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Journal articles on the topic 'Ukrainian Portraits'
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1
Davydenko, Valentyna. "Ukrainian portraits." Мiждисциплiнарнi дослiдження складних систем, no. 21 (2022): 149–51. http://dx.doi.org/10.31392/iscs.2022.21.149.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Vorobyova, Olga, and Oksana Deineko. "CHARACTER OF MUSICIAN IN KAZUO ISHIGURO’S SHORT STORIES AND THEIR UKRAINIAN TRANSLATIONS." Advanced Linguistics, no. 10 (November 30, 2022): 20–24. http://dx.doi.org/10.20535/2617-5339.2022.10.266627.
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This paper addresses the issue of musician’s character in the short stoires by Kazuo Ishiguor, a well-known British writer, and their translations into Ukrainian. The paper aims to define author-specific cognitive and stylistic features of construing the character of musician by depicting his verbal portrait, interpreting his behaviour, emotions, and actions through the lens of human personality. The analysis resulted in singling out and systematising a set of key concepts and conceptual metaphors, pertaining to the characters of musicians in Ishiguro’s five short stories included in “Nocturnes: Five Stories of Music and Nightfall”. Among these concepts are LIFE, LOVE, FRIENDSHIP, MARRIAGE, MUSIC, SUCCESS, CAREER, etc. Within the range of conceptual metaphors that find their manifestation in the texts under analysis prevail those, which are associated with various facets of life, love, and music. As a result, several kinds of conceptual metaphors were identified: global, e.g., LIFE IS MUSIC, conventionally used (local), e.g., MUSIC IS INSPIRATION, paradoxical, e.g., LOVE IS А FAREWELL, mirror-like, e.g., LIFE IS MUSIC– MUSIC IS LIFE, and the author’s (idiosyncrаtic) ones, e.g., MUSIC IS A NIGHTFALL. Though recreating literary characters by other languages should embrace all textual levels, the translation of musicians’ verbal portraits in the Ukrainian version of Ishiguro’s short stories under study is mostly affected by their syntax. The choice of syntactical constructions is to a great extent determined by the personages’ professional sphere as part of respective cultural context. Thus, with regards to musicians’ characters the stories under translation abound in grammatical transformations − transpositions: (і) word transposition; (іі) transposition of phrases and word-combinations; and (ііі) transposition of elements within a complex sentence − and substitutions. Кeywords: character of musician; conceptual metaphor; literary translation; verbal portrait; grammatical transformations.
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Hanna V., Marynchak. "Adaptation genre of Ukrainian folk songs in the interpretation of K. Gorski: aspects of texture stylistics." International Journal of Scientific Research and Management 9, no. 10 (October 6, 2021): 9–11. http://dx.doi.org/10.18535/ijsrm/v9i10.mt02.
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The article examines the adaptation principles of Ukrainian folklore material used by an outstanding representative of the Polish-Ukrainian branch of the musical culture of Kharkov at the turn of the XIX – XX centuries.
For the analysis, a collection-cycle was selected, compiled by the author himself on the basis of adaptations of the songs used in the operetta “Oi Bozhe shcho ta liubov zmozhe!” for the libretto by A. Zbukireva, staged by M. Kropyvnytsky, one of the founders of the Ukrainian national theater.
Several groups of adaptations are outlined and classified, representing the portraits of the characters of the operetta, as well as the stage situations. Generalizing characteristics of the texture-stylistic approaches used by K. Gorski in the piano parts, prefixed to each of the 20 songs, are given.
It is noted that K. Gorski not only demonstrates professional mastery of adaptation techniques approved in classical music, but also translates features of Ukrainian folk polyphony into texture and harmony, which gives his adaptation an individualized charm.
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Honcharuk, Oleksandr. "Portrait sculpture of Lviv on the border of modernism and postmodernism." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 25–30. http://dx.doi.org/10.37131/2524-0943-2019-41-03.
