Academic literature on the topic 'Ukrainian Portraits'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Ukrainian Portraits.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Ukrainian Portraits"
1
Davydenko, Valentyna. "Ukrainian portraits." Мiждисциплiнарнi дослiдження складних систем, no. 21 (2022): 149–51. http://dx.doi.org/10.31392/iscs.2022.21.149.
Full text
2
Tarasenko, O. "Image of the Family and People in the Artwork of Roman Petruck." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 227–34. http://dx.doi.org/10.33838/naoma.27.2018.227-234.
Full textAbstract:
Heroes of portraits of Roman Petruk are open-world creative people – his teachers, parents, of the same age – young artists, actors in whose faces the reality of the Spirit is manifested, the movement of life. The article analyzes Petruk's portraits of his teacher, an outstanding Ukrainian artist and teacher, Nikolai Andreevich Storozhenko and teachers of NAOMA. The ritual value of a portrait is shown, which provides the connection of the worlds - temporary and eternal. The symbolic content of portraits, the value of the conditional background in character characteristics is studied. The relationship between content and form, features of composition, symbols and stylistics of portrait images of the Ukrainian artist in the context of world art is revealed. Methods of iconography and iconography are used. The main thing in the school of Storozhenko: the means of art combine in man the lost integrity of the body, soul and spirit. In the compositions of Petruk, secular and cult art was consonant. Following the teacher, Roman communicates the time: man and family, family and people, people and humanity. In Storozhenko’s portraits Petruk asserts the highest hierarchy of the artist-creator. The connection with portraits of avant-garde masters is shown. The relationship between the portrait and the icon in the portraits of Petruk is studied. The icon confirms the dominant spirit of peace, and emotionality is important in a psychological portrait. The work of the artist combines the legacy of the art of Ancient Rus and Byzantium, the European and Ukrainian Baroque, romanticism, and academicism with modern trends. Neosynthesticism – in such a way named his method Petruk. The gallery of portrait images created by Roman Petruk (more than 100 works of painting and graphics) is a testimony to the spiritual battle of the artist for the dominant of spirit over matter. The general scientific significance of the article is the introduction of a modern Ukrainian portrait into the context of world art.
3
Halchuk, Oksana. "Pictorial portraits of the nation: Ilya Repin’s «Own» and «Others»." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, no. 26-27 (2022): 46–55. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-46-55.
Full textAbstract:
The article examines the problem of representing the collective portrait of the nation in the language of painting. The relevance of such a study is determined by the need for identification, which is especially acute in war conditions: the distinction between "own" and "foreign" is a necessary condition for national self-identity and the unity of the human community as a nation. Ilya Repin's painting work was chosen as the object of analysis. The goal is to determine the typological features of the collective portrait of the nation based on Repin's canvases. Achieving the set goal is realized in the following tasks: outline in dotted lines how the tradition of the collective portrait of the nation was formed; consider pictorial versions of Repin's portrait of the nation; compare the portraits of "own" and "other" ("alien") nations. The novelty of the study is determined by the proposed view of Repin's masterpieces as symbolic portraits of the Ukrainian and Russian nations, created according to the principle of contrast. For the first time, features characteristic of the author's interpretation of the image of the nation were considered in the context of the formation of this tradition in painting. The article uses the historical-cultural and comparative methods of research, the method of commented reading of the pictorial "text". It is determined that the genre of the portrait of the nation began to form in the era of romanticism. Its authors sought to reproduce events, exterior, and interior with national marking. Emphasis was placed on them as "typical", or "characteristic" of a certain nation or country. We consider Repin's paintings "Zaporozhians writing a letter to the Turkish Sultan" and "Hopak" as pictorial portraits of the Ukrainian nation. They have in common an idealized romantic past. Events and phenomena associated with the concepts of "heroic" and "spiritual" are reproduced. The depicted characters are archetypes but endowed with individual traits that form a mosaic national portrait. We compare "Zaporozhians writing a letter to the Turkish Sultan" with the portrait of France in E. Delacroix's painting "Freedom on the Barricades." Common to both paintings is the concept of freedom, which must be chosen. At the same time, Repin complements the idea of freedom with a trait typical of the Ukrainian character. We are talking about laughter as a manifestation of inner freedom. Therefore, the artist offers a kind of formula according to which only those who are free inside can win freedom. Instead, Repin's national portrait of the "stranger" is represented in the paintings "Burlaks on the Volga" and "Crusade in the Kursk Province." Their modern plots are interpreted realistically. In the center are depicted events or phenomena associated with the struggle for survival, silent obedience, and external and internal slavery. The characters are emphatically unaesthetic, merging into a "faceless" portrait of the scumbag. Thus, the pictorial portraits of Ukraine and Russia in Repin's work are directly opposite in terms of their ideological content and stylistic content. For the artist, a collective portrait of Ukrainians is also an attempt to declare one's own identity in the conditions of an inferiority complex imposed by the empire.
4
Bernadska, Nina. "Historical and literary works of Leonid Biletskyi: diversity of scientific interests of the scientist." IVAN OHIIENKO AND CONTEMPORARY SCIENCE AND EDUCATION 20 (December 25, 2023): 146–55. http://dx.doi.org/10.32626/2309-7086.2023-20.146-155.
