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Journal articles on the topic 'Ukrainian poetry'
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1
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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Grabowicz, George G. "The Voices of Ukrainian Emigre Poetry." Canadian Slavonic Papers 28, no. 2 (June 1986): 157–73. http://dx.doi.org/10.1080/00085006.1986.11091829.
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Cheverdak, P. O., and V. M. Zinchenko. "TERMS IN UKRAINIAN POST-MODERN POETRY." INTELLIGENCE. PERSONALITY. CIVILIZATION 1, no. 18 (2019): 49–57. http://dx.doi.org/10.33274/2079-4835-2019-18-1-49-57.
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Soloviy, Vasyl Vasyl`ovych. "POSTMODERNISM AND UKRAINIAN POETRY, 1990 – 2010." Theoretical & Applied Science 58, no. 02 (February 28, 2018): 9–12. http://dx.doi.org/10.15863/tas.2018.02.58.3.
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Karabovych, Tadeusz, and Viktor Iaruczyk. "THE WORLD PRIVACY PARADIGM IN THE WORKS OF UKRAINIAN POETS IN POLAND." Polish Studies of Kyiv, no. 37 (2021): 40–63. http://dx.doi.org/10.17721/psk.2021.37.40-63.
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Ukrainian poets living in Poland, as part of the Ukrainian national minority, had a significant impact on the development of literary awareness in the Ukrainian environment in Poland. Thanks to literary contacts, especially in Podlasie, the literary language began to be used, because here Ukrainian poets initially wrote in the Ukrainian dialect of Podlasie. They also formulated the awareness of the literary language in prose works, which united the national code of Ukrainians belonging to the same nation, beyond religious divisions, Orthodox or Greek Catholics. In a comparative aspect, they became ambassadors of the Ukrainian word in their literary circles, their works were translated into Polish and published in Kiev, Lviv, Kharkiv and other Ukrainian cities. When discussing the phenomenon of Ukrainian literature in Podlasie, it must be stated that it has undergone a major transformation of awareness from the Ukrainian-Belarusian dialect border (1970s) to its own Ukrainian literary language area, developing after 1990. This is especially true of the works of Ivan Kyryziuk, Yuri Hawryluk and Yevhenia Zhabinska. At the same time, for such writers as Sofiya Sachko or Yustyna Korolko, the reclassification to Ukrainian or Belarusian literature remains problematic. It would be optimal to say that both poets remain a part of a niche literary discourse undertaken by the Ukrainian dialect of the Bielsk Podlaski region, rooted in the issues of the borderland. In Ukrainian literature in Podlasie, an important role was played by the informal literary yearly “Nash Holos” edited in the 1980s. Its content shows the complex issues of awareness in Podlasie and the names of writers who did not go beyond the realities of the year at that time and are not widely known today. They left behind poems written in Ukrainian Podlasie dialect, valuable from the point of view of the history of literature in this area, often close to folk poetry or Ukrainian poetry from the 19th century, especially to the works of Taras Shevchenko.
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Рязанцева, Тетяна. "Discourse of war in Oleksa Stefanovych’s poetry." Слово і Час, no. 1 (February 20, 2020): 29–39. http://dx.doi.org/10.33608/0236-1477.2020.01.29-39.
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The is article focuses on the military topics and poetics in the patriotic and religious poetry of Oleksa Stefanovych (1899—1970), one of the most interesting Ukrainian diaspora writers. The question of his personal war experience remains open, but the topic of war and the struggle for independence is an important element of his poetry. The e material for analysis is taken from his Apocalyptic cycle “The World’s End” (“Kinetssvitnie”) inspired by the events of the WWII, from his patriotic poems dedicated to the heroes of Kruty and Oleh Olzhych, and from the fragments of his unfinished poetic works on the tragic events of Bazar (“Do Bazaru”) and Brody (“Do Brodiv”). Based on Aleida Assman’s descriptions concerning the peculiarities of memory representations in literature, the author demonstrates the main points of Stefanovych’s creative strategy. It is focused on the sacralization and mythologization of real places, figures, and events connected with the struggle for Ukrainian statehood in the early 20th century and the participation of Ukrainians in the events of the WWII.
Stefanovych sacralizes space and time by putting the real tragedies of Ukrainian history into the Apocalyptic context and interweaving the motifs of martyrdom and heroism. In his poetic universe the sites of historical events become the places of worship, memory or trauma tightly connected with the paradoxical experience of military defeat that turned to be the moral victory. The typical stylistic traits of Stefanovych’s poetry are defined as the balance between the high symbolism and accuracy of naturalistic details, the extreme level of dramatic tension and exact moral accents.
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Ivanova, Anna. "UKRAINIAN MOTIVES IN THE WORKS OF JOSEF LOBODOWSKI." Polish Studies of Kyiv, no. 35 (2019): 454–59. http://dx.doi.org/10.17721/psk.2019.35.454-459.
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The article is devoted to the life and work of the Polish writer, poet, translator Josef Lobodowski. It represents his biographical information, his relationship with Ukraine and the traditions of this region. Moreover, the poetry collection “Złota hramota” from the point of view of the Ukrainian question becomes the object of the article. The aim of the work is to systematize available information concerning the life and the creative input of the outstanding Pole, who, while living in Kuban, learned the Ukrainian language and fell in love with the Ukrainian culture and poetry. Josef Lobodowski is called the successor of the “Ukrainian school” in the Polish literature of the twentieth century, because within the scope of his works he appeals to the beauty of Ukrainian nature, Ukrainian history and, equally important, the Ukrainian question. Josef Lobodowski dedicated his articles and poetry to this issue, since he considered it necessary to regulate Ukrainian-Polish relations. In this work, particular attention is paid to the poetic collection “Złota hramota” by Josef Lobodowski, since it may be regarded as a poetic appeal to a modern person, which is partly due to the title of the collection. This collection has a significant historical background and brings us back to the times when the Poles began their struggle for freedom from the Russian Empire and the restoration of the Polish-Lithuanian Commonwealth. In addition to this, the entire collection is rich in Ukrainian national motives and reveals the national issue and a no less important issue of Polish-Ukrainian relations. However, one should evaluate the contribution of Josef Lobodowski also as a translator from the Ukrainian language who introduced the pearls of Ukrainian poetry such as Taras Shevchenko and Yevhen Malaniuk to ordinary Poles. All things considered, Josef Lobodowski as a poet, publicist, translator and just a man who was captured by Ukrainian history and culture, highlights important and topical questions in his works, as well as contributes to the popularization of Ukrainian cultural achievements on the world stage.
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KRAVETS, Larysa. "METAPHORS OF MEMORY IN UKRAINIAN POETRY DURING THE RUSSIAN-UKRAINIAN WAR." Culture of the Word, no. 99 (2023): 74–85. http://dx.doi.org/10.37919/0201-419x-2023.99.6.
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The concept of memory is one of the most researched and variously interpreted both in art and in philosophy, therefore reliance on philosophical theories significantly deepens the linguistic study of it in the language of poetry. Scientific and artistic coverage of memory are certainly different, but at the same time they are not devoid of some common features, which is manifested, in one case, in the application of techniques traditional for art in the process of philosophical study, and in the other – in the actualization of philosophical ideas during the creation of images. Expression of the concept of memory in fiction often has a philosophical basis. In general, all fiction can be interpreted as a means of forming, preserving and transmitting memory. Modern poetic texts of the war period not only reflect reality, interpret it, but also appeal to memory, actualizing the corresponding concept. This concept has a complex and branched structure, numerous associative connections and multiple interpretations, forming conceptual fields. Different types of memory are depicted in the works. This is individual and collective memory, historical and cultural, national and universal. It is not always easy to differentiate the types of memory implemented in the text, as they are often intertwined and mutually conditioned. Poetic texts testify that individual memory is not opposed to collective memory, because individual memory is formed in society thanks to human connections and activity, and therefore is part of collective memory. At the same time, individual memory is a unique combination of individual and collective memories. Collective memory preserves the past, which determines the experience of the present and the creation of the future. However, the past also changes under the influence of the present, moreover, it can be present in the present only under the condition of active collective memory. The concept of memory reveals numerous connections with many other concepts, including city, home, grave, temple, household items, etc. Memory is a way of being of a person in culture and the world, a measure of his spirituality, a form of timeless existence. Memory in one form or another permeates all Ukrainian poetry of the war period, actualizing values, evoking diverse emotions, prompting reflection. Memory brings back the past, which shapes the present and models the future.