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Main vectors of develovpment of portrait sculpture in Lviv of 90s of the XX century in the context of the time. Changes, which occured in art, were identified; where new environment is being formed, in which portrait sculpture becomes an object of preservation and transmission of information. It’s proved that visualization of Ukrainian history is mainly due to developments in individual personification of events of prominent leaders of their time. The analysis of a number of sources related to the peculiarities of artistic and critical understanding of complex creative processes specific to Lviv sculpture of the period, was done. Portrait sculpture of Lviv of of 90s of the XX century is a complex of artistic phenomenon, which is rich in innovations and authentic artistic discoveries. Contemporary portrait sculpture is a history and culture of the people and their country, immortalized in stone and bronze. Themes of heroism, patriotism, courage, creative work, love and family prevail in works of Lviv sculptors. Most of masters are turning to the historical past of their land. In the image-structural solutions portraits influenced the previous days, and plastic language primarily focused on traditional solutions. Portrait sculpture of Lviv artists resist to platitudes, engagement, technocracy, contrasting its naturalness, sensitivity and anxiety. Gender theory, which asserts that the very fact the differences are not so important how important their socio-cultural assessment and interpretation, as well as construction of power systems based on these differences, dominated in portrait sculpture of contemporary Lviv artists.
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Danyliuk, I. V., I. V. Kozytska, and S. O. Shykovets. "The cultural syndrome "individualism-collectivism" and its psychological peculiarities including well-being of regional communities' representatives in Ukraine." Fundamental and applied researches in practice of leading scientific schools 30, no. 6 (December 31, 2018): 55–61. http://dx.doi.org/10.33531/farplss.2018.6.08.
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The study of the psychological components of the cultural stratum of Ukrainian mentality in general and of its regional peculiarities is quite important today, taking into account the peculiarities of social processes in the Ukrainian state and the transformation of the modern Ukrainians' consciousness. Particular attention is drawn to the cultural syndromes due to the great applicational value of a detailed study of their features among the representatives of the country's regional communities. It allows to distinguish the key features for depicting the psychological portraits of personalities of the regional communities' representatives.
The results of the study help to systematize knowledge in the quantitative measurements of the cultural syndrome "individualism-collectivism" and to fill the gaps in ethnometric researches in Ukraine. It broadens the understanding of the structure and temporal dynamics of this cultural syndrome, its dependence on such factors as the age, the gender and the religiosity of personality. A practical application of the obtained results may include their use in psychological and pedagogical work, in business and cultural contacts, in interethnic communication, etc.
In general, the results of the study are the basis for expanding the study of the psychological characteristics of the political consciousness of Ukrainians, which we intend to carry out in the future. This study will help to create a strategy for changing the worldview and behavioral patterns of Ukrainian society in order to allow effective counteraction to attempts of manipulations with human rights and personal freedom of people on the basis of their weakness (ignorance of modern features of important aspects of social existence and limited worldview).
Also, the results can be used to help to create, to disseminate and to develop effectively regional projects of non-governmental organizations, international social, psychological and political projects, local self-government bodies, local and regional communities, regional initiatives, etc.
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Veremeienko, Taras. "Iconography of Ukrainian religious portraits in the drawings of the Lavra icon-painting workshop of the 18th century." Arta 32, no. 1 (September 2023): 31–36. http://dx.doi.org/10.52603/arta.2023.32-1.04.
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Based on archival documents and drawings of the icon-painting workshop of the Kyiv-Pechersk Lavra in the 18th century, the article analyzes mainly the inscriptions made by the authors and also the Ukrainian element in the Ukrainian baroque. The author presents the level of research on this topic. It is established that the Lavra icon-painting workshop had a high level of teaching the icon-painting science. In 1763, the Lavra workshop was transformed into a “school”. The administrators of the school not only monitored the general conditions, but also taught icon-painting. The students were divided into 2 groups: one group consisted of apprentices, the other of pupils. The students in the Lavra studied according to Western books. On the example of several drawings, the author shows the uniqueness of religious subjects, one of the features of which was to paint the image of saints in a typical Ukrainian manner.
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Potapenko, Svitlana. "“Hettman von Klein Reussen”: the image of Kyrylo Rozumovsky in the mid-eighteenth-century early printed books and engravings from the Razumovskys’ family collection." Z Badań nad Książką i Księgozbiorami Historycznymi 18, no. 1 (June 30, 2024): 179–205. http://dx.doi.org/10.33077/uw.25448730.zbkh.2024.849.
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The article examines the early printed panegyric Philosophia Aristotelica by Mykhail Kozachynsky (1745) and the engraved portraits of the Ukrainian hetman Kyrylo Rozumovsky by Johann Christian Gottfried Fritzsch (1750) and Georg Friedrich Schmidt (1762). These items belong to the collection of books and memorabilia owned by the Razumovsky noble family, specifically their Razumovskiana. The narrative and visual sources are treated through the prism of their commemorative significance and relevance for studying the early modern history of Ukraine.