Full textAbstract:
The article analyses the historical and literary works of the famous Ukrainian liter-ary critic Leonid Biletskyi (1882-1955), written by him in the diaspora. They are both of various genres (textbook, literary portrait of a writer or scientist, preface), and colourful thematically: Ukrainian folk art, individual writers or characteristics of the achieve-ments of Ukrainian scientists. This work is addressed to diff erent audiences – school, academic, and the general public with the aim of popularizing Ukrainian literature and its best assets. L. Biletsky constantly emphasizes the idea of the inclusion of native writing in the world context, uses a set of methodologies that complement each other – biographical, cultural-historical, comparative. However, the philological one is funda-mental for him, which allows to characterize literary phenomena as self-suffi cient aes-thetic phenomena. Also, the scientist successfully combines historical and literary mate-rial with theoretical, considering the genre nature of the work, the specifi cs of literary trends, in particular, modernism. He, like his predecessors, begins the author’s course of the history of Ukrainian literature with folk poetry, involving a large mass of informa-tion about the anthropological, ethnographic, and national features of Ukrainians. In various genre texts about Ukrainian writers, L. Biletskyi explores the origins of their talent, place and role in the history of Ukrainian literature, peculiarities of style, genre system. In the portraits of famous Ukrainian fi gures, he emphasises their service to the Ukrainian idea, the originality of their contribution to science.
5
Kupchynska, Larysa. "A portrait of Klymentii Sheptytskyi by artist Mykhailo Shalabavka." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 12(28) (2020): 382–99. http://dx.doi.org/10.37222/2524-0315-2020-12(28)-13.
Full textAbstract:
The article covers the life and creative development of one of the little known Ukrainian photographers and painters of the first half of the twentieth century, who was Mykhaylo Shalabavka. In order to disclose his biographical data in more detail, the information provided by modern researchers 399 has been supplemented with archival materials. Due to their analysis, first of all, M. Shalabavka’s letters to Metropolitan Andrey Sheptytskyi presented many new facts that characterize the artist’s participation in public life in the formation of the Ukrainian school of photography first in Lviv, his beliefs about further ways of its development. Emphasizing his active participation in public life, the article stated that he executed hundreds of photographs of national liberation competitions of the Ukrainian people of the early twentieth century, life and way of life of Boykivschyna, Hutsulschyna and Podillya, architecture of Lviv. Particular attention is paid to the photo portraits that brought the author glory. One of his most famous works, Portrait of Oleksa Novakivskyi, and little-known photographs of prominent representatives of the Greek Catholic Church of the twentieth century, discovered in the collections of the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv named after, are analyzed in detail. It is substantiated that by performing portraits, M. Shalabavka worked according to the requirements of the time, which included the use of the traditions of the portrait genre of previous centuries. This has significantly influenced the artist’s works, securing them a proper place in the history of photography. Due to many years of work by photographer M. Shalabavka in the late 1930’s, he turned to painting, performed an oil painting «Portrait of Klymentii Sheptytskyi». He is one of the later artists and sums up his multidimensional experience. Keywords: Mykhaylo Shalabavka, Ukrainian photographers, history, life and way of life, portrait, Klymentii Sheptytskyi.
6
Bovtun, A. "PORTRAIT DEPICTIONS OF SYMON PETLIURA ON THE PAGES OF UKRAINIAN PERIODICALS OF THE 1920’s – 1980’s: COMPARATIVE ANALYSIS." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 150 (2021): 5–12. http://dx.doi.org/10.17721/1728-2640.2021.150.1.
Full textAbstract:
The article reviews characteristics of portrait depictions of Symon Petliura, the eminent civil and political leader in the period of the Ukrainian Revolution of 1917–1921; their reproductions were actively displayed on the pages of Ukrainian periodicals, particularly in magazines “Hurtuimosia” (“Consolidate”), “Shturm” (“Attack”), and “Krylati” (“Winged”), weekly “Tryzub” (“Trident”) and “Hromada” (“Community”), periodical “Samostiina Ukraina” (“Independent Ukraine”), almanac of the Ukrainian People’s Union and the New Way. The author determined the representative artwork circle devoted to Symon Petliura, as well as its authorship, characterized time and circumstances of their creation, defined the special features of Symon Petliura’s personality embodiment on portrait depictions by Ukrainian artists P. Kholodniy, V. Masiutyn, D. Potoroka, L. Perfetskiy, O. Liaturynska, I. Denysenko, as well as illustrators B. Tytla and P. Lopata. A comparative analysis of published portraits, along with defining their authorship, gives a possibility to determine their source-study and cultural value, characterize time and circumstances of their creation, as well as their importance for the processes of commemoration and the formation of historical memory about Symon Petliura. As a result of the research on portrait depictions of Symon Petliura that were published on the pages of the Ukrainian periodical press in the 1920s–1980s, these artworks are a valuable historical source for a supplement to the Chief Otaman’s cohesive image as a prominent state, civil and political activist in the period of the Ukrainian Revolution of 1917–1921. Portrait depictions of Symon Petliura have cultural, art, and source-study value; they play an important role in the processes of commemoration of memory about Chief Otaman as the national resistance leader in 1917–1921.
7
Tarasenko, A. A., and O. A. Tarasenko. "TRANSFORMATION OF THE RITUAL GENEALOGICAL PORTRAIT IN PAINTING OF MIKHAILO GUIDA: EUROPEAN CONTEXT." Art and Design, no. 1 (May 23, 2023): 53–64. http://dx.doi.org/10.30857/2617-0272.2023.1.5.