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Urys, Tetiana. "Ukrainian Poetic Sixties: Mykola Kholodnyi’s Creative Individuality." Respectus Philologicus, no. 43 (48) (April 17, 2023): 137–51. http://dx.doi.org/10.15388/respectus.2023.43.48.115.
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The article is devoted to the little-studied Ukrainian poet of the sixties, dissident M. Kholodnyi, his creative style, analysis of motifs, images, and symbols of lyrical heritage, and the phenomenon of creative individuality. Socio-political reflection of Ukrainian tragedies, the role of the artist and his work singled out among the motifs of his poetry. There are images of famous Ukrainian writers who are carriers of the code of national memory and help to shape the national consciousness of future generations. A separate block constitutes his intimate lyric poetry reflecting the various facets of the spiritual and corporeal together with emotions ranging from romantic to deeply sensual. It is noted that among the writers of the 60s generation, his poetry is distinguished by the presence of sharp satire and tragedy in depicting paradoxical and absurd Soviet reality.
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Paslawska, Alla. "Bohdan Kravtsiv as a translator of Rainer Maria Rilke's poetry." SHS Web of Conferences 105 (2021): 01001. http://dx.doi.org/10.1051/shsconf/202110501001.
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The paper presents a modified three-level model of possible relations between different cultures proposed by W. Welsh. There have been outlined multicultural, intercultural and transcultural aspects of such relations. The model is exemplified by the translations of Bohdan Kravtsiv. Life circumstances forced Kravtsiv to leave Ukraine and spend his life abroad. He had to work on his translations in different countries and cultures. Just like other cultures influenced his way of thinking, life experience and poetic creativity, due to his political, social, poetic, and translation activities, he himself influenced the cultures he was immersed in and where he was involved in the creative activity. Remoteness from Ukraine did not make the poet and translator break off his relations with his home country. In the Diaspora he did his best to help Ukrainians, replenish the poetic translations of the Ukrainian literature, retain memories of the repressed poets, enrich Ukrainian cultural heritage (transcultural aspect). The language personality of Bohdan Kravtsiv as a translator is considered in terms of his translations of Rainer Maria Rilke's poetry. The structure of the language personality of the translator encompasses verbal, cognitive and pragmatic-motivational levels. The paper focuses on the analysis of Kravtsiv’s translations of Rilke's poems into Ukrainian. It has revealed Kravtsiv’s brilliant mastery of the poetic word. The translations of Rilke's poems performed by Kravtsiv testify to the translator's efforts to remain faithful to the form and content of the original. In spite of the different morphological and phonetic structures of German and Ukrainian, he succeeded in most cases. The translator’s individual style is marked by concise and euphonious translations, multiple new coinages and in-depth knowledge of the original works.
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Khodakivska, Yaryna. "Classical and non-classical verse: terminological aspects." Terminological Bulletin, no. 5 (2019): 118–24. http://dx.doi.org/10.37919/2221-8807-2019-5-15.
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The paper deals with the expediency of using the terms classical verse and non-classical verse in Ukrainian versification studies. They are borrowed from Russian scientific discourse. The article shows the semantics of these terms in Russian versification studies. The phrase classical verse in works on poetry has wide semantics and means different types of poetry for different literatures: syllabic, quantitative, etc. In the first half of the 20th century Borys Tomashevsky began to use the phrase “Russian classical verse” to refer to the syllabic-tonic verse along with the accent verse. In 1959, he narrowed the semantics of this phrase and used it for syllabic-tonic verse only. Such a decision was motivated by the fact that in the “golden time of Russian literature” (19th century) syllabic-tonic verse was the prevailing system of versification, unlike the syllabic verse that could be rarely found in the Russian literature, and the tonic verse that was starting to develop during Tomashevsky’s time. Thus, in the studies of Russian poetry, the phrase classical verse became the term (acquired termhood) with the meaning of “syllabic-tonic verse”. In 1974, Mikhail Gasparov created the antonymic term “non-classical verse”, which marked other types of Russian verse: syllabic, tonic. Both terms became widespread in Russian poetry. Ideological as well as political and cultural conditions for the development of the Ukrainian science in the 20th century promoted uncritical replication of evaluative judgments expressed by Russian scholars in the Ukrainian poetry. The terms classical verse (as syllabic-tonic) and non-classical verse (as non-syllabic-tonic) having the component of estimating semantics faced the abovementioned situation. They were borrowed and applied in the Ukrainian poetry with the same meaning as in the Russian ones. Halyna Sydorenko, Natalia Kostenko, Olena Kytsan and others used these terms in their works. However, the history of the Ukrainian verse differed from the history of the Russian verse. The syllabic verse occupies a significant place therein, whereas the tradition of using it extends to the first half of the 20th century. The greatest Ukrainian poet Taras Shevchenko and many of his followers wrote syllabic-verse poems. Pavlo Tychyna used the syllabic verse in the 20th century. Therefore, the exclusion of syllabic verse from the notion of “classical verse” in relation to the Ukrainian literature is unjustified. These terms in Ukrainian verification studies have false motivation. They are used incorrectly in Ukrainian versification sources. This terminological situation needs adjustment.
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Shutak, O. S., N. A. Konoplenko, and M. V. Podoliak. "Zomorphic images of Ukrainian folklore: demiurge birds in the Ukrainian winter calendar ritual poetry." Scientific Messenger of LNU of Veterinary Medicine and Biotechnologies 20, no. 86 (February 20, 2018): 142–46. http://dx.doi.org/10.15421/nvlvet8628.
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The world-view system of Ukrainians is one of the richest and symbolically-filled models of knowledge of the surrounding world, which fully represented itself in various forms of art and, above all, in folklore. It is the oral folk art that most fully preserved the representation of the ancient Ukrainians about the establishment of the world, the appearance of the first plants and animals, the emergence of elements, human, etc. At that time, when there was no written language yet (prehistoric period), our ancestors broadcasted their understanding of life processes by means of verbal literature, encrypting it in a figurative system. The article examines the history of the study of zoomorphic images in Ukrainian folklore from the 1930s to the present, points to the diversity of interpretation of animal symbols in different genres of oral folk poetry, and focuses on the symbols of demiurgeous birds. It is in the poetry of the winter calendar ritual cycle, as the oldest stratum of Ukrainian folklore, that we find the image of the birds-founders of our world, which forms a coherent picture of the mythological notions of our ancestors about its beginning. In carols and shcherdivkas, in particular cosmogonic, ornithopes are a prominent place. The connection between the image of the bird and the two most ancient ideas-symbols – the true and the world tree-the most archaic models of the world order – is analyzed. At a time when in folk poetry of other genres, ornithomorphic images carry a diverse semantic load, then in cosmogonic carols they symbolize only the process of creation, where the act of diving, immersion in the right is a symbol of the «conception» of the world, the penetration and degeneration of one life-giving energy into another (the idea of fertility).It was in the images of the falcon and the pigeon, pure and good beings, that our ancestors saw the founders of all living things, they considered their primary source and life-giving energy.
