґенезу віршів на герби, постання яких було зумовлене зростанням ролі шляхетського стану в тогочасному суспільстві. Окрему увагу звернено на взаємозв’язки українських геральдичних віршів з аналогічним жанром стематів у польській літературі, звідки гербова поезія була запозичена українським письменством. Геральдична поезія розглядається як синтетичний графіко-літературний жанр, що постав на стику двох інших популярних барокових жанрів – панегірика й емблеми. Геральдичні вірші є емблематичними за формою та панегіричними за змістом. Головним художнім засобом вираження заслуг і достоїнств шляхтича стало використання багатої символіки. У роботі виділено найуживаніші геральдичні символи й систематизовано їх у тематичні групи. Значну увагу приділено значенню цих символічних знаків та їх функціонуванню у тексті (The genre of the Ukrainian heraldic poetry which was popular in literature of baroque’s epoch in detail studied in dissertation. Genesis of poems on the coat of arms the origin of which was predefined growth of role of the noble estate in the society of that time is found out. Special attention appeal on intercommunications of the Ukrainian heraldic poems with the analogical stemmat genre in Polish literature, from Polish literature genre of the coat of arms poems were adopted by the Ukrainian literature. The heraldic poetry is examined as synthetic graphic and literary genre which appeared as combination of two other popular baroque genres, they are panegyric and emblem. A heraldic poetry is an emblem by a form and eulogistic by a maintenance. The main artistic mean of expression of nobleman’s merits and dignities was the rich symbolism. The most popular heraldic symbols selected and systematized in the thematic groups in the work. The significance of these symbolic signs and its functioning in the text has considerable attention)
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Dubiel, Ksenia. "Проблема ритма в теории и поэтической практике русского и украинского футуризма." Praca doktorska, 2020. https://ruj.uj.edu.pl/xmlui/handle/item/277253.

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Books on the topic "Ukrainian poetry"

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Ilʹnyt͡sʹkyĭ, Mykola Mykolaĭovych. Poety Prazʹkoï shkoly: Sribni surmy : antolohii͡a. Kyïv: Smoloskyp, 2009.

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Onishko, Serhiĭ. Ridne slovo z diaspory: Liryka, poezii͡a, opovidanni͡a ta deshcho vybrane : knyzhka treti͡a. Kanberra: Poltavsʹka khata, 2002.

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Hnati͡uk, V. M. Etnografichni materii͡aly z Uhorsʹkoï Rusy. Novy Sad: Ruske Slovo, 1985.

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M, Moshak I︠U︡, Tomchaniĭ M. M, and Baleha I︠U︡ I, eds. I︠A︡vorova sopilka: Tvorchistʹ narodnykh poetiv. Uz︠h︡horod: "Karpaty", 1991.

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Kalynet︠s︡ʹ, Ihor. Pro dekoho, pro deshcho. Lʹviv: Drukarsʹki kunshty, 2007.

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Slaboshpyt͡sʹkyĭ, Mykhaĭlo. 25 poetiv ukraïnsʹkoï diaspory. Kyïv: Z︠H︡urnal "Kyïv", 2006.

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Dubchak, Olʹha. #I︠A︡k zdrasti: Antolohii︠a︡. Kyïv: TaTySho! Vydavnyt︠s︡tvo, 2018.

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Nazarenko, Tatiana. Poezohrafia: Contemporary visual poetry in English and Ukrainian. Kyiv: Rodovid, 2005.

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Fesi︠u︡k, Halyna. Iz polum'i︠a︡ li︠u︡bovi: Poezii︠a︡. Lʹviv: "Plaĭ", 2015.

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Potemkin, Iokhanan. Zaplutavshisʹ u homoni stolitʹ: (spovidʹ). I͡Erusalim: Sobornistʹ, 2009.

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Book chapters on the topic "Ukrainian poetry"

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Shatova, Irina. "Тема війни і миру в сучасній українській поезії." In Biblioteca di Studi Slavistici, 289–309. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0238-1.25.