Full textAbstract:
The purpose of the article is to investigate the significance of the European portrait canon in the genre painting by Mikhailo Guida: "Kuban Wedding: Dedication to Great-Grandfather Demian Doroshenko" (2004).
Methodology. The historical-cultural, comparative, iconographic, iconological, and hermeneutic methods are used.
Results. Based on a comparison with compositions on the theme of marriage in the art of antiquity, the Renaissance, and the Modern era, in Guida's painting the following has been identified: the presence of a spiritual centre (icon); the role of symmetry in constructing the ritual composition; the national character of the images and symbols (Ukrainian land, home yard, clothing, flowers, ritual objects). The wedding portrait of the Cossack family was created in the iconography of ceremonial aristocratic portraits, developed by Titian, Tintoretto, Velasquez, Rubens, Van Dyck, and Whistler.
Guida created a new form of portrait and self-portrait in the historical portrait, endowing the image of ancestors with the individual psychology of a person in times of crisis, with its inherent reflection and the desire to understand one’s place in the universe. In the composition of the Ukrainian painter, there is a sacralisation of the land and the house-yard through the connection with the universal. The laconic composition plastically corresponds to the definition of the Kuban Cossack family's place in the steppe landscape. The family is shown as a monolithic integrity, which includes horses embodying the energy of nature. The golden ratio of the composition contains the archetype of the cross. The image of the birth-giving earth is revealed by the horizontal of fertile black soil. The family is included in the spiritual vertical of the ritual "axial time" – Axis Mundi. In the connection between heaven and earth, the strength of the Ukrainian lineage and people is affirmed.
The scientific novelty of the publication lies in the fact that, for the first time, a comparison is carried out of the ideological content and the form of Guida's painting with ritual compositions on the theme of weddings and the canon of European aristocratic portraits. The art of the Ukrainian painter is incorporated into the context of European art.
Practical significance. The presented materials, their artistic-stylistic analysis, and generalization can be used in scientific research dedicated to the art of portrait-painting in Ukraine.
8
Gorbolis, L. "Portraits with Vision Angle (Virchenko Tetiana. “Contemporary Ukrainian Drama. Gallery of Portraits”: Monograph)." Fìlologìčnì traktati 11, no. 1 (2019): 108–10. http://dx.doi.org/10.21272/ftrk.2019.11(1)-12.
Full text
9
Markulyak, Larysa Vasylivna. "Means of Character Portraying in Mykhailo Kotsiubynsky's Literary Works." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 14, no. 24 (2021): 36–43. http://dx.doi.org/10.34079/2226-3055-2021-14-24-36-43.
Full textAbstract:
The article examines a portrait as a means of creating a character in the works of Mykhailo Kotsiubynsky, an outstanding Ukrainian writer of the fin de sièclе period. It is traced that an important category of poetics is the portrayal of a character. It helps to better understand the writer's intention, to reveal his creative individuality, to understand the problems of prose. Various types of portraits are identified, and the features of portraying in the novels of M. Kotsiubynsky's works are analysed. It is proved that the portrait is an emphasis on the anthropocentrism of fiction. The significance of portraing in the context of the formation of the character's image is clarified. The author of the article believes that Mykhailo Kotsiubynsky was one of the first among the modernist writers to feel the need to search for new approaches in the depiction of artistic images in order to create not only his own world, but also an integral paradigm of the Ukrainian cultural space. In the end, the research helped him develop his own holistic and unique style, a creative manner in which the writer translates the vision angle from a blind reflection of reality into the psychology of his characters. This work of M. Kotsiubynsky went beyond the realism discourse, absorbing the main features of neo-romanticism. It is traced that the neo-romantic stream of the story is more expressive with the ethnographic part, which is complemented by the portraits of the characters. It is due to the ethnographic portrait that the mental characteristics of the characters are reflected. In the story “Shadows of Forgotten Ancestors” M. Kotsiubynsky skilfully uses an ethnographic portrait, supplementing it with a psychological one, which helps to strengthen the mental features of the characters, to create vivid images. It has been proved that it is the character's portrait as a component of the human image that acquires special significance in the repertoire of Mykhailo Kotsiubynsky's works. It helps to better reveal the nature of the character and to better understand the nature of his actions. At the same time, M. Kotsiubynsky goes beyond the limits of ethnographic descriptiveness: he is interested in the soul of a person and human nature in general, therefore the writer resorts to a combination of ethnographic features of a portrait with its psychological manifestations. It is proposed to consider a portrait as a means of expressiveness in revealing the ideological content of a prose work. The role of the artistic detail is substantiated, which emphasizes the semantic content of the psychological portrait on the one hand, and, on the other, it enriches the ethnographic gamma of the writer's prose. It is traced that the use of contrast creates a dynamic that serves the emergence of a cohesive image. Portrait descriptions are not only plot elements, but are full-fledged components of the work. It has been established that the image of the writer himself also appears through the portrait characterization of the characters, so the representation of a work of art occurs through the prism of the artist's individual perception.
10
Budzar, Maryna, and Yana Yarmolenko. "Portraits of the 18th Century from the Family Gallery of the Galagan’s: Socio-Cultural dynamics in visual images of history." Kyiv Historical Studies 16, no. 1 (2023): 144–56. http://dx.doi.org/10.28925/2524-0757.2023.117.