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Romanenko, Olena. "UKRAINIAN VIDEO POETRY AS AN AESTHETIC PHENOMENON OF THE MODERN LITERARY PROCESS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 31 (2022): 61–65. http://dx.doi.org/10.17721/1728-2659.2022.31.12.
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The results of the study of video poetry as a genre are presented. The object of analysis is Ukrainian video poetry, created within the projects CYCLOP (Ukraine), "Overcoming Silence" (Ella Yevtushenko, Daryna Gladun, Lesyk Panasyuk, and others), #DigitalShevchenko, "Power of Speech", "Subjective" (Sofia Bezverkha and Marichka Yarmola), "rosdilovi" (Olga Mykhailyuk and Serhiy Zhadan), "By the way" (Natalia Parshchyk, etc.), ZEBRA festival (Germany). Ukrainian video poetry has been developing since the 2000s and was first presented as part of the CYCLOP festival, which became both a venue for a video poetry competition and a platform for theoretical discussions. The significance of poetic intonation and the interaction of reader and author in video poetry is described. Genre features of video poetry are established, and also types of genre transformation are allocated. It has been proved that video poetry is a syncretic multimedia genre, which combines verbal and nonverbal components. The verbal component is the voice of the reader or poet, as well as the melody that complements them. The non-verbal component is based on the development of a visual metaphor or game plot, it also expresses the perception of images, metaphors, etc. poem. The movement of frames in video poetry is based either on the metric-rhythmic identity of the poem (and the melody that accompanies the reading of poetry) and the video sequence, or the dissonance between the verbal and nonverbal components. Genre features of video poetry can be described as a combination of kinetic images, sound, visual metaphors, the voice of the reader, melody, and others. Genre transformations of video poetry are defined through the creation through animation, feature film script, improvisational transformation, and interaction between different arts or the use of digital technology. It is determined that an important aspect of video poetry is the interaction of the author and the recipient. Watching video poetry, on the one hand, actualizes the associations (verbal and nonverbal) in the memory of the recipient, on the other – enhances the aesthetic experience of perception of the work. It gives a powerful aesthetic and emotional effect.
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TIELIEZHKINA, Olesia. "KHARKIV: ONIM AND IMAGE IN UKRAINIAN POETRY." Culture of the Word, no. 94 (2021): 20–27. http://dx.doi.org/10.37919/0201-419x-2021.94.2.
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In the article it has been discovered the notable manifestations the name Kharkiv on the material of Ukrainian poetry of the twentieth century. The expediency of such an analysis confirms the fact that the named onym has been overlooked in scientific research on literary onomastics. The author concludes that the proper name Kharkiv in the works of Ukrainian poetry is represented not only as a purely onomastic unit that performs certain pragmatic functions (nominative, localization) but also as a carrier of deep meaning, the expression of which allows the disclosure of its figurative and metaphorical potentials: compounds and oppositional pairs which allows a sharper characterization of the phenomenon described in the poetic work; metonymic units, serves as an indicator of relevant intertextual connections and a marker of certain historical, significant cultural or political events, establishing the semantic relationship between the poetic text and the background knowledge of the reader. It has been found out that Kharkiv is an organic structural component that actualizes certain information and becomes a significant expression of the author’s semantic intentions in analyzed poetic works.
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Zinchuk, N., and O. Pogrebnyak. "THE OEUVRE OF ANDREI HADANOVICH IN THE CONTEXT OF MODERN BELARUSIAN-UKRAINIAN LITERARY INTERACTION." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 230–38. http://dx.doi.org/10.17721/2075-437x.2019.35.22.
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The article covers the main features of Andrei Hadanovich’s works as s a representative of the modern literary process in Belarus and his liaison with Ukrainian writers and translators. Considerable attention is paid to the first literary attempts of the Belarusian writer, the process of professional development and the features of postmodernism in his writings. In this context the poetry of Andrei Khadanovich combines the achievements of Eastern European «book» poetry with elements of modern culture (pop, rock, rap, urban slang). Using his poetry-song «Hotel Belarus» as example, the research depicts «classical» postmodernism features in Andrei Hadanovich’s works – intermediality, intertextuality, irony, play, numerous allusions, parodies, experiments with form and genre. The paper also describes the main directions of the Belarusian writer’s literary work in Ukraine, his role and place in the development and popularization of modern Ukrainian literature and culture among Belarusian readers. The creative cooperation between Andrei Hadanovich, Serhiy Zhadan, Oleksandr Irvanets and Yurii Andrukhovych is characterized on the basis of their poetry books and collaborations. In particular, review of Khadanovich’s works includes several books of poems – his very first edition of «Letters from the Blankets» in Ukrainian, «From Belarus with Love», also published in Ukraine but in Belarusian, twin books «Belarusian Man» and «Ukrainian Airlines», created in the close collaboration with Serhiy Zhadan and other young artists and translators. In addition to creating some «adult» poetry, the writer from Belarus is shown as children’s author. His book of funny lyrics for children “Daddy’s Notes” was also first published in Ukraine in Ukrainian translation.
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Woldan, Alois. "Andere Stimmen – Protest gegen Krieg und Gewalt in der polnischen und ukrainischen Dichtung über den Ersten Weltkrieg." Przegląd Humanistyczny 63, no. 1 (464) (September 17, 2019): 7–25. http://dx.doi.org/10.5604/01.3001.0013.4970.
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Polish and Ukrainian poetry on World War I have much in common: they were written mainly by soldier-poets, young men fighting in the Polish Legions or the Ukrainian Sich Riflemen. This poetry is, first of all, a patriotic legitimation of the war as a way of regaining political independence. Heroism and suffering for the fatherland are dominating issues. Nevertheless, besides this pathetic gesture, we can find voices that point out the horror of war and question it at all. Such criticisms is expressed by certain motives, which appear in both the Legions’ and the Sich Riflemens’ poetry, like: fratricide, lists from soldiers to their families at home, devastation of nature and culture, autumn and death, as well as pacifist notions. These voices do not form any dominant discourse in the poetry on World War I, but they are not to be ignored, as they mark a common place in the Polish and Ukrainian literature at this time, which has not been researched until now.
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Talabirchuk, Oksana Yu. "SPECIFIC TRAITS OF HUNGARIAN-UKRAINIAN POETRY TRANSLATION (BASED ON YURII SHKROBYNETS’ TRANSLATIONS)." Alfred Nobel University Journal of Philology 1, no. 27 (June 3, 2024): 347–63. http://dx.doi.org/10.32342/2523-4463-2024-1-27-22.