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The Perception of War and Peace in Modern Ukrainian Poetry. Ukrainians are going through a very difficult, traumatic, catastrophic experience. Contemporary Ukrainian poetry about the war, for instance, is closely connected with the themes of women and childhood during the war. The tragedy of mothers who stayed with their children in Ukraine or went abroad to save their children is sometimes depicted in a folk-poetic style or acquires an interpretation close to the biblical one. There is a tragic, mythologized, figure of a warrior woman, and a widow. There are also poems that express the feelings and experiences of Ukrainians during the war, their psychological trauma and transformation, and the horrific experience of being physically present at war. Like most Ukrainians after February 24, 2022, the poets are acutely aware of the war against Ukrainian identity and language. The invasion of Ukraine has greatly accelerated the process of national self-identification, as evidenced by the poetry. Most Ukrainian authors are not interested in the war as such, but in the human being at war: at the front and in the rear. An individual person, his or her suffering, pain, trials, emotions, feelings, traumas, struggle, love, and death have become the main object of depiction. The heroes of Ukrainian contemporary poetry are ordinary people who were destined to defend their homeland and become warriors; they are also civilians in the rear and evacuated, suffering from the cruel burden of war but finding the strength to resist stress and fatigue.
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Rekut-Liberatore, Oleksandra. "Dante nella poesia ucraina del Novecento." In Biblioteca di Studi di Filologia Moderna, 97–112. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-2150-003-5.06.

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It is not a heavenly, but rather a hellish Dante, who hovers over Ukrainian poetry of the twentieth century. He supports the persecuted rather than the adepts of the Soviet regime, who are mere functionaries. Dante leads the way for the stoic Ukrainian poets, such as Mykola Zerov, Iurij Klen, Vasyl’ Stus, and Lina Kostenko, who are fully aware of the risks they take in aspiring to longed-for moral freedom.
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Achilli, Alessandro. "Rethinking Tradition, Rejecting the Past: Ukrainian Poetry of the 1910s and 1920s in the Search for Europe." In Biblioteca di Studi Slavistici, 109–22. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0238-1.10.

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In my contribution, I analyze texts by Mykola Zerov, Mychajl’ Semenko, and Mykola Chvyl’ovyj, three leading Ukrainian writers of the 1910s and 1920s, that thematize Ukrainian literature of the first years of the twentieth century, criticizing its alleged backwardness and lack of artistic quality. With their rejection of recent tradition, Zerov, Semenko, and Chvyl’ovyj were pursuing an ambitious program of cultural renewal aimed at elevating Ukrainian poetry and prose to the same level as classical and contemporary European literature. A recurrent name in their poems and pieces of criticism is that of Mykola Voronyj, a key figure of early-twentieth-century Ukrainian culture, whose controversial reception sheds light on the extent to which Zerov and Semenko were eager to radically renew Ukrainian literature after its first modernization attempts, which they deemed unsatisfying.
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Kolomiyets, Lada, and Oleksandr Kalnychenko. "Translating Russian Literature in Soviet and Post-Soviet Ukraine." In Translating Russian Literature in the Global Context, 295–320. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.17.