Full textAbstract:
The article examines the issue of studying portraits from family galleries of the Ukrainian lordship of the 18th century as visual evidence of the social dynamics within this stratum. The concept of the article is based on the statement that a portrait as a historical source represents a person in the aggregate of personal characteristics and social role. The purpose of the article is to analyse the reproduction of socio-cultural changes experienced by the Hetmanate's elite during the 18th century in portraits from the Galagan’s collection. The authors used a set of methods of historical-anthropological and historical-artistic analysis. In particular, the facts of the real biographies of the representatives of the family were correlated with the images on the canvases. Changes in the choice of authors of works were analysed, and the evolution of artistic and technical methods of their performance was considered. Elements of clothing and materials from which they are made, the shape of hairstyles, and the presence of accessories were taken into account. Portraits of the Galagan’s illustrate the process of transformation of the Cossack-elderly family into a noble one and show the change of social roles within one family. The works of the family collection eloquently attest to two models in the behaviors of the top Cossacks and their descendants — the imitation of ancestral traditions and the borrowing of the lifestyle of the imperial aristocracy. The change in the artistic style of works is also a mirror of the dynamics of the socio-cultural priorities of society. Over the course of 50 years, the transition from Cossack portraits with characteristic features of the baroque style to academic canvases, combining elements of rocaille, classicism, sentimentalism, and romanticism, took place within one collection. At the same time, these works demonstrate how ancestral portraits became symbolic capital for Galagan descendants already in the 19th century, contributing to the formation of ideas about the Cossack roots of the family.
Books on the topic "Ukrainian Portraits"
1
I︠A︡rmolenko, Panas. Panas I︠A︡rmolenko: Portret moho krai︠u︡ ; [alʹbom]. Kyïv: Rodovid, 2006.
Find full text
2
(Chicago, Ill ). Ukrainian National Museum. Art exhibit--heirloom treasures of Roxolana Skobelska Pomeroy: Rodynna spadshchyna Roksoli︠a︡ny Skobelʹsʹkoï Pomeroĭ : Kornylo Ustyianowycz, Augusta Kochanowska, Volorymyr Kozakewycz, Mykhailo Moroz, Alonso Pérez, January 11-28, 2013. Chicago: Ukrainian National Museum, 2013.
Find full text
3
Bušak, Stanislav, and Valerij Sacharuk. Kozak Mamaj: Fenomen odnoho obrazu ta sproba pročytannja joho kulʹturnoho identyfikacijnoho kodu ; [alʹbom]. Kyïv: Rodovid, 2008.
Find full text
4
Pushchenko, Serhiĭ. Portrety dobrovolʹt︠s︡iv na viĭni: Z︠h︡yvopys, hrafika, svitlyny. Kharkiv: Vydovnyt︠s︡tvo "Maĭdan", 2018.
Find full text
5
Biletina, Kateryna. Kateryna Biletina. Kherson: PP Kourov O. S., vydavet︠s︡ʹ, 2009.
Find full text
6
Shustrova, L. Shevchenkiana v ekslibrise. Moskva: Muzeĭ ėkslibrisa i miniati︠u︡rnoĭ knigi, 2014.
Find full text
7
Sochenko, Maryna. Oblychchi︠a︡ Maĭdanu: Z︠h︡yvopys, hrafika. Kyïv: TOV Vydanvyche pidpryi︠e︡mstvo "Ukraïnsʹkyĭ priorytet", 2015.
Find full text
8
Z, Romanchenko M., ed. Zvyti͡a︡ha: Pysʹmennyky--40-richchi͡u︡ Peremohy. Lʹviv: Vyd-vo "Kameni͡a︡r", 1985.
Find full text
9
Poshyvaĭlo, Ihor. Ukraïna ĭ ukraïnt︠s︡i: Halychyna : nabir podarunkovo-poshtovykh lystivok zi zbirky svitlyn Nat︠s︡ionalʹnoho t︠s︡entru narodnoï kulʹtury "Muzeĭ Ivana Honchara" = Ukraine and Ukrainians : Halychyna : contains keepsake or mailable postcards from the collection of the National Centre of Folk Culture "Ivan Honchar Museum". Kyïv: Ukraïnsʹkyĭ t︠s︡entr narodnoï kulʹtury "Muzeĭ Ivana Honchara", 2011.
Find full text
10
Poshyvaĭlo, Ihor. Ukraïna ĭ ukraïnt︠s︡i: Typaz︠h︡i, krai︠e︡vydy, pobut : nabir z 30 podarunkovo-poshtovykh lystivok iz fondiv UT︠S︡NK "Muzeĭ Ivana Honchara"= Ukraine and Ukrainians : types, landscapes, lifestyles : contains 30 keepsake or mailable postcards from UCTC "Ivan Honchar Museum". Kyïv: Ukraïnsʹkyĭ t︠s︡entr narodnoï kulʹtury "Muzeĭ Ivana Honchara", 2009.
Find full textBook chapters on the topic "Ukrainian Portraits"
1
Nikolenko, Olga. "Художня рецепція образів України та українців у повісті М. Гоголя Тарас Бульба (перша редакція 1835 р.)." In Biblioteca di Studi Slavistici, 15–32. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0238-1.04.