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Харчук, Роксана. "YEVHENIIA KONONENKO’S PROSE: TOPICS, IDEAS, GENRES, AND STYLE." Слово і Час, no. 1 (February 28, 2024): 56–70. http://dx.doi.org/10.33608/0236-1477.2024.01.56-70.
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This paper falls under the category of literary portraits and explores the evolution of Kononenko as a writer and intellectual. She embarked on her creative journey with translation and poetry but later focused primarily on prose. The paper underscores Kononenko’s enduring commitment to liberal perspectives, her view of culture as both a primary social catalyst and a societal objective. Kononenko can boast the broadest spectrum of genres in Ukrainian literature, encompassing short stories, narratives, novels, miniatures, and essays. She often employs genre and generic syncretism, which is most evident in her integration of poetry into prose, where she incorporates sonnets and elegies within short prose collections. Furthermore, her works blend genres by combining elements of detective stories with social novels, feminist narratives, and intellectual explorations. The writer boldly experiments with genres to enhance the expressiveness of her writing and engage a wider readership with complex, intellectually profound works. Kononenko’s prose might be classified as intellectual literature. The themes and ideas explored by the author indicate an existentialist orientation in her work. Kononenko herself interprets all her plots and ‘small tragedies’ as reflections of the human experience. The paper highlights the stylistic features of Kononenko’s texts, emphasizing realism, psychologism, and a dialogic nature, along with the significant role of artistic detail, lyrical qualities, trusting intonation, and irony. As for the sources of the author’s inspiration, her works seem to align with Mykola Riabchuk’s prose standing out for its trustworthy tone and candid conversation with the reader. It is worth to emphasize that the writer once made a compelling choice to depart from her first tongue, Russian, in favor of the Ukrainian cultural minority of the late Ukrainian SSR and early Ukrainian state, thereby challenging the traditional orientation of Russian-speaking Ukrainians toward ‘high’ Russian culture.
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Honcharuk, Oleksandr. "A sculptural portrait in the work of Emmanuil Myskо: the evolution of plastic language." Bulletin of Lviv National Academy of Arts, no. 40 (July 1, 2019): 55–60. http://dx.doi.org/10.37131/2524-0943-2019-40-7.
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In this article a complex analysis of visual structural features in portraits series of representatives of Ukrainian intellectuals, which was created by E. Myskо. In particular, there were identi ed the speci city of visual interpretations and conceptual foundations of that series in view of professional and personal characteristics portrayed. Except that in this article have been made comparative analysis of the essential series, which displayed the unique character and features of Emmanuil Mysko’s artistic style, his method of working with nature, and especially visual features of pictured characters which are called «living sculpture». Accordingly, the main focus was applied on the representation characteristics of formal-plastic solutions in the sculptures of artist Ivan Muzychko, І.Khoma, M. Labunkа, W. Sternyuk, J. Slipyj. In addition, in this article individualized composition, forming and psychological accents, which was made by E. Mysko in each of these portraits have been noted.
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KONOVALOVA, Olha. "THE IMAGE OF ANNA YAROSLAVNA IN FINE ARTS: PAST AND PRESENT." ART Space 1, no. 4 (2024): 55–86. http://dx.doi.org/10.28925/2519-4135.2024.44.
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The article focuses on the iconography of Anna Yaroslavna (around 1032-between 1075 and 1089), the daughter of Yaroslav Mudry (983/98-1054), who was married to Henry I (1027-1060) and acquired the status of Queen of France. The study is based on the most famous portraits created by artists from the Middle Ages to the present day in various types of visual arts - sculpture, painting, graphics, numismatics. It is not known for certain what the princess looked like – rather insignificant evidence about her appearance has been preserved. In historical chronicles, the red hair color of the young wife of Henry I is primarily noted. More often, character traits are emphasized – kindness, generosity, humility, self-sacrifice. Portraits of the daughter of Yaroslav Mudry during his lifetime cause heated discussions in scientific circles. It is hypothesized that the sons and not daughters of Yaroslav the Wise are depicted in St. Sophia Cathedral (11th century). And on the copy of the 18th century from a drawing by the Dutch artist A. van Westerfeld in 1651, another couple is represented – Volodymyr Svyatoslavych and his wife Anna (baptizers of Rus) accompanied by eight princes and princesses. Engraved and sculptural portraits of the 17th century, despite the fashionable image of the era, reveal certain characteristic features of Anna Yaroslavna – thinness, general elegance, elongated face oval. Modern Ukrainian artists (V. Znoba, M. Znoba, G. Sevruk, V. Stelmakh), recreating the image of Anna Yaroslavna, are guided by the well-known engraved image of the Flemish artist Jacobus de Bie in 1643. At the same time, each portrait is distinguished by the author's decision and virtuoso mastery of the material. The presented article is not only the first intelligence covering pictorial and historical sources. The collected material testifies to the significant contribution of national history to the development of the European political and cultural space, is a demonstration of unity and friendly relations between Ukraine and France.