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This chapter describes Russian-Ukrainian literary translation from the early 1920s to the early 2020s within the so-called “common cultural space.” Close, chronological analysis of the shifting priorities across a century of Ukraine’s translation-publishing history demonstrates that Russian-Ukrainian translation has both bright and dark sides. On the one hand, literary translation provided a means by which Ukrainian writers absorbed Russian culture, its literary forms and ideas, thereby contributing to the advancement of Ukrainian literature. On the other hand, a Soviet cultural space was established that not only deliberately isolated the Communist bloc from the world cultural space, but was intended to replace it by imposing Russian language and translations from Russian. For the Soviet Republic of Ukraine (UkrSSR), the result was Russification of the Ukrainian language and the provincialization of Ukrainian literature. This study distinguishes the key stages in recent Russian-Ukrainian translation, from the earliest phase between 1917-1926 when poetry translation played a leading role, to the present-day when Ukraine’s “common information space” with Russia contracted to the point of disappearing following Russia’s annexation of Crimea in 2014 and then full-scale invasion in February 2022. Echoing the view voiced by Ukrainian author Oksana Zabuzhko that Putin’s offensive on 24 February owed much to Dostoevskyism, Ukraine’s Ministry of Education and Science passed legislation barring the inclusion of texts belonging to the Russian literary canon from foreign literature programmes in Ukrainian secondary and higher education institutions. By way of extension, translations of Russian-speaking writers from the former Soviet republics have also been curbed.
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Achilli, Alessandro. "Neomodernist trends in Russian and Ukrainian poetry of the second half of the 20th century: theoretical problems and the European context." In Biblioteca di Studi Slavistici, 95–103. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-910-2.12.

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This article considers the presence of modernist elements in poetry from the second half of the 20th century, focusing in particular on Russian and Ukrainian examples. We argue for the necessity of properly recognizing and analyzing modernist phenomena in a period (1960s-1980s) when these have often been eclipsed by a tendency in literary criticism to overstate the role of Postmodernism. We also examine differences in the Western and Soviet cultural contexts and in the roles that Neomodernist poetics played in the poetry of various authors, groups and texts.
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Nikolenko, Kateryna. "The Reception of Serhiy Zhadan in Ukraine and in the West." In Biblioteca di Studi Slavistici, 311–22. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0238-1.26.

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Serhiy Zhadan’s poetry and prose has garnered critical acclaim both in Ukraine and beyond, captivating audiences with its raw emotional intensity, vivid imagery, and a deep sense of social consciousness. His works often delve into themes of personal and collective identity, the struggles of marginalized communities, and the challenges of post-Soviet transformations. The objective of this paper is to examine how Zhadan’s literary voice is perceived both in Ukraine and in the West, and to understand the implications of his work in a transnational context. The study analyzes interviews, critical responses, and reviews of Zhadan’s works to uncover how Ukrainian, American and European readers, critics, and scholars have embraced and interpreted his writings.
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Siedina, Giovanna. "Le traduzioni ucraine della Divina Commedia nei secoli XX-XXI: Karmans’kyj/Ryl’s’kyj, Drob’jazko, Stricha." In Biblioteca di Studi di Filologia Moderna, 225–43. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-2150-003-5.14.

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In the present article, the author briefly retraces the stages of Dante’s reception in Ukraine, then analyzes the main Ukrainian translations of Dante’s Divine Comedy in the 20th-21st century, namely those by Petro Karmans’kyj, Jevhen Drob’jazko and Maksym Stricha. The author briefly dwells on Karmans’kyj’s translation, highlighting the flaws already noted by H. Kočur and M. Stricha. Then the author analyzes Drob’jazko’s and Stricha’s translations, the only two complete Ukrainian translations of the Divine Comedy published so far. The author particularly compares the translators’ approaches to potential difficulties (e.g., the rendering of verse lines or single words in Latin, the verse lines in Provencal in Purgatory, song XXVI, ll. 141-147; the translations of some characters’ names, especially speaking names), and highlights the merits of their long and accurate work, which finally allowed Ukrainian readers to truly experience the Italian national poet, on one side, and filled the gap that divided Ukrainian literature from the neighboring Polish and Russian literature, on the other.
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Sloniovska, Olha. "Literature of the Ukrainian diaspora in the mid-20th century as a phenomenon of world modernism and the methodology of mythologism as an optimal tool for its analysis." In Art Spiritual Dimensions of Ukrainian Diaspora, 301–28. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-12.