Full textAbstract:
Artistic Reception of Images of Ukraine and Ukrainians in Mykola Gogol’s Taras Bulba (First Edition, 1835). This paper discusses Mykola Gogol’s story Taras Bulba (1835) and its exploration of Ukrainian history and culture. Gogol’s work reflects his deep study of Ukrainian and world history, as well as his collection of Ukrainian folklore. The story presents a mythopoetic image of the Ukrainian Cossack and addresses the historical context of the Zaporizhian Sich’s liquidation. Gogol aims to poetically describe the grand history of the Zaporizhian Sich and recreate the Ukrainian Cossack imagery by blending European heroic epic traditions with Ukrainian folklore. Gogol’s collections, including Evenings on a Farm Near Dikanka and Mirgorod, form a cohesive representation of his development and exploration of Ukraine’s image. The paper further highlights Gogol’s reflections on Ukrainian history and the Cossacks in his articles and emphasizes the significance of the term ‘Ukraine’ in Taras Bulba. The story portrays Ukraine as a distinct entity within European history. Gogol’s mythopoetic approach, inspired by Ukrainian songs and dumy, shapes the depiction of Ukrainian history and the passionate aspirations of the Ukrainian Cossacks. The story draws on ancient and medieval heroic epic traditions and intertwines them with domestic narratives of Taras Bulba’s family. Gogol creates images of Ukrainian Cossacks as noble knights defending their faith and ideals. Artistic Reception of Images of Ukraine and Ukrainians in Mykola Gogol’s Taras Bulba (First Edition, 1835) This paper discusses Mykola Gogol’s story Taras Bulba (1835) and its exploration of Ukrainian history and culture. Gogol’s work reflects his deep study of Ukrainian and world history, as well as his collection of Ukrainian folklore. The story presents a mythopoetic image of the Ukrainian Cossack and addresses the historical context of the Zaporizhian Sich’s liquidation. Gogol aims to poetically describe the grand history of the Zaporizhian Sich and recreate the Ukrainian Cossack imagery by blending European heroic epic traditions with Ukrainian folklore. Gogol’s collections, including Evenings on a Farm Near Dikanka and Mirgorod, form a cohesive representation of his development and exploration of Ukraine’s image. The paper further highlights Gogol’s reflections on Ukrainian history and the Cossacks in his articles and emphasizes the significance of the term ‘Ukraine’ in Taras Bulba. The story portrays Ukraine as a distinct entity within European history. Gogol’s mythopoetic approach, inspired by Ukrainian songs and dumy, shapes the depiction of Ukrainian history and the passionate aspirations of the Ukrainian Cossacks. The story draws on ancient and medieval heroic epic traditions and intertwines them with domestic narratives of Taras Bulba’s family. Gogol creates images of Ukrainian Cossacks as noble knights defending their faith and ideals.
2
Gibiec, Magdalena. "Portrait of leading OUN activists." In Organisation of Ukrainian Nationalists on Emigration, 89–120. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003428954-4.
Full text
3
"Pornographic Portraits." In The Ukrainian Night, 119–21. Yale University Press, 2018. http://dx.doi.org/10.2307/jj.13027267.29.
Full text
4
Kuryliak, V. V. "WORLDVIEW PORTRAIT OF A UKRAINIAN REFUGEE." In THE RUSSIAN-UKRAINIAN WAR (2014–2022): HISTORICAL, POLITICAL, CULTURAL-EDUCATIONAL, RELIGIOUS, ECONOMIC, AND LEGAL ASPECTS, 1370–74. Izdevnieciba “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-223-4-174.
Full text
5
Torianyk, Valentyna Mykolaivna. "CREATIVE PORTRAITS OF UKRAINIAN SCIENTISTS IN HISTORICAL PROGRESS GENETICS IN THE 20TH CENTURY (TO THE 200TH ANNIVERSARY OF THE BIRTH OF GREGOR JOHANN MENDEL)." In SCIENTIFIC AND EDUCATIONAL DIMENSIONS OF NATURAL SCIENCES, 683–726. Izdevnieciba “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-289-0-30.
Full text
6
Diakiv, O. V. "THE DEVELOPMENT OF THE PORTRAIT GENRE IN THE WORKS OF IVANO-FRANKIVSK ARTISTS OF THE LATE 20TH – EARLY 21st CENTURIES." In CULTURAL AND ARTISTIC PRACTICES: WORLD AND UKRAINIAN CONTEXT, 185–208. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-322-4-9.
Full text
7
Martos, Svitlana, Svitlana Klymovych, and Olena Karabuta. "AltspaceVR IN DISTANCE EDUCATION OF PHILOLOGY STUDENTS." In Development of scientific, technological and innovation space in Ukraine and EU countries. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-151-0-10.