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Shkolna, Olha, and Alla Buigasheva. "Life and Work of Anhelina Zhdanova - Master of Porcelain Painting of the Second Half of the 20th Century." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 1 (May 27, 2022): 131–42. http://dx.doi.org/10.31866/2617-7951.5.1.2022.257488.
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The aim is to identify the key porcelain works painted by the Honored Artist of Ukraine Angelina Zhdanova during the second half of the 20th century, to reveal the artistic features of her decoration of sculptures, utensils and vases. Research methods – ontological, axiological, hermeneutic, historical-chronological, historical-comparative, cultural, typological, art analysis. Their combination allows us to reveal the specifics of the creative method of Anhelina Zhdanova concerning the design of sculptures of small forms and design development of decors for fine ceramic ware and vases. Novelty comprises the analysis of the artist’s appeals to the Ukrainian in the decoration of the best examples of domestic porcelain sculpture of the third quarter of the 20th century. (first of all, according to the designs of V. and M. Trehubov’s forms) and the use of exquisite Petrykivka painting in the design of vases, dishes, tableware of the second half of the twentieth century, created at Korosten and Svitlovodsk porcelain factories. Conclusions. The milestones of the work of the outstanding Ukrainian artist-designer in the field of porcelain Anhelina Leonidivna Zhdanova are traced. The list of main works in sculpture, vases and utensils, decor projects which she created at Korosten and Svitlovodsk porcelain factories in the 1950s – 1990s is outlined. It is determined that A. Zhdanova is the author of the original painting of the famous sculptures ‘Ukrainian Dance’ and ‘Shoes’, the forms for which were developed by V. Trehubova in the mid – second half of the 1950s. Portraits of Soviet figures on plates and vases, such as party executives, astronauts, foreign ambassadors or the UN Secretary General, are important in the artist’s work. A separate segment of Korosten products by A. Zhdanova consists of paintings with skillfully executed floral ornaments for framing portraits. The paintings are made in a delicate brush technique ‘cat’, the type of Petrykivka paintings.
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Trubnikоva, Liudmyla. "AN EVOLUTION OF MIMIC LOOK AT FINE ART." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 161–69. http://dx.doi.org/10.33838/naoma.28.2019.161-169.
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This article explore and analyses conformity to natural laws of individual interpretations of human emotions on a masterpieces of European artists from Antic age to early Modernism, also in Ukrainian painting (for instance, creative works of Olexander Murashko), The following examples are setting peculairities of creative positions of every author which reflected unusual mimic grimaces of his heroues in pickturesque portraits (especially at works of Antonello da Messina, Ercole de Roberti, Leonardo da Vinci, Frans Hals, Rembrandt Hannenszoon van Rijn, Mihaly Munkacsy, Ilya Repin, Edward Munk, with him legendary “Scream”, which paradoxally and repeatedly reflected in horror movie-art about twenty years ago — in the trilogy by Wes Craven) and Old Greek sculptures (“Athena and Marsyas”, “Laokoon”). Also the author of this article analyzed different views of representatives of classical philosophy and aesthetics of Age of Renassainse (Karol van Mander, Giorgio Vasari), Baroque, Classicism (Charles Lebrun) and Age of Education (Denis Diderot as author of “Salones”, Johann Joachim Winckelman, Johann Caspar Lavater — in recollection of Nikolay Karamzin), also used classic and modem famous historicals of fine art (Egene Fromentin, Bernard Berenson, Georgiy Nedoshivin) and contemporary scientists, which a lot of researched this problems (Giovanni Chivardi, Fritz Lange) etc. Author used pointed mimetic observations of some Ukrainian (from “Portrait” by Nikolay Gogol to short-story by Yuriy Mulik-Lutsik and great novel by Natalka Snyadanko) and foreign writers (Denis Diderot as author of “Le Neveu de Rameau”, Dafna du Maurier, Nikolay Chukovskiy), memories of Ukrainian painters (Mikola Burachek). Some materials from the recent history of those states were introduced into scientific usage. Review of need for inclusion of approaches and methods related to the fields of art criticism studies (par example, psychology, history of movie-art, mythology, philosophy), and certain concepts. An attempt to understand the problem of mimetic expressiveness in fine art.