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The article addresses matters related to the peculiarities of Hungarian-Ukrainian poetic translation. It was noted that the quality, complexity and overall mastery of literary translation largely depend on the translator’s artistic personality, i.e., their knowledge, skills, and creativity. In our opinion, Yurii Shkrobynets was the one to perform the highest quality poetry translations in the field of poetic Hungarian-Ukrainian translation. During half a century of translation experience, he performed translations from Old Ukrainian, Czech, Slovak, German, Hungarian, Ossetian and Komi languages into Ukrainian, as well as from Ukrainian into Hungarian. The most significant portion of his translation heritage consists of translations of belletristic from Hungarian into Ukrainian, particularly these are 24 separate editions of both prose and poetic texts, and numerous poems, printed in periodic magazines and collections. Ukrainian translations of poetry by Yurii Shkrobynets are distinguished by linguistic richness and stylistic mastery, which can be seen in the way how all the structural features of the original work were preserved. The article’s topicality is determined by the insufficient research of both the theoretical issues of Hungarian-Ukrainian poetic translation, which require more thorough coverage within the framework of the partial theories of translation (in particular, it is of high importance to identify and describe different types of equivalents at the lexical, grammatical, and stylistic levels), and the translation principles and the translation concept by Yurii Shkrobynets. This [research] will contribute to the development of knowledge, skills and abilities that are necessary for a today’s Hungarian-Ukrainian translator. The purpose of the article is to trace and analyze the theoretical and practical aspects of poetic Hungarian-Ukrainian translation based on the literary translations by Yurii Shkrobynets. In order to achieve this purpose, the following objectives were set: 1) to outline the principal cultural and worldview patterns of Yurii Shkrobynets’ artistic personality; 2) to trace the distinguishing linguistic and stylistic differences between the Hungarian and Ukrainian languages and the difficulties they cause in terms of literary translation; 3) to identify and analyze the translation principles of Yurii Shkrobynets in order to highlight his individual style of poetic translation; 4) to find and examine the lexical-grammatical transformations used by Yurii Shkrobynets within the literary translation framework, using Janos Arany’s poem Toldi″ in his translation as an example. In addition to general scientific methods of analysis, the following methods of analysis are used: synthesis and generalization of the material, the cultural-historical method, the method of comparative analysis of original and translated texts, and linguo-poetic analysis. It was proved that, despite the significant differences between the Hungarian and Ukrainian languages, it is possible to make such a professional literary translation can indeed reproduce the original work’s system of images and associations in full. Neither significant language differences nor national versification systems and related rhyming features become an obstacle, if the translator is well knowledgeable of them. The article investigates that the creative personality of Yurii Shkrobynets was formed under the influence of both Ukrainian and Hungarian cultures, the synthesis of which constitutes a part of the translator’s worldview. The profound understanding of cultural peculiarities and literary traditions that form both Ukrainian and Hungarian belletristic, as well as a perfect command of two languages contributed to the development and skills sharpening of Yurii’s talent for translation. It was proved that the translator had his own aesthetic preferences, and therefore, he introduced works into the Ukrainian cultural polysystem that primarily resonated with his own worldview and cultural values. The translation concept of Yurii Shkrobynets was formulated by himself in his article “My duelling with Toldi”, which became a resume of the following main ideas of his translation activity: 1) to translate exclusively from the original; 2) to keep faith in the original in such a way that the translated text affects a reader in the same way as the original; 3) as close as possible to deliver both content and formal components of the work in such a way that the adherence to the form does not cause damage to the contents; 4) to select the appropriate means of the Ukrainian language for the linguistic and stylistic features of the original text. A comparative analysis of the Hungarian poem “Toldi” by J. Aran and the translation performed by Yurii Shkrobynets, which is considered one of his best achievements, showed the translator’s strict adherence to his own translation concept. Despite the fact that the Hungarian language is not related to the Ukrainian language and there are significant lexical and grammatical differences, Yurii Shkrobynets managed to produce such professional translations of Hungarian poetry into Ukrainian that they were barely recognized as translations. The translator selects such kinds of expressions, phrases and lexicons which fully reflect and depict the cultural concepts of the Ukrainian language. However, it does not damage the original because the translator saves the key elements of the Hungarian linguistic culture. Yurii Shkrobynets, in his translation, uses a dialectal vocabulary of the Ukrainian language, tropes (namely, epithets, comparisons, metaphors), and phraseological units, which are primarily attributed to Ukrainian folklore. By means of lexical transformations, he transfers the meaning of the original text in such a way that the translation does not lose its essence, as far as the situation described by the original author and the translator is identical and is different only by means of its expression. We believe that the translation transformations applied by Yurii Shkrobynets, like full and partial replacement of word forms, complete reconstruction, rearrangement, omission, concretization, generalization, and transcoding of proper names and titles are well founded and caused primarily by the syntactic features of Hungarian and Ukrainian languages, as well as significant grammatical differences in general. Additionally, the translator could not manage to reproduce the poetic imagery of the original work and preserve its rhyming features without the usage of complex both lexical and grammatical transformations. Furthermore, the translator’s own poetic talent is worthy of being noted as it is expressed in neologisms and creative artistic translation of the individual original author’s features of the source text. Yurii Shkrobynets skillfully reproduces the features of the Hungarian versification and successfully matches with the equivalents to phraseological units and non-equivalent vocabulary. Altogether, these principles lead to the formation of a high-quality and adequate literary translation.
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NOVODVORCHUK, OLHA. "ЖАНРОВО-ІДЕОГРАФІЧНІ ТЕНДЕНЦІЇ У ПОЕТИЦІ СУЧАСНОЇ ДИТЯЧОЇ ЛІТЕРАТУРИ." Studia Ukrainica Posnaniensia 9, no. 2 (December 31, 2021): 153–64. http://dx.doi.org/10.14746/sup.2021.9.2.12.
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The article attempts to explore the features of early 21st century Ukrainian poetry for children. The purpose of exploration is to identify the genre and ideographic features of poetry: innovation and traditionalism. Tracing the genre modifications of poetry and their common and distinctive features, the author addresses the key features of poetry for children in general: artistic and literary discourse, the functions of poetry, thematic direction, strophic structure of the poem, the existence of images, characters and others. The article proves that the basis for the renewal of poetic genres is traditional genres of folklore and poetry. There are organically updated folk genres in modern poetry for children (praise, scarecrows, fables, nonsense, counters, patter, games) and newly created genres (poetry-pictures, tricks, coloring books, checks, stumbling blocks, therapeutic poems). The search for new forms of expression of idiosyncrasies of artists leads to the emergence of original genres. These have appeared as an original phenomenon in the Ukrainian literature of the early 21st century and offer a wide scope for further research.
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Syvachuk, Natalia. "THE CONCEPT OF «NIGHTINGALE» AND MENTAL FATE OF UKRAINIAN PEOPLE." Philological Review, no. 1 (May 31, 2021): 185–95. http://dx.doi.org/10.31499/2415-8828.1.2021.232738.
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The article deals with the nature of the concept of «nightingale» in Ukrainian folk oral poetry, in particular in lyrical songs, love songs. «Nightingale» is considered as a traditional symbolized object of Ukrainian poetic worldview, as a «key» character in the context of the national picture of the world; it is emphasized that in the XXI century the processes of integration of sciences are intensified; the similarity of the rhythmic structure of nightingale song and human speech is explained. For this purpose, the data from recent studies by ornithologists have been used. Attention is drawn to the fact that nightingale strengthens the mood of people in love with his singing. In love songs, man and bird sound in unison, thus creating a state of happy heavenly harmony – a special interaction of man with the environment. The data of ornithologists’ researches on the genetic connection of man with the sounds made by birds are given. An analogy is made between the creative potential of man and nightingale, between their repertoires, the sequence of works performing, their architectonics «introduction – refrain». An attempt to scientifically comprehend the impact of nightingales on humans and their health is made. It is concluded that the concept of «Nightingale» in Ukrainian folk oral poetry belongs to the «key» invariant characters-symbols and is an important component of Ukrainian national view of the world. The character of the nightingale is pervasive in Ukrainian folk songs about love. The voice of a bird in the minds of Ukrainians is associated with strong emotions: joy, love, sadness, grief, despair and others.
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Ivanovska, Olena. "NARRATOLOGICAL STRATEGIES OF UKRAINIAN MAGICAL FOLKLORE." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 30 (2021): 66–68. http://dx.doi.org/10.17721/1728-2659.2021.30.18.
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[Parubiy U. Yu. Ukrainian Order-Spell Poetry: Structural-Semantic Features and Poetics of the Genre. A Thesis for a Candidate Degree in Philological Studies. Lviv : Ivan Franko National University of Lviv, 2019. 198 p.]