Full textAbstract:
Today, virtual and augmented reality is being introduced into various professional fields, including the educational process. Virtual reality technology makes it possible to immerse people in a simulated virtual world and makes communication much easier, because it is a spatially entertaining form in which each user-visitor can create not only their own image, shape or choose the environment and so forth. The study demonstrates with concrete examples the possibilities of using the AltspaceVR platform in teaching educational disciplines, turning an ordinary educational process into a fascinating journey. The authors of the publication (Associate Professors of the Department of Ukrainian Philology and Journalism of Kherson State University) shared their experience in the pilot mentoring programme for teachers of higher education institutions «New Tool ‒ New Opportunities: AltspaceVR» initiated by the «Learn and Differentiate: Infomedia Literacy» project team, which is implemented by the International Research and Exchanges board (IREX) and supported by the US and UK Embassies in partnership with the Ukrainian Ministry of Education and Science and the Academy of Ukrainian Press. Using the example of the information zone «Gender Stereotypes» of the educational discipline «Gender Linguistics», presentation of the educational discipline «Language Self-Branding of Modern Specialist», announcement of the educational discipline «Language Portrait of the City», the teachers demonstrate the possibilities of using AltspaceVR platform as an informational and educational environment. The authors argumentally prove that in distance learning mode, working in a virtual reality game environment today becomes not only a reality but also a necessity. The use of AltspaceVR as one of the latest technologies in teaching is quite reasonable. The AltspaceVR platform allows participants of the educational process to realize the same opportunities and get the same impressions as when participating in a real (traditional) event without leaving home. The main advantage of using the AltspaceVR platform in distance learning is its interactivity, which prevents the learning process from becoming boring. In contrast to Zoom and other platforms, there is an opportunity to involve participants as much as possible, for instance through role playing, games, etc. The effective implementation of virtual reality technologies, in particular the use of the AltspaceVR platform in the educational process, has a powerful potential to form an individual with a high level of digital literacy, capable of learning, communication and collaboration. The academic freedom of the teacher allows to define the tool of digital learning and part of its implementation in the educational process. A relevant issue today is the teacher’s workload, since modelling the artificially created world on the AltspaceVR platform for classes is quite time-consuming. And, of course, mastering the latest information and communication technologies requires new competencies and a high level of teacher’s digital literacy. Consequently, the question of training teaching staff to realize distance learning, who would be able to support the full cycle of organizing the educational process, needs to be solved.
8
Pinchuck, T. S., and A. M. Manko. "LITERARY PORTRAIT OF IVAN NYZOVYI. THE FEATURES OF “TRANSPLANTATION” OF JAPANESE POETIC TRADITION IN THE PLANE OF UKRAINIAN LYRICS (ON THE EXAMPLE OF HAIKU)." In ACTUAL PROBLEMS OF PHILOLOGICAL SCIENCES AND METHODS OF TEACHING, 134–51. Liha-Pres, 2021. http://dx.doi.org/10.36059/978-966-397-234-3-8.
Full text
9
Rudnieva, Anna, and Yuliia Malovana. "Development of e-Government in the Context of Digital Skills and Digital Education toward the Phenomenon of Literacy/Illiteracy." In Obywatel w centrum działań e-administracji w Unii Europejskiej, 271–90. Ksiegarnia Akademicka Publishing, 2023. http://dx.doi.org/10.12797/9788381388894.15.
Full textAbstract:
The article explores the issues of forming the image of Ukraine in the context of modern information processes, digital transformation and deployment of e-governance, defined as a positive image influencing domestic processes, geopolitical positioning, the place of the state in the information and political space. A change in the formation of a positive image of Ukraine after the outbreak of the war with the Russian Federation on February 24, 2022 was noted. Along with an open armed conflict, there is a struggle in the information space, an image struggle. An example of Ukraine’s positioning in the world information space within the framework of the “Courage” campaign is considered, the purpose of which is to raise the spirit of Ukrainians and at the same time intensify the presence of Ukraine’s image in the world information space, formation of sympathy and support for the country, and laying the foundation for future cooperation after the end of the war. The criteria for the formation of the „Portrait of Ukraine,” aimed at increasing the assessment of the country in the eyes of the international community and its own population are proposed, including: independence, tolerance and cooperation, developed democracy, political stability, security, openness, economic independence and competitiveness, national, cultural, natural, traditional and historical uniqueness, originality, and attractiveness for investment. The influence of the activities of the Ministry of Digital Transformation of Ukraine in strengthening modernization processes, introducing digital technologies in public administration, and developing e-governance has been studied. The latest information, digital and communication technologies being introduced in Ukraine in line with the development of e-governance have made the provision of public services more comfortable and citizen-oriented. This significantly affects the process of the population’s perception of their own state, stimulates the development of information democracy and creates prerequisites for improving the image of Ukraine on the international arena.
Conference papers on the topic "Ukrainian Portraits"
1
Smyrna, L. V. "POLISH-UKRAINIAN DIALOGUE IN VISUAL ARTS DISCOURSE (2022): WAR PORTRAITS AND REFLECTIONS." In АКТУАЛЬНІ ПРОБЛЕМИ РОЗВИТКУ УКРАЇНСЬКОГО ТА ЗАРУБІЖНОГО МИСТЕЦТВ: КУЛЬТУРОЛОГІЧНИЙ, МИСТЕЦТВОЗНАВЧИЙ, ПЕДАГОГІЧНИЙ АСПЕКТИ. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-317-3-134.
Full text
2
Motuz, Valeriіa. "SOCIAL PORTRAIT OF A UKRAINIAN DISPLACED WOMAN IN THE SOVIET REAR AREAS DURING SECOND WORLD WAR." In THEORETICAL AND PRACTICAL ASPECTS OF MODERN SCIENTIFIC RESEARCH. European Scientific Platform, 2021. http://dx.doi.org/10.36074/logos-30.04.2021.v2.55.
Full text
3
Motuz, Valeriia. "SOCIAL AND POLITICAL PORTRAIT OF NADEZHDA SUROVTSEVA OF THE PERIOD OF THE UKRAINIAN CENTRAL RADA OF 1917–1918." In RICERCHE SCIENTIFICHE E METODI DELLA LORO REALIZZAZIONE: ESPERIENZA MONDIALE E REALTÀ DOMESTICHE. European Scientific Platform, 2021. http://dx.doi.org/10.36074/logos-14.05.2021.v2.43.