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Dubrovskyi, Roman. "The Psycholinguistic Portrait of the Traitor in Ukrainian Artistic Military Prose of the Second Half of the XX Century." PSYCHOLINGUISTICS 27, no. 2 (April 12, 2020): 113–36. http://dx.doi.org/10.31470/2309-1797-2020-27-2-113-136.
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The purpose of the study in the article is to identify the components of the psycholinguistic portrayal of the traitor in the Ukrainian artistic prose of the second half of the twentieth century.
Materials & Methods. Elements of component analysis, method of classification, discourse analysis, content analysis, as well as lexico-semantic, associative methods were applied in the article and on the basis of these methods it has been provided the analysis of the images of the movie story «Ukraine in Fire» by O. Dovzhenko, the novel «House over a torso» by I. Kachurovsky, the novel «Whirlwind» by Yu. Mushketyk, the novel «The ground under the hooves» by V. Drozd).
Results. It is considered the place of traitor images in the structure of literary works. The emphasis is placed on the dynamics of their development within the artistic time space. The focus is also made on the psycholinguistic markers forming the hero’s/antihero’s portrait in the creative work. Comparison of the methods of designing the image of the traitor at different levels of organization of the artistic text in all the analyzed works is carried out.
Conclusions. It has been found that the psycholinguistic content of the traitor character type is directly dependent on the author's self-esteem model. The external evaluation, as a rule, remains stable. The description of the traitor’s psychological portrait in all cases shows the displacement of the axiological vector, the change of the poles of the opposition “one’s own – another’s”. In general in the Ukrainian military prose of the second half of the twentieth century the linguistic-psychological portraits of the traitor-gadget, traitor-freak and traitor-punisher are most vividly presented. However, there are other models.
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TOKAR, Maryna, and Oleg STANYCHNOV. "CHILDREN’S PORTRAITS OF UKRAINIAN AND POLISH ARTISTS IN THE CONTEXT OF IMPRESSIONISM AND MODERN." Humanities science current issues 2, no. 70 (2023): 119–29. http://dx.doi.org/10.24919/2308-4863/70-2-16.
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Ursu, Nataliya, Ivan Hutsul, and Ivan Pidhurnyi. "Bessarabian motifs in the creative heritage of Podolian photo artist Mykhailo Greim." JOURNAL OF ETHNOLOGY AND CULTUROLOGY 32 (December 2022): 48–56. http://dx.doi.org/10.52603/rec.2022.32.06.
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The article is devoted to the work of the outstanding photo artist, one of the first masters of photography in Podolia, Mykhailo Greim. The review of publications of Ukrainian and foreign authors about the artist’s activity is presented, the purpose of the article is defined. It is noted that the studies almost do not mention a whole selection of images dedicated to the Bessarabian lands, which were closely adjacent to the Ukrainian Podolia. The life path, the formation of Greim as a photographer, the scope of his professional interests are considered. The range of genre photographic compositions of the master is presented, attention is focused on self-portraits. The article is complemented by archival photographs found by the authors in Ukraine and Poland, they demonstrate close household and family ties, which in turn were reflected in the formation and existence of the folk multicultural traditions of the region. The master’s photographs are perhaps the only photographic record that, carries important information about the way of life, appearance, environment and occupations of the Moldavian population of Bessarabia bordering the Ukrainian Podolia. Greim’s creative heritage is a significant contribution to the study of the national identity of the Ukrainian and Moldovan nations.
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Byelikova, Yuliya. "Challenges of Ukrainian Refugees in Germany: Resources for Women’s Empowerment." Migration and Diversity 3, no. 1 (February 23, 2024): 51–69. http://dx.doi.org/10.33182/md.v3i1.3221.
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We are currently witnessing one of the biggest waves of refugee’s influx to the EU (forced migrants); 90% of them are women and children. This paper deals with the gender sensitive approach to migration based on a study of the challenges and adaptation strategies of Ukrainian refugees in Germany. In June 2022, an online poll of 430 Ukrainian refugees was conducted by the author that included two open questions about the problems refugees faced since their arrival to Germany. The subsequently undertaken content-analysis on a grounded theory basis allows the author to describe the variety of topics, which occurred in the answers and group the challenges of respondents accordingly: adaptation, uncertainty future, separation, lack of social connections, complicated emotional state. The difference in social-demographic portraits of Ukrainian refugees (i.e. mostly female, mostly with children…) from the previous waves of refugees (i.e. Syria, Afghanistan) gives the opportunity to identify the specificity of female refugees' needs. The paper added to research of emotional challenges of refugees that are shaped by the experience of grief, loss, shame, guilt, fear, pain, loneliness, helplessness. Challenges are considered to be resources for women’s empowerment, providing changes in power structures and social institutions.