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Kharchuk, Roxana. "Shevchenko’s Grateful Readers from Dnieper Ukraine: Volodymyr Antonovych and Mykola Lysenko." Академічний журнал "Слово і Час", no. 3 (March 30, 2019): 33–41. http://dx.doi.org/10.33608/0236-1477.2019.03.33-41.
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This paper outlines the portrait of Shevchenko’s reader from the Dnieper Ukraine in the first half of the 19th century based on the example of two prominent figures of Kyiv (Old) “Hromada” Volodymyr Antonovych and Mykola Lysenko. The first one represented the intellectuals from the Right Bank Ukraine, the second one ‒ from the Left Bank part. Under the influence of the Ukrainian national renaissance Volodymyr Antonovych became de-Polonized. He was the first political Ukrainian who understood the significance of Shevchenko’s poetry for the formation of Ukrainian national identity (this is evidenced by his memoirs and promoting Shevchenko’s works). According to M. Starytskyi, Mykola Lysenko perceived “Kobzar” passionately. Not only did he become de-Russificated under the influence of Shevchenko’s poetry, but also made the music to “Kobzar” a matter of his life.
The author of the paper emphasizes that Shevchenko’s works urged the intellectuals from the Right and Left Bank Ukraine, disconnected after the Truce of Andrusovo, to unite in “Hromada” movement. At the same time the Left Bank intellectuals dominated in “Hromada”. On the researcher’s opinion, this fact may be explained by the high level of education in the Cossak Hetmanate Ukraine. “Kobzar” was a cornerstone for the educational program of Ukrainian ‘narodnyks’ and this whole intellectual movement was based on it. Shevchenko’s works essentially contributed to spreading the Ukrainian idea in Galicia.
There is an opinion, that it was the Galician people who separated the Ukrainian national identity from Russian, while in the Left Bank Ukraine both of these identities coexisted. The author of the paper believes that the intellectuals in both parts of Ukraine in 1860s-1870s had an indistinct national identity. Unlike the Galicians the intellectuals from Ukraine under Russian rule, in particular Volodymyr Antonovych, could not speak openly about Ukrainian self-sufficiency. However Shevchenko (born in the Right Bank Ukraine) was first among Ukrainian intellectuals to voice a thesis about the separation of Ukrainians from Russians, about the distinctive Ukrainian history, language and literature that differ from the Russian ones.
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Berestova, A. "Text application as a marker of intertext links in modern Ukrainian poetry." Science and Education a New Dimension IX(257), no. 75 (September 25, 2021): 12–16. http://dx.doi.org/10.31174/send-ph2021-257ix75-02.
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In the article proposed, the researcher tries to characterize the main manifestations of text applications on the basis of Ukrainian poetry of the late XX - early XXI centuries. The author of the research concludes that the text application is actively used in modern Ukrainian poetry as a marker of intertextual interaction and an actualizer of precedent texts of religious content, various genres of Ukrainian folk art, as well as Ukrainian and world literature. The text applications found in the processed poetic works play an important role in the creation of poetic text and perform the function of setting, informative-signaling, meaning-making, plotforming functions, as well as the means of creating figurative and stylistic figures and the means of language play.
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Salyha, Taras. "MUNICH CONFESSION OF VOLODYMYR YANIV (dedicated to 110th anniversary of birth)." Polish Studies of Kyiv, no. 35 (2019): 321–33. http://dx.doi.org/10.17721/psk.2019.35.321-333.
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Three major aspects of Volodymyr Yaniv’s life-creativity are described in the article: 1. biographical (his forma- tion as a creative person); 2. literary and art studies; 3. essayistic (author’s stories about the meetings with the perennial rec- tor of UFU). In parallel, there are “plots” about Volodymyr Yaniv as s historian of the church and Christianity, as a religious scholar, about his contacts with the Vatican, and in particular with His Beatitude Josyf Slipyj in the study. We can trace the “odyssey” of a young ascetic of the Galician revolutionary movement for the statehood and the unity of Ukrainian lands. A separate vision in the life of V. Yaniv is the magazine “Student’s Way”. He was fond of modern processes that took place in the cultural and artistic sphere. Studying poetry of European poets, poetry of Ukrainian creative youth, in particular B.-I. Antonych, V. Havrylyuk, O. Olzhych, poets of the Right-Bank Ukraine, Yaniv developed for himself the criteria for evaluating a literary work. The Lviv weekly “Towards” and the month “Dazhbog” and, of course, the poetry of the “Prague School” were played a special role for Yaniv as a poet. The famous Polish writers, supporters of the so-called “Ukrainian school”, Severin Goshchin- sky, Alexander Fredro, Leopold Staff, Jan Kasprovich, Maria Konopnitskaya whose creativity, undoubtedly, also influenced Volodymyr Yaniv lived and worked in Lviv. The ideological and thematic space of the poetry of Yaniv, in particular the collections “The Sun and the Lattices” and “The Foliage Fragments”, his prison poems, poetry about the Kruty heroes, are analyzed in the article. Lyro-epic creativity of V. Ya- niv in this thematic direction in her own way is biographical. The collection “Ways,” based on the scientific observations of the German, Polish and Czech theorists of psychoanalysis, is based on the ethno-psychoanalysis of the Ukrainian political prisoner. V. Yaniv is a scientist, psychologist, ethnic psychologist of the Ukrainian “soul”, sociologist and literary critic, art critic, organizer of Ukrainian science and church-religious life, public figure, professor of the Ukrainian Catholic University named after St Clemens, the Pope in Rome. The sacred motives are an organic page in poetry, literary criticism and, in general, in the works of Volodymyr Yaniv. The author used the bibliographic literature about the life and work of Volodymyr Yaniv, which, however, doesn’t allevi- ate his individual views.
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Pavlinchuk, T. "NEOLOGISMS IN UKRAINIAN TRANSLATIONS OF BOŁESŁAW LEŚMIAN POETRY." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(99) (April 12, 2023): 114–28. http://dx.doi.org/10.35433/philology.1(99).2023.114-128.
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The article deals with peculiarities of translations of neologisms of the Polish poet Bolesław Leśmian’s works into Ukrainian. Translation of Bolesław Leśmian’s poetry into different languages meets difficulties due to the fact, that a lot of author’s neologisms appear in it and motivate translator to thoroughly analyze the peculiarities of author’s derivation and make their own strategy of neologisms’ reproduction in the language of translation. Study of experience of translators this poet’s works into Italian, English and other languages helps literature researcher to systematize and accommodate difficulties which appear on the way of choosing the corresponding lexeme or making up a neologism. Due to familiarization with the artist’s worldview, the style of his writing, features of making up neologisms and utilizing them in the original texts, conclusions about making up and functioning of the new words in the texts of translation have been formulated. The translator of B. Łeśmian’s poetry into Ukrainian Marianna Kiianovska utilized all spectrums of possibilities of Ukrainian derivation and actual productive formants in order to make up neologisms and reproduce the style of poet’s writing. The examples from the book of selected poems "Angels" have been given in the article and the peculiarities of appearing of Ukrainian neologisms belonging to different parts of speech (nouns, pronouns, verbs, adjectives, numerals, adverbs) have been analyzed. The similarity of both Ukrainian and Polish languages allows to take advantage of the derivations formants of source language to transfer Polish lexemes to Ukrainian speaking field and to make up new words, which are analogous to existing, even on condition that formant loses its productivity. The ways of derivation, impact of the idea of original texts and original author’s neologisms on the translator’s strategy and word selection, the role of tropes, idioms and analogies in the process of new words appearing have been researched.
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KRAVETS, Larysa. "CONCEPTS OF CHRISTIAN CULTURE IN RECENT UKRAINIAN POETRY." Culture of the Word, no. 97 (2022): 61–72. http://dx.doi.org/10.37919/0201-419x-2022.97.7.