Full textReports on the topic "Ukrainian Portraits"
1
Tymoshyk, Mykola. Кадри тоталітарної журналістики для преси західноукраїнських областей. 40-50-ті роки хх ст. (На архівних матеріалах крайової газети «Радянська Буковина»). Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11721.
Full textAbstract:
For the first time in Ukrainian journalism, the issue of totalitarian journalism has been outlined. The basis of the analysis is the archival materials of the Chernivtsi regional newspaper «Soviet Bukovyna» founded in 1940, which was re-registered in 1991 with the name «Bukovyna». The specifics of the formation of the assets of «pen workers» during the Soviet era are clarified; the qualitative composition of the staff, the reasons for their turnover and the typical types of journalists of that time were analyzed; information about the trials and investigations of journalists who were widely used against them in accordance with the legislation of 1940 wasintroduced into scientific circulation; biographical portraits of individuals are given. The personnel policy of the Bolshevik Party in the western Ukrainian territories annexed on the eve of World War II had its own specifics. The editors-in-chief of the newly formed newspapers were usually verified personnel sent from the eastern regions. They were selected primarily for the most important ideological qualities – loyalty to the cause of the Bolshevik Party, the ability to pursue its policy in the entrusted case. Literary abilities, accurate knowledge of the specifics of the journalistic craft, practical experience in this field were desirable, but not decisive. With the enactment of a strict law in 1940 on criminal liability for breach of labor discipline, delays in work without good reason, the cases of a number of journalists were transferred to the district courts at the place of work. In the first postwar years, the Central Committee of the party strongly encouraged local party committees to issue to functionaries of the ideological front so-called party vouchers for work in newspaper editorial offices. Keywords: journalism of the totalitarian era, newspaper «Soviet Bukovyna», cadres of journalism, types of Soviet journalists, trials and investigations against journalists, journalistic destinies.
2
Yatsymirska, Mariya. MODERN MEDIA TEXT: POLITICAL NARRATIVES, MEANINGS AND SENSES, EMOTIONAL MARKERS. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11411.
Full textAbstract:
The article examines modern media texts in the field of political journalism; the role of information narratives and emotional markers in media doctrine is clarified; verbal expression of rational meanings in the articles of famous Ukrainian analysts is shown. Popular theories of emotions in the process of cognition are considered, their relationship with the author’s personality, reader psychology and gonzo journalism is shown. Since the media text, in contrast to the text, is a product of social communication, the main narrative is information with the intention of influencing public opinion. Media text implies the presence of the author as a creator of meanings. In addition, media texts have universal features: word, sound, visuality (stills, photos, videos). They are traditionally divided into radio, TV, newspaper and Internet texts. The concepts of multimedia and hypertext are related to online texts. Web combinations, especially in political journalism, have intensified the interactive branching of nonlinear texts that cannot be published in traditional media. The Internet as a medium has created the conditions for the exchange of ideas in the most emotional way. Hence Gonzo’s interest in journalism, which expresses impressions of certain events in words and epithets, regardless of their stylistic affiliation. There are many such examples on social media in connection with the events surrounding the Wagnerians, the Poroshenko case, Russia’s new aggression against Ukraine, and others. Thus, the study of new features of media text in the context of modern political narratives and emotional markers is important in media research. The article focuses review of etymology, origin and features of using lexemes “cмисл (meaning)” and “сенс (sense)” in linguistic practice of Ukrainians results in the development of meanings and functional stylistic coloring in the usage of these units. Lexemes “cмисл (meaning)” and “сенс (sense)” are used as synonyms, but there are specific fields of meanings where they cannot be interchanged: lexeme “сенс (sense)” should be used when it comes to reasonable grounds for something, lexeme “cмисл (meaning)” should be used when it comes to notion, concept, understanding. Modern political texts are most prominent in genres such as interviews with politicians, political commentaries, analytical articles by media experts and journalists, political reviews, political portraits, political talk shows, and conversations about recent events, accompanied by effective emotional narratives. Etymologically, the concept of “narrative” is associated with the Latin adjective “gnarus” – expert. Speakers, philosophers, and literary critics considered narrative an “example of the human mind.” In modern media texts it is not only “story”, “explanation”, “message techniques”, “chronological reproduction of events”, but first of all the semantic load and what subjective meanings the author voices; it is a process of logical presentation of arguments (narration). The highly professional narrator uses narration as a “method of organizing discourse” around facts and impressions, impresses with his political erudition, extraordinary intelligence and creativity. Some of the above theses are reflected in the following illustrations from the Ukrainian media: “Culture outside politics” – a pro-Russian narrative…” (MP Gabibullayeva); “The next will be Russia – in the post-Soviet space is the Arab Spring…” (journalist Vitaly Portnikov); “In Russia, only the collapse of Ukraine will be perceived as success” (Pavel Klimkin); “Our army is fighting, hiding from the leadership” (Yuri Butusov).
3
Halych, Valentyna. SERHII YEFREMOV’S COOPERATION WITH THE WESTERN UKRAINIAN PRESS: MEMORIAL RECEPTION. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11055.