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Hrytsiuk, Mariia. "SEMEN, KYRYLO AND YURII STEFANYKS IN FAMILY EPISTLES." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 16(63) (August 26, 2022): 148–57. http://dx.doi.org/10.31471/2304-7402-2022-16(63)-148-157.
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Writers’ correspondence makes a significant and valuable part of literary studies, discovering life and creative portraits of writers and representatives of their families, thus expanding and objectively outlining the research horizons of the Ukrainian literary process. The aim of the proposed article is to partially highlight creative, public and cultural-enlightening activities of Vasyl Stefanyk’s three sons – Semen, Kyrylo and Yurii, written on the basis of the family correspondence of the father and his sons, of three brothers with one another (as well as the correspondence with other relatives, literary, cultural, public and religious activists of that time, friends), of archival materials, works on literary criticism and country studies, recollections; there are examined Vasyl Stefanyk’s letters of different periods, where the author mentions his sons, the image of Stefanyk-father and his sons’ portraits are analysed with the help of biographical, historical and psychological approaches to studying the issue, constituting research methods.
As a result, the uniqueness of the epistolary heritage of Vasyl Stefanyk’s family and the peculiarity of relationships and communication of Stefanyk-father and Stefanyks-sons, as well as of the sons with one anotherare demonstrated, the peculiarities of characters and the main life milestones of Semen, Kyrylo and Yurii Stefanyks are revealed (this makes the practical significance and novelty of the presented research), the significance of Stefanyks’ family correspondence in the all-Ukrainian context as well as the necessity and perspective of the research of the literary, public and cultural-enlightening heritage of Semen, Kyrylo and Yurii Stefanyks, in particular, are proved.
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Mambetova, A. A., and S. O. Shykovets. "PSYCHOLOGICAL PORTRAITS OF REPRESENTATIVES OF UKRAINIAN AND CRIMEAN TATAR NATIONS IN THE MODERN MULTICULTURAL SOCIETY." Habitus, no. 17 (2020): 90. http://dx.doi.org/10.32843/2663-5208.2020.17.16.
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Olena, Roshchenko. "Creative figure of V. I. Sokalskyi as Kharkіv genius loci in Z. B. Yuferova’s res omnis aetatis." Aspects of Historical Musicology 26, no. 26 (July 22, 2022): 85–101. http://dx.doi.org/10.34064/khnum2-26.06.
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Statement of the problem. The article aims to recreate the features of two historical portraits: the composer and musical critic V. Sokalskyi (1863–1919), whose name belongs to the history of the “pre-conservatory” musical Kharkiv, and the researcher of his work Z. Yuferova (1931–1999), whose monograph dedicated to V. Sokalskyi has become a matter of life (“res omnis aetatis”). The innovative element of the study is the development and introduction into musicology the dialogical research method, which allows identifying the researcher’s scientific method by analyzing the composer’s creative portrait, which she recreated in her work. The methodological basis of the study is supplemented by historical-cultural and historical-contextual analyses based on the material of Z. B. Yuferova’s monograph (2014, published posthumously) dedicated to V. I. Sokalskyi. Conclusions and results of the study. Dialogic research method made it possible to create a double historical portrait, which, on the one hand, reveals the features of the composer’s creative thinking, on the other hand, exposes the researcher’s professional qualities. According to Z. Yuferova, V. Sokalskyi is a pioneer of many genres in Ukrainian music; a person with high human virtues, chivalrous courage of his critical judgments, sincere service to the cultural flourishing of his native city. In turn, the personality of the researcher is characterized by her respect for historical facts, motivated problem analysis, systemic thinking, careful reproduction of the cultural background, reasonable conclusions, and encyclopedic knowledge. High professionalism embodied on the pages of Z. Yuferova’s substantial monograph gives every reason to agree with her assessments, and along with the recognition of the composer and music critic Sokalskyi as a “genius” of artistic Kharkiv at the turn of the 20th–21st centuries, to consider him a much more prominent all-Ukrainian figure. The introduction of V. Sokalskyi’s works into educational and concert programs should become an important prospect for the further revision of the history and renewal of the performance repertoire of the national musical culture.