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During its long existence, Christianity had a powerful influence on the development of world culture in general and Ukrainian culture in particular. The Bible and other Christian texts determined the formation of the aesthetic foundations of ancient Ukrainian literature and became an inexhaustible source for the creativity of Ukrainian writers of the new era. Today's tragic events actualized in the country’s cultural space religious texts of various genres and themes, which in the literary and artistic sphere became a powerful source of language and expressive means, as well as new contents and ideas. The modern poetic reception of Christian texts preserves the durability of the national literary tradition and at the same time is characterized by numerous different types of innovations. Through the concepts of Christian culture, their reinterpretation, the authors convey the tragedy of the events, the difficult trials that once again befell the fate of the Ukrainian people, and at the same time support and inspire people. The recorded units are divided into groups (1) concepts of God, the Holy Spirit, Jesus Christ, the Virgin Mary and biblical figures (Simon, Pilate, Judas, St. Peter), (2) biblical toponymic concepts, (3) concepts of mythical creatures (angels, beast; animals), (4) object concepts (cross, thirty pieces of silver, cup). It is natural that the concepts of the first and second groups are the most used in modern Ukrainian poetry, and the concepts of the third and fourth groups are less used. The artistic reception of Christian concepts in war poetry is diverse in terms of form and method of use, realized content and functional significance, and frequency of actualizations. Despite the differences in the stylistic and worldview-aesthetic direction of the artists’ creativity, they have in common an appeal to Christianity as the spiritual core of national culture. Concepts of Christian culture are emotional and meaningful clots of collective memory, spiritual culture, which deepen the content of poetic texts, appealing to universal values, evoking a wide range of associations. The actualization and reinterpretation of these concepts helps convey the tragedy of the events, the difficult trials that befell the Ukrainian people, and at the same time support and inspire people. Their use in poetic texts testifies to the bibliocentricity of the linguistic thinking of Ukrainian authors.
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Powell, Sara Jo. "Review of Iryna Starovoyt. A Field of Foundlings: Selected Poems." East/West: Journal of Ukrainian Studies 7, no. 1 (April 16, 2020): 271–73. http://dx.doi.org/10.21226/ewjus580.
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Review of Iryna Starovoyt. A Field of Foundlings: Selected Poems. Translated from the Ukrainian by Grace Mahoney, Lost Horse Press, 2017. Lost Horse Press Contemporary Ukrainian Poetry Series 1. 92 pp. Illustrations. $21.00, paper.
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Hahara, Victoria. "VASYL HOLOBORODKO – A MASTER OF NON-CLASSICAL VERSE FORMS: VERSIFICATION ANALYSIS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 2(34) (2023): 21–24. http://dx.doi.org/10.17721/1728-2659.2023.34.04.
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The article explores the creative work of Vasyl Holoborodko, particularly his book of poems "An Apple of Good News". This topic has not been extensively researched in Ukrainian literary studies, although Holoborodko's work has been studied in other aspects, such as folklore, in Yulia Shutenko's dissertation. This article specifically focuses on the analysis of non-classical verse forms in the author's poetry. According to one accepted classification, non-classical verse is divided into dactylic, taktovyk's, and accentual verse, depending on the change in the number of intrastressed syllable intervals. These forms have different productivity in Ukrainian poetry in general and in the work of Vasyl Holoborodko in particular. The polymetric superform of the non-classical verse is the vers libre, and Vasyl Holoborodko is the most productive author of this form among his contemporaries. This is related to the feature of his work as folklore trend. Among the examples of poetry presented in the article, there are samples that refer to the folklore sources of his poetry, spoken folk verse, which is the source for non-classical verse forms, and particularly vers libre. Additionally, there are interesting examples of dactylic, taktovyk's, and accentual verse, which are analyzed in detail in the article, including the poems "Spring", "Mother was cleaning potatoes", "Linen Birds", and "Hungry tongues tied in a knot...". The analysis of these pieces of poetry allows us to trace the tendencies of his creative work, such as a tendency toward irregularity, a slight predominance of taktovyk verses in non-vers libre verses, folklore as a leading principle both in vers libre and in the rest of the poems, and the alternation of expressive and meditative motifs in poetic creation, the reproduction of conversational speech and folk verse rhythms in the poetry, the transmission of unique features of the Ukrainian language and authentic imagery. The article is a part of an author's larger study of non-classical verse in Ukrainian poetry of the second half of the 20th century.
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Yaruchyk, Victor. "Українська поезія в Польщі у період „Хрущовської відлиги”." Studia Ucrainica Varsoviensia 5, no. 5 (May 8, 2017): 0. http://dx.doi.org/10.5604/01.3001.0009.9102.
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The article deals with the origin, development and importance of the Ukrainian literature that has been present in Poland since 1956. It was then that Ukrainians were able not only to easily express their artistic creativity, but they could also publish their works in the newly created media. The founders of the Ukrainian poetry in Poland were Ostap Lapskyy, Eugene Samohvalenko, Jakiv Hudemchuk, Mila Luchak, Olga Petyk and others. Among the main motives of their poems were longing for their homeland, loss of their native land, love of the homeland, and a high value of their native language. Since the eighties of 20 century, there has appeared literature of the new, younger generation.
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Styrkina, Yu. "SELECTION CRITERIA OF ENGLISH AND UKRAINIAN POETRY FOR PRIMARY SCHOOL STUDENTS." Aesthetics and Ethics of Pedagogical Action, no. 27 (June 20, 2023): 87–98. http://dx.doi.org/10.33989/2226-4051.2023.27.282137.
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The article is keen on answering the question: what should be the quality characteristics of the poetry offered for study in primary school, so that it could be easily perceived, so that it could be easy for children to remember, and so that it could be able to develop aesthetic tastes, a sense of rhythm, and rhymes.
The article stresses that poetry is designed to evoke a sense of security, harmony, and detachment in a child, to awaken intuition, and to create a relaxed atmosphere conducive to learning, just like music. The author states that poetry is especially important in our time when today's children live in the age of digital technologies. They often lack live contacts, they are lonely and very sensitive, but at the same time, they are not fully aware of their emotions. Reading poetry for them becomes not only the development of skills, but also psychotherapy, and empathy training, when a common emotional and valuable space is created, and book characters turn into safe guides to a stable world. And if to take into account the fact that all our internal processes are related to rhythmization, and rhythm and rhyme affect even motor activity and a sense of security, then we can conclude the necessity of forming criteria of poetry for study in elementary school.
The research states that the rhythms and melody of the poetic word return a person to the original state of harmony with himself and the surrounding world if it is a quality, genius poetry, but it can also distort the taste, bring disharmony to the state of mind of both an adult and a child - a child even more, since children are more sensitive to the effects of the external environment. Therefore, it is extremely important what kind of poetry we offer to the attention of an individual undergoing the process of formation.
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Kazanova, Yuliya. "A Solidarity Narrative: The Soft Power of Ukrainian Wartime Poetry." Czech Journal of International Relations 59, no. 1 (January 31, 2024): 127–52. http://dx.doi.org/10.32422/cjir.778.
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This article undertakes an analytical reading of the new wave of contemporary Ukrainian poetry after the Russian full-scale invasion of Ukraine, in particular the poems written and published online and/or in print between 24 February 2022 and May 2023. This Ukrainian post-invasion poetry serves as a cultural response to the war, shaping the national narrative of the war by undertaking a factual and emotional witnessing of the wartime reality and creating an empathetic connection that engenders a solidarity of the international audience with the Ukrainian people. It therefore functions as a tool of soft power which promotes the foreign-policy goals of Ukraine, namely European and transatlantic political solidarity in countering the Russian aggression.