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The aim of the research is a three-level (archetypal-initiatory, analogical, discrete) interpretation for the analysis of literary texts, mainly utilizing the methodology of mythologism, and carrying out a comprehensive understanding of high artistic works of Ukrainian diaspora literature of the 20s–50s of the 20th century based on literary poetic and prose texts of the modernist era by artists of the Ukrainian diaspora: Ivan Bahryanyi, Vasyl Barka, Yevhen Malaniuk, Oleh Olzhych, Todos Osmachka, and Ulas Samchuk. The article reveals the essence of modernism in Ukrainian diasporic poetry and prose of the mid-20th century. It is proven that diasporic Ukrainian modernism developed in the context of the world literature of its time and raised national issues that were poignant for Ukrainians and Ukraine. Based on the literary texts of Ukrainian diaspora literature of the mid-20th century, proper conclusions and reasoned conclusions were made, and it was appropriately argued that contemporary Ukrainian mega-modernism in our national literature grew on the ground of modernism, primarily the modernism of Ukrainian diaspora literature. The most optimal methodology for analyzing Ukrainian diaspora literature of the modernist era turned out to be the methodology of mythologism, although hermeneutics and comparativistics should not be disregarded hastily.
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Hundorova, Tamara. "The Ukrainian Underground." In The Oxford Handbook of Soviet Underground Culture, C49P1—C49N3. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197508213.013.49.

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Abstract This chapter presents a broad panorama of Ukrainian underground culture from the 1960s to the Perestroika period (late 1980s–early 1990s), focusing predominantly on literature but also including visual art and music. Several generations of Ukrainian nonconformists (the Sixtiers, the generation of the Seventies) and diverse cultural locales (Kyiv, Lviv, Kharkiv) overlap with the spectrum of artistic strategies shaping a multi-dimensional typology of Ukrainian catacomb culture. This chapter highlights such trends/circles as the dissident underground of the Sixtiers, with its focus on national revival and protest against political repressions; the hermetic art of the “displaced generation” (post-Sixtiers, or the Kyiv School of Poetry), including their contacts with the New York circle of Ukrainian poets; the Lviv underground embracing modernist poets and prose-writers (authors of the self-published magazine Skrynia) in the 1970s. The 1980s witnessed the birth of postmodernist aesthetics, with a strong presence of the carnivalesque grotesque and Conceptualism, as exemplified by the performance group “Bu-Ba-Bu” and the Kyiv circle of ironic and absurdist writers. The conclusion demonstrates the continuity between the legacy of the underground and radical tendencies in post-communist Ukrainian culture.
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Kukuruza, Nadiia. "PROFESSIONAL STAGE ART AS AN EXPRESSION OF NATIONAL, SPIRITUAL AND CULTURAL PROPERTIES OF THE UKRAINIAN DIASPORA." In Art Spiritual Dimensions of Ukrainian Diaspora, 90–122. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-5.

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The section is devoted to the activities of professional theater artists of the diaspora in the second half of the 20th beginning of the 21st centuries. Diaspora artists aimed to preserve and increase their professional experience. Being far away from the homeland, they tried to live in the spiritual, cultural and national traditions of their people, involving participation of the young generation born outside the country. One of the most important tasks is to teach the Ukrainian literary language by means of the performing arts, to acquaint with the best examples of the spiritual and cultural heritage of Ukrainians, in particular in the field of speech, drama, music, and so on. The works of T. Shevchenko, I. Franko and Lesia Ukrainka are in the forefront of the repertoire of theaters (studios, circles). From the standpoint of ideological principles related to the consolidation of Ukrainians abroad, it should be considered as a program goal of creative activity. Poetry and prose of different genres with the collective and individual stage embodiment took on the varied forms of «poetic theater», «theatrical spectacle», «literary concert», «literary program», and «mono-theater». In addition, some reader performances (in diaspora periodicals – recitation) are part of «memory evenings», «anniversary evenings», «festive academies», etc. The genre of «melodeclamation» is also widespread among the diaspora environment.
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Conference papers on the topic "Ukrainian poetry"

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Toichkina, Alexandra V. "KULISH AND BYRON (TO THE HISTORY OF DON JUAN’S TRANSLATIONS INTO UKRAINIAN)." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.19.