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Poplavskyi, Mykhailo, and Valerii Lastovskyi. "THE KIEVSKAYA STARINA CHRONICLE (1882–1906) IN UKRAINIAN CULTURE: ARTISTIC VIEW OF PUBLICATIONS." CULTURE AND ARTS IN THE MODERN WORLD, no. 23 (June 30, 2022): 67–74. http://dx.doi.org/10.31866/2410-1915.23.2022.260964.
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The purpose of the article is to find out the role of the Kievskaya Starina magazine in the study of Ukrainian art and its popularisation, as well as to identify the main trends of the publication of art studies materials in the magazine. The research methodology is based on both general scientific (logical and dialectical) and special methods (systematic, historical, and comparative). Scientific novelty. For the first time, the Kievskaya Starina magazine is analysed through the prism of publications of an artistic nature, the main varieties and role of such publications in the formation of Ukrainian art studies are identified. Conclusions. The Kievskaya Starina magazine, published in 1882–1906 during the existence of the Russian Empire under censorship and pressure on the Ukrainian cultural movement, had a significant impact on the formation and development of Ukrainian art studies. There are publications and documentary materials related to the development and state of Ukrainian art, paintings and music (in particular, the work of bandurysts and kobzars), architectural monuments, etc. The iconographic content of an artistic nature contains publications of reproductions of portraits of figures of Ukrainian culture, science, and politics, artistic illustration drawings that reproduced scenes from Ukrainian life, nature, architecture, individual household items, etc., in particular, there are reproductions of drawings by T. Shevchenko. The article defines the peculiarity of the approach to the publication of illustrative material, which serves not so much as an appendix to information, but as a propaganda of Ukrainian culture. The focus is on the initiation of certain scientific areas, in particular the iconography of the Ukrainian Cossack elite, during the functioning of the magazine. It is proved that many Ukrainian cultural and artistic figures (D. Antonovych, I. Karpenko-Kary, M. Kropyvnytskyi, M. Lysenko, O. Slastion, D. Shcherbakivskyi, etc.) of the late 19th – early 20th centuries are directly connected with the publication of the magazine as authors or editorial members, which confirms the special significance of Kievskaya Starina in cultural and art studies discourse. Today, it still has scientific potential due to the concentration of a significant amount of relevant information.
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Degler, Janusz. "Witkacy around the World." Tekstualia 1, no. 2 (January 2, 2014): 105–28. http://dx.doi.org/10.5604/01.3001.0013.5944.
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Fifty years have passed since the publication of the first translations of Witkiewicz. Today, the number of translations and the languages in which his work functions is more than impressive. Plays, novels, theoretical dissertations, and philosophical treatises have been translated into 25 languages: English, Arabic, Bulgarian, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, Greek, Spanish, Dutch, Japanese, German, Norwegian, Portuguese, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swedish, Ukrainian, Hungarian and Italian. There have been over three hundred productions in twenty-six countries and sixteen exhibitions of paintings, portraits and photographs have been organized in ten countries. There are several factors that have turned out to be decisive for Witkiewicz’s international fame.
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Bandura, Georgii. "THE RECEPTION OF UKRAINIAN EMIGRATION LITERATURE ON THE PAGES OF THE JOURNAL „SUCHASNIST”." Polish Studies of Kyiv, no. 35 (2019): 62–69. http://dx.doi.org/10.17721/psk.2019.35.62-69.
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The article reviews the publications of literary journal “Suchasnist” devoted to emigration literature. The article by G. Grabovich “Great Literature”, in which the author analyzed the course of the famous discussion on the Art Ukrainian movement period, and the meaning of the idea of “Great literature” that had formed its antithesis – the New York group of poets. One of the most significant publications of “Suchasnist” was the report entitled “From the Chronicle of Literary Life in the Diaspora” by G. Kostiuk, the Head of the Ukrainian Writers Assosiation “Slovo”. The first part was about organizational activity of the association, and the second – about creative achievements of writers, paying attention to the “ideological and artistic essence” of the analyzed works. It is noted that the journal published a variety of materials devoted to the development of emigration poetry: interviews, reviews, articles on the works of the New York young poets group, as well as the recognized masters V. Barka, Yuri Klen, E. Malaniuk, and others. Besides the poetry, the constant focus of the journal was the prose. The reviews by A.G. Gorbach considered historical novels and the stories by M. Lazorsky, Y. Radzikevic, P. Fedenko, written from the standpoint of Ukrainian historical science, as an alternative to the Ukrainian Soviet-style literature based on Russian / Soviet historiography. Journal`s editorial team paid also much attention to the works interpreting the fate of the Ukrainians during the twentieth century. Numerous publications examined in particular the works of little-known prose writers (E. Zagachevsky), not yet properly appreciated ones (O. Izarsky), as well as internationally recognized ones (I. Bagryany, V. Barka). A number of review articles devoted to the work of different prose writers, such as L. Zaleska-Onyshkevich, O. Tarnavsky, Y. Stefanyk, belongs to the type of literary portraits or scientific critical essays the “mainland” reader got used to. The journal publications have often enjoyed a significant resonance. These include materials intended to remind emigration of the life and work of V. Vynnychenko: articles by M. Molnar and G. Kostyuk, Gusar-Struk and I. Lisyak-Rudnytsky.