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Strokal, Olexandr. "A suggestion of the euphony of Ukrainian poetry." Ukrainian Linguistics, no. 49 (2019): 138–40. http://dx.doi.org/10.17721/um/49(2019).138-140.
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Peony is one of the main, central and most significant characteristics of the Ukrainian language. Harmony of sound transitions, the correct combination of consonants and vowels are the main markers of the sound of the word. M. Yarmolinska’s study devoted to the study of poetic euphony as one of the characteristic features of Ukrainian poetry. The researcher understands the euphony as a science that analyzes the sound composition of verses and establishes the laws of poetic sonority. The author applies general linguistic principles for the interpretation of the phenomenon of euphony and emphasizes its importance and functions in the text. The researcher gives an interpretation of concepts such as “phonemic saturation of the text”, “textual accented vocalization”, “textual consonance” etc., reveals the peculiarities of their interrelations within euphony as a science. M. Yarmolinska argues that the law of sound semantics is realized as much as possible in atypical, unexpected, deliberately created acoustic contexts. The author offers a number of parameters which, in her opinion, it is expedient to analyze the euphonic phenomena. In particular, this is: intonational nuances; ornamental function; function of “audio italic”; associative bonds of words; creating a specific sound; script; creation of symbolic sound; semantic effects. The researcher believes, that one of the euphonic tools that performs a suggestive function is aliteration. This artistic instrument has a historical history and is therefore characterized by its being one of its own. M. Yarmolinska considers the peculiarities of the use of alliteration in T. Shevchenko’s, P. Tychyna’s, O. Dovhyi’s, A. Moisiienko’s, D. Chystiak’s poetic texts. The proposed selection of personalities by the researcher (T. Shevchenko, P. Tychyna, O. Dovhyi, A. Moisiienko, D. Chystiak), although it does not claim to be exhaustive, is rather indicative as it allows the linguist to make an analytical review of each of the stages of development of the Ukrainian language.
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Браїлко, Ю. І. "THE FUNCTION OF ONYM KREMLIN IN UKRAINIAN POETRY." Opera in linguistica ukrainiana 1, no. 26 (October 17, 2019): 189–200. http://dx.doi.org/10.18524/2414-0627.2019.26.181058.
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Koscharsky, Halyna. "Ukrainian Feminist Poetry: Is It Coming of Age?" Canadian Slavonic Papers 45, no. 3-4 (September 2003): 307–16. http://dx.doi.org/10.1080/00085006.2003.11092329.
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IVONCHAK, Pavlо. "UKRAINIAN POETRY 1840–1850 COMPARED WITH POLISH VERSIFICATION." Humanities science current issues 1, no. 65 (2023): 192–97. http://dx.doi.org/10.24919/2308-4863/65-1-30.
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Moroz, Ludmyla. "TYPES OF SUBJECTIVE MANIFESTATION OF A ROLE-PLAYING HERO’S CONSCIOUSNESS: PUBLIC AND POLITICAL PERSPECTIVE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 10(78) (February 27, 2020): 80–84. http://dx.doi.org/10.25264/2519-2558-2020-10(78)-80-84.
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The article deals with the artistic phenomenon of role-playing lyrics, outlines the problems of literary critics’ theoretical searches in their studies of the lyrics subject organization specifics. It also analyzes the points related to the formal methods of compositional and speech design in a poetic role-playing text. The article tries to characterize conceptual and meaningful foreshortenings which manifest themselves at the level of expression related to a composition’s ideological concepts as well as to thematic ones. The author investigates the peculiarities of role-playing lyrics artistic development in Ukrainian poetry of the 19th-20th centuries. The article gives a profound analysis to the types of subjective expression of a role hero consciousness concerning his social and political perspective. It is stated that episodic appeals to the image of a role hero in Ukrainian poetic literature already occur in the ancient poetry of the 17th-18th centuries. The gallery of role-playing characters represented by this poetry is also quite diverse. These are commoners and representatives of higher social strata as well as historical figures. The typical role-playing hero of the early Romanticism poetry is in general an artistic image the personal intentions of whom are limited to the role of a warrior-protector, a fellow, a representative of the other world established for this artistic direction. Activation of the socio-political sphere in the role lyrics in the second half of the 19th – early 20th centuries is thematically linked to the identification of three main types of role-playing heroes: 1) the type of socially and politically disadvantaged person symbolically delineated in the image of a prisoner; 2) a fighter who does not want to put up with the ugly oppression of his people and calls on the socio-political community to fight decisively against the enemy; 3) a wide and diverse gallery of satirical images of pseudopatriots. The thematic spectrum of the socio-political role sphere in Ukrainian poetry of the 20th century can be clearly and comprehensively identified by the ideological polarization of public forces related to the revolutionary upheavals, the events of the First and Second World Wars, the liberation struggle of the Ukrainians, and the repressive policies of the Soviet state.
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Machulin, L. "National archetypes as a modus of resistance poetry in Russian-Ukrainian war." Culture of Ukraine, no. 77 (September 28, 2022): 19–27. http://dx.doi.org/10.31516/2410-5325.077.02.
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The purpose of the article is to reveal the types of national archetypes of resistance poetry created during the full-scale invasion 2022 of Russian-Ukrainian war.
Poetry of the resistance of the first months of the full-scale invasion 2022 of Russian-Ukrainian war reflects the emotional upheaval of the nation, the conscious and unconscious perception of tragic events. This socio-cultural and spiritual phenome-non contributes to the worldview transformation of society, therefore the emergence foundations of war poetry of the highest quality deserve profound research.
The methodology. Research with a use of the cultural-historical method based on the systematization and generalization of the researched material reveals national archetypes of war poetry.
The results. The surge of poetic creativity in the genre of war poetry is explained, firstly, by the suffering during the first months of the war due to the internal conflict of the personality (“This cannot be for real!”) and the conflict returned from the outside (“This is unforgivable!”) Secondly, psychological traumas (losses of family and friends, homes, forced displacement, etc.) prompt the search for rescue beacons. Through the representation of the author’s worldview on tragic events, the individual, transformed at the level of artistic experience, becomes collective.
The scientific novelty of the research lies in the fact that for the first time an analysis of the poetry of resistance of the first months of the full-scale invasion 2022 of Russian-Ukrainian war was carried out.
Conclusions. The appeal to national archetypes became a modus of resistance poetry as a result of rethinking during the period of upheaval of the cultural paradigm and the search for ways of national identification.
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PASLAWSKA, Alla. "LINA KOSTENKO’S WORKS IN THE ORIGINAL AND IN GERMAN TRANSLATION." Current issues of linguistics and translations studies, no. 23 (March 30, 2022): 4–8. http://dx.doi.org/10.31891/2415-7929-2022-23-1.
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The present article analyses the poetic work of Ukrainian poet Lina Kostenko. The formation of the author as a personality, her participation in the protest movement against the Soviet regime are traced. The works and the leading theme of Lina Kostenko’s work, the peculiarities of her style are systematised. The characteristic stylistic devices as well as linguistic means of the poetry by Lina Kostenko are outlined. The main attention is focused on the translation of the Lina Kostenko’s poems done by the Austrian literary critic and translator Alois Woldan. The German translation of Kostenko’s poetry published in the bilingual German-Ukrainian collection “I znovu proloh” (en. “Prologue Again”) is analysed, the main translation strategies and methods are determined. Lina Kostenko is a consummate Ukrainian poet, an extraordinary, independed, unique and uncompromising figure, who, unlike other Ukrainians, does not need to ‘rise from her knees’, since under no circumstances she would kneel down. The comprehensive study of Lina Kostenko’s work, her unique authorial voice, theme of works and their linguistic implementation are topical today. Only few translators dared to translate the works of Lina Kostenko, because it is really a difficult task. So, we can only welcome the attempt of the Austrian literary critic and translator Alois Woldan to reproduce the poetic language of this outstanding Ukrainian poet. Lina Kostenko’s lyrics are exquisitely simple, but this simplicity is achieved by the perfection of all components of the poetic work – by concise wording, its aphoristic presentation, immaculate rhyme, semantic condensation of every word, variety of rhythms. Lina Kostenko has no words only for the sake of rhyme, everything sounds natural, logical, without haste. Man is the main character of her work, man as a part of nature, of the universe. If there is no dignity, inner harmony, understanding with the world around us, then this world around us disappears or degenerates into the “atomic black candle” of Chernobyl. The German translation of Kostenko’s poetry by Alois Woldan solves an extremely difficult combination of preserving the form and the content in the target text.