Full textAbstract:
The subject of the study is the cooperation of S. Efremov with Western Ukrainian periodicals as a page in the history of Ukrainian journalism which covers the relationship of journalists and scientists of Eastern and Western Ukraine at the turn of the XIX-XX centuries. Research methods (biographical, historical, comparative, axiological, statistical, discursive) develop the comprehensive disclosure of the article. As a result of scientific research, the origins of Ukrainocentrism in the personality of S. Efremov were clarified; his person as a public figure, journalist, publisher, literary critic is multifaceted; taking into account the specifics of the memoir genre and with the involvement of the historical context, the turning points in the destiny of the author of memoirs are interpreted, revealing cooperation with Western Ukrainian magazines and newspapers. The publications ‘Zoria’, ‘Narod’, ‘Pravda’, ‘Bukovyna’, ‘Dzvinok’, are secretly got into sub-Russian Ukraine, became for S. Efremov a spiritual basis in understanding the specifics of the national (Ukrainian) mass media, ideas of education in culture of Ukraine at the end of XIX century, its territorial integrity, and state independence. Memoirs of S. Efremov on cooperation with the iconic Galician journals ‘Notes of the Scientific Society after the name Shevchenko’ and ‘Literary-Scientific Bulletin’, testify to an important stage in the formation of the author’s worldview, the expansion of the genre boundaries of his journalism, active development as a literary critic. S. Yefremov collaborated most fruitfully and for a long time with the Literary-Scientific Bulletin, and he was impressed by the democratic position of this publication. The author’s comments reveal a long-running controversy over the publication of a review of the new edition of Kobzar and thematically related discussions around his other literary criticism, in which the talent of the demanding critic was forged. S. Efremov steadfastly defended the main principles of literary criticism: objectivity and freedom of author’s thought. The names of the allies of the Ukrainian idea L. Skochkovskyi, O. Lototskyi, O. Konyskyi, P. Zhytskyi, M. Hrushevskyi in S. Efremov’s memoirs unfold in multifaceted portrait descriptions and function as historical and cultural facts that document the pages of the author’s biography, record his activities in space and time. The results of the study give grounds to characterize S. Efremov as the first professional Ukrainian-speaking journalist.
4
Chornodon, Myroslava. FEAUTURES OF GENDER IN MODERN MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11064.
Full textAbstract:
The article clarifies of gender identity stereotypes in modern media. The main gender stereotypes covered in modern mass media are analyzed and refuted. The model of gender relations in the media is reflected mainly in the stereotypical images of men and woman. The features of the use of gender concepts in modern periodicals for women and men were determined. The most frequently used derivatives of these macroconcepts were identified and analyzed in detail. It has been found that publications for women and men are full of various gender concepts that are used in different contexts. Ingeneral, theanalysisofthe concept-maximums and concept-minimum gender and their characteristics is carried out in the context of gender stereotypes that have been forme dand function in the society, system atizing the a ctual presentations. The study of the gender concept is relevant because it reveals new trends and features of modern gender images. Taking into account the special features of gender-labeled periodicals in general and the practical absence of comprehensive scientific studies of the gender concept in particular, there is a need to supplement Ukrainian science with this topic. Gender psychology, which is served by methods of various sciences, primarily sociological, pedagogical, linguistic, psychological, socio-psychological. Let us pay attention to linguistic and psycholinguistic methods in gender studies. Linguistic methods complement intelligence research tasks, associated with speech, word and text. Psycholinguistic methods used in gender psychology (semantic differential, semantic integral, semantic analysis of words and texts), aimed at studying speech messages, specific mechanisms of origin and perception, functions of speech activity in society, studying the relationship between speech messages and gender properties participants in the communication, to analyze the linguistic development in connection with the general development of the individual. Nowhere in gender practice there is the whole arsenal of psychological methods that allow you to explore psychological peculiarities of a person like observation, experiments, questionnaires, interviews, testing, modeling, etc. The methods of psychological self-diagnostics include: the gender aspect of the own socio-psychological portrait, a gender biography as a variant of the biographical method, aimed at the reconstruction of individual social experience. In the process of writing a gender autobiography, a person can understand the characteristics of his gender identity, as well as ways and means of their formation. Socio-psychological methods of studying gender include the study of socially constructed women’s and men’s roles, relationships and identities, sexual characteristics, psychological characteristics, etc. The use of gender indicators and gender approaches as a means of socio-psychological and sociological analysis broadens the subject boundaries of these disciplines and makes them the subject of study within these disciplines. And also, in the article a combination of concrete-historical, structural-typological, system-functional methods is implemented. Descriptive and comparative methods, method of typology, modeling are used. Also used is a method of content analysis for the study of gender content of modern gender-stamped journals. It was he who allowed quantitatively to identify and explore the features of the gender concept in the pages of periodicals for women and men. A combination of historical, structural-typological, system-functional methods is also implemented in the article. Descriptive and comparative methods, method of typology, modeling are used. A method of content analysis for the study of gender content of modern gender-labeled journals is also used. It allowed to identify and explore the features of the gender concept quantitatively in the periodicals for women and men. The conceptual perception and interpretation of the gender concept «woman», which is highlighted in the modern gender-labeled press in Ukraine, requires the elaboration of the polyfunctionality of gender interpretations, the comprehension of the metaphorical perception of this image and its role and purpose in society. A gendered approach to researching the gender content of contemporary periodicals for women and men. Conceptual analysis of contemporary gender-stamped publications within the gender conceptual sphere allows to identify and correlate the meta-gender and gender concepts that appear in society.