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ДЕРКАЧ, Галина, Галина ЧУМАК, and Тетяна РЕШЕТУХА. "THE UKRAINIAN PICTURE OF OSCAR WILDE: FIRST TOUCHES." Studia Methodologica, no. 53 (September 20, 2022): 5–22. http://dx.doi.org/10.25128/2304-1222.22.53.01.
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Oscar Wilde – is one of the most controversial figures in world literature, having entered into a dialogue with almost all European literatures. The reception of O. Wilde in Europe can be traced back to the late nineteenth and early twentieth centuries. Since that time, it is also possible to follow the reception of his name, ideas and works in the Ukrainian literary and critical discourse. The artistic critical response in numerous reviews, essays, literary and critical portraits, biographies, parodies of artistic life, etc. play an important role in the process of reception of the writer and his literary heritage in a foreign language culture. Translation is a special form of mediation and an important component of the perception of the literary heritage of a foreign author by a certain national literature. The choice of a work for translation is determined by the artistic needs of the perceiving literature. The synergy of literature with other art forms such as theatre, opera, cinema, book illustration, etc. can create an exceptional aesthetic pleasure. The explanation of a literary work by means of art often plays a primary role and sometimes replaces reading or completes it. The combination of all these components of reception allows us to characterize the introduction of the English-speaking Irish writer – Oscar Wilde – into the Slavic context in general and into the Ukrainian one in particular. Various ways of reception: original articles in Ukrainian periodicals, early literary reviews, critical studies, first Ukrainian translations have been analyzed in this research. The features of Wilde’s works reception in the cultural heritage of the representatives of Ukrainian literature and drama have been highlighted. The article under consideration argues that Oscar Wilde noticeably contributed to the emerging discourse around Decadence in art and literature in Ukrainian literary process. The existence of a receptive environment for the phenomenon of Oscar Wilde and his works in the Ukrainian cultural context during the 1st decade of the twentieth century is revealed and convincingly proved.
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Molotkina, Valentyna. "STUDYING HISTORICAL FIGURES IN UKRAINIAN HISTORY LESSONS AS A MEANS OF FORMING STUDENTS' CREATIVE THINKING." Український літопис, no. 2 (December 28, 2023): 53–63. http://dx.doi.org/10.31470/2786-8583-2023-2-53-63.
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The article analyzes the methods and techniques of organizing the study of a historical figure in the history lessons of Ukraine, which are most often used in the practical work of teachers, and finds out their possibilities as a means of forming students' creativity.The main methodological techniques used by the teacher when working with a historical portrait in the process of forming the competence of students' research and cognitive activity are considered.It has been found that in the formation of students' creativity of thinking in the history of Ukraine lesson, an important place is occupied by educational activities aimed at forming cause-and-effect relationships and research competencies.Modern methods of teaching history offer various options for organizing students' work on studying a historical figure in Ukrainian history lessons. In particular, an important role in shaping students' creativity in forming an idea of a historical figure is played by the use of the artistic and journalistic variant. The teacher's organization of cognitive activities based on an illustrative portrait should also be aimed at developing students' creativity.It has been established that the consideration of a historical figure should be carried out in its dynamics, development, which will allow to convey the evolution of a person's views throughout life. The teacher should not allow one-sided assessments. This danger can be avoided by presenting the material alternatively, using different sources, showing the figure from different points of view, paying attention to the activities of diverse historical figures, not just positive ones. This will form the skills of independent critical evaluation of a person (and not only historical). The student should learn to consider a historical figure and his or her actions in relation to the realities of specific events of the time when he or she lived, and not from the standpoint of the