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Kravets, Larysa, Galyna Siuta, Tetiana Semashko, and Nadiia Bobukh. "Cognitive-Assessment Content of Zoomorphic Metaphors in Contemporary Ukrainian and English Language Culture a Comparative Aspect." World Journal of English Language 13, no. 6 (June 14, 2023): 439. http://dx.doi.org/10.5430/wjel.v13n6p439.
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The academic paper highlights the results of studying zoomorphic metaphors of modern Ukrainian linguoculture. Poetic texts of the ХХ - ХХІ centuries were primarily the source base because the language of poetry is the natural medium of metaphor. In poetry, the potential of metaphor is fully implemented. It conveys numerous shades of meaning, and semantic nuances, as well as the purpose of influencing the reader, stimulating his creative imagination, giving aesthetic pleasure, expanding the worldview, involving in co-creation, etc. Publicistic texts containing zoomorphic metaphors were also included in the analysis. The purpose of the research was to identify the principal types of zoomorphic metaphors and to find out the features of their semantics and functions in the language of modern Ukrainian poetry and journalism. It has been established that in the Ukrainian linguoculture, the basic donor zones of zoomorphic metaphors are the concepts of animals, birds, domestic animals, reptiles, and insects. A separate donor zone in Ukrainian linguoculture is the wing concept. Based on these donor zones, the types of zoomorphic metaphors were determined. Most zoomorphic metaphors recorded in Ukrainian poetry and journalism are traditional in their form using and implemented content. They have a distinct ethnocultural color and are connected with mythology. The rest of the metaphors are individually and authorial, arising based on the similarity of the compared concepts. All zoomorphic metaphors are divided into three groups according to the presence of an additional evaluative value: metaphors with a positive emotional and evaluative value, metaphors with a negative emotional and evaluative value, and metaphors with a neutral value. Metaphors of positive evaluation are noticeably predominant in Ukrainian poetry. They create specific sensory images of nature and objects and characterize a person and his mental state. The research proved that zoomorphic metaphors are frequently employed in the English language to convey figurative meanings by likening human characteristics or actions to those of animals. These metaphors utilize the traits, behaviors, or physical attributes of diverse animals to enrich the description or comprehension of a specific subject. It was acknowledged that the prevalence and characteristics of zoomorphic metaphors in the English language may diverge from those observed in Ukrainian linguoculture. The particular attributes, cultural associations, and symbolic interpretations assigned to various animals can vary across different languages and cultures.
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Rosenblum, Oksana. "Ivan Malkovych, editor and compiler. Antolohiia ukrains'koi poezii: XX stolittia [Anthology of Ukrainian Poetry: Twentieth Century]." East/West: Journal of Ukrainian Studies 4, no. 2 (September 19, 2017): 325. http://dx.doi.org/10.21226/t2zd05.
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Book review of Ivan Malkovych, editor and compiler. Antolohiia ukrains'koi poezii: XX stolittia [Anthology of Ukrainian Poetry: Twentieth Century]. Vydavnytstvo Ivana Malkovycha “A-BA-BA-HA-LA-MA-HA,” 2016. Ukrains'ka poetychna antolohiia [Ukrainian Poetic Anthology]. 1280 pp. Cloth
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SUCHARSKI, Tadeusz. "PARISIAN ''KULTURA'' IN RELATION TO UKRAINIAN EMIGRANT LITERATURE." INNOVATIONS IN THE SCIENTIFIC, TECHNICAL AND SOCIAL ECOSYSTEMS 1, no. 5 (2023): 40–56. http://dx.doi.org/10.56378/tztp20230224.
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The purpose of research is to present the activities of the Polish émigré magazine Kultura in the popularization of Ukrainian literature and culture, primarily formed in exile. The research methodology is based on the comparative methodology and hermeneutic methodology, which allow to present and explain different approaches to culture and literature. But they also teach respect for the Other. The Scientific Novelty lies in the fact that, for the first time in Polish literary studies, a deep reflection was undertaken on the forms of implementation by the “Kultura” program of cooperation between Poles and Ukrainians (postulated by Jerzy Giedroyc, the editor of emigration monthly). The Conclusions: Undoubtedly Lobodowski fulfilled the most important role in the process of evaluation of Ukrainian identity in conjunction with simultaneous reassessment of Polish identity. He stared at the Ukrainian literature, especially poetry, almost exclusively through the prism of its artistic value. In all essays Lobodowski commanded ‘dignity’ of Ukrainian literature, he also drew attention to the attainment of its independence, to the liberation from the chains of national duty.
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Tomniuk, Liudmyla. "POLYSYSTEM APPROACH TO ANALYSIS OF TRANSLATION OF GERMAN LANGUAGE POETRY BY G. TRAKL." Germanic Philology Journal of Yuriy Fedkovych Chernivtsi National University, no. 835-836 (2022): 117–27. http://dx.doi.org/10.31861/gph2022.835-836.117-127.
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The article attempts to develop an indicative outline of poetry analysis at the stage of pre-translation analysis and to formulate the criteria for the analysis of the quality of translation of German-language poetry into Ukrainian using a polysystem approach. The poems of G. Trakl and their translations by Ukrainian translators — T. Gavrilov, M. Fishbein and D. Nalyvayko were chosen as the material of the research. The study was conducted in three phases. In the first phase, the life and creative path of G. Trakl was analyzed; the thematic direction of his work and the factors that influenced the formation of his poetry idiostyle were determined; the history of writing of poetry and creation of the collection Sebastian im Traum was investigated; the leading motives and ideas of G. Trakl's poetry, compositional features, key images, symbolism, peculiarities of versification were determined; the artistic and expressive means of the German language in the author's poetry were characterized. The recent analysis resulted in the formulation of the features of G. Trakl's idiostyle and its presentation in the form of a word cloud. In the second phase, the article conducts analysis of the quality of G. Trakl's poetry translation into Ukrainian on the example of the poems Grodek, Kindheitserinnerung and Begegnung. Since the object of the research is poems, each of which is a distinctive alternative to objective reality and describes in detail a specific situation or event as a fragment of the author's worldview by verbal means, we analyze the quality of translation at phonetic, syntactic and functional levels. The analysis of the translation of G. Trakl's poetry shows that translators successfully reproduce in their translations the stanzas and formal peculiarities of each poem, achieve the effect of cacophony, as the author, through the use of dissonance, anaphora and alliteration. As for the syntactic and functional levels, the translators, following the author, use various stylistic means in their translations, among which epithet, rhetorical question, inversion, metaphor, hyperbole, metonymy and personification are predominant. This variety of stylistic means is explained by the fact that the poetic language of G. Trakl is extremely rich, it astonishes with depth and accuracy of images, a wide range of connotation shades and symbolism. In the third phase of the research, an algorithm for analyzing G. Trakl's poetry at the stage of pre-translation analysis was developed and criteria for the analysis of the quality of translation of German-language poetry into Ukrainian using a polysystem approach were formulated.