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Translations of Byron’s works occupy a special place in the work of P. A. Kulish (1819– 1897). They can be divided into three parts: nine poems included in the poetry collection Borrowed kobza; Don Juan, first canto; Childe Harold’s Pilgrimage. As far as we know, Kulish was the first to attempt to translate Byron’s last, unfinished poem into Ukrainian. He chose not the “learned” type of translation, but “rehash”, which allowed more free experimentation in the field of vocabulary and rhythm. The edition was published as a separate reprint in 1891. Kulish saw his task in providing a translation of Byron’s poem Don Juan to help the younger generation of Ukrainians as a kind of textbook of life, as a means of protecting oneself from spiritual passions, from human egoism. In addition, the translation of the poem was important for Kulish in terms of developing a lyrical narrative style, which he applied in his last poem Kulish in Hell. Byron developed his own style of narration and used a confidential tone in the poem, referring to the direct experience of the reader. Kulish’s translation into Ukrainian of such a complex and rich work in terms of vocabulary, intonation, and rhyme was a rather difficult experiment. This translation is important both for the study of the creativity of Kulish and the processes of formation of the Ukrainian literary language and Ukrainian poetry. Refs 10.
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Chystiak, D. O. "Reception of Ukrainian Poetry in Contemporary French-speaking Press." In THE INTERACTION OF JOURNALISM, ADVERTISING AND PR IN THE MODERN MEDIA SPACE. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-250-0-11.

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Melnychuk, I. V. "City heraldry in Ukrainian baroque poetry of the XVI–XVII centuries." In INNOVATIONS IN PHILOLOGY: WHIMS OR THE NEED OF THE HOUR. Baltija Publishing, 2023. http://dx.doi.org/10.30525/978-9934-26-383-5-17.

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Malitska, A. D. "Mars and muses. Poetry in the time of war." In INTERACTION OF THE EXPERIENCE OF POST-YUGOSLAV AND UKRAINIAN AREAS: CULTURAL, LINGUISTIC, LITERARY, ARTISTIC, HISTORICAL, AND JOURNALISTIC ASPECTS. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-393-4-19.

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Khairulina, N. F. "The author’s voice in the poetry by Pavlo Vyshebaba." In INTERACTION OF THE EXPERIENCE OF POST-YUGOSLAV AND UKRAINIAN AREAS: CULTURAL, LINGUISTIC, LITERARY, ARTISTIC, HISTORICAL, AND JOURNALISTIC ASPECTS. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-393-4-22.

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Hlushkova, S. A. "Poetry as an act of reflection against the background of the Russian-Ukrainian war." In INTERACTION OF THE EXPERIENCE OF POST-YUGOSLAV AND UKRAINIAN AREAS: CULTURAL, LINGUISTIC, LITERARY, ARTISTIC, HISTORICAL, AND JOURNALISTIC ASPECTS. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-393-4-17.

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Chystiak, D. O. "Verbalization of cosmology in the conceptual system of Ukrainian and French Speaking Belgian Symbolist poetry." In PHILOLOGICAL SCIENCES, INTERCULTURAL COMMUNICATION AND TRANSLATION STUDIES: AN EXPERIENCE AND CHALLENGES. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-073-5-1-74.

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Chystiak, D. O. "Reception of Ukrainian poetic literary discourse in French-speaking countries (1961–2021)." In THE ISSUES OF MODERN PHILOLOGY AND CREATIVE METHODS OF TEACHING A FOREIGN LANGUAGE IN THE EUROPEAN EDUCATION SYSTEM. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-180-0-26.

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Malitska, A. D. "The interpretations of the symbol of earth in poetry by Lesya Ukrainka and Sara Teasdale." In PHILOLOGICAL SCIENCES, INTERCULTURAL COMMUNICATION AND TRANSLATION STUDIES: THEORETICAL AND PRACTICAL ASPECTS. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-039-1-63.

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Reports on the topic "Ukrainian poetry"

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Lyzanchuk, Vasyl. THE CHARITABLE ENERGY OF THE JOURNALISTIC WORD. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11415.

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The article investigates the immortality of books, collections, including those, translated into foreign languages, composed of the publications of publications of worldview journalism. It deals with top analytics on simulated training of journalists, the study of events and phenomena at the macro level, which enables the qualitative forecast of world development trends in the appropriate contexts for a long time. Key words: top, analytics, book, worldview journalism, culture, arguments, forecast.The article is characterized intellectual-spiritual, moral-aesthetic and information-educational values of of scientific and journalistic works of Professor Mykola Hryhorchuk “Where are you going, Ukraine?” and “Freedom at the Barricades”. Mykola Ivanovych’s creative informational and educational communication are reviews, reviews, reviews and current works of writers, poets, publicists. Such as Maria Matios, Vira Vovk, Roman Ivanychuk, Dmytro Pavlychko, Yuriy Shcherban, Bohdan Korsak, Hryhoriy Huseynov, Vasyl Ruban, Yaroslav Melnyk, Sofia Andrukhovych. His journalistic reflections are about memorable events of the recent past for Ukrainians and historical figures are connected with them. It is emphasized that in his books Mykola Hryhorchuk convincingly illuminates the way to develop a stable Ukrainian immunity, national identity, development and strengthening of the conciliar independent state in the fight against the eternal Moscow enemy. Among the defining ideological and political realization of the National Idea of Ukrainian statehood, which are mentioned in the scientific and journalistic works of M. Hryhorchuk, the fundamental ones – linguistic and religious – are singled out. Israel and Poland are a clear example for Ukrainians. In these states, language and religion were absolutized and it is thanks to this understanding of the essence of state-building and national identity that it is contrary to many difficulties achieve the desired life-affirming goal. The author emphasizes that any information in the broadest and narrow sense can be perceived without testing for compliance with the moral and spiritual mission of man, the fundamental values of the Ukrainian ethnic group, putting moral and spiritual values in the basis of state building. The outstanding Ukrainian philosopher Hryhoriy Skovoroda emphasized: “Faith is the light that sees in the darkness…” Books by physicist Mykola Hryhorchuk “Where are you going, Ukraine?” and “Freedom at the Barricades” are illuminated by faith in the Victory over the bloody centuries-old Moscow darkness.
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Hotsur, Oksana, and Anastasiia Bila. Епістолярна спадщина Олени Теліги як виразник творчої особистості. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11723.

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The scientific research considers and analyzes the epistolary heritage of Olena Teliha. Excerpts from her correspondence are presented, which testify to the formation of a brilliant woman, a creative personality who played an extremely important role in the struggle for the formation of Ukrainian statehood. It is from the letters that we learn that for her letters are almost an ideal way of communication. The epistolary heritage of Olena Teliha allows us to reveal the vision of the main processes in her personal life against the background of the general historical discourse. In addition, the main communicative visions that determine her creative personality are highlighted: communicative vision of friendship, love, creation of literary talent, perseverance and strength, resistance to rejection. Attention is focused on the importance of studying and researching the epistolary heritage of creative personalities in the context of social communications. From the quoted letters, which are distinguished by their sincerity and accuracy of expression, it is possible to determine and formulate what positions and ideas the civic activist, poet and publicist adhered to. In addition, we can see the line of consistency in the formation of a creative personality who not only lives and writes, but acts – creates history, its moment, the value of which is felt and understood by future generations. It is found that the life path in its interconnection with historical circumstances and social environment influenced the formation of the creative personality of the genius poet and publicist. The peculiarities of the epistolary of Olena Teliha are determined by the circumstances, people and personalities that she had to face in life. The promising areas of research are the letters of Olena Teliha, which are in the archives of other countries and the allocation of journalistic and documentary aspects of her epistolary heritage. Keywords: epistolary heritage, letters, public figure, journalism, creative personality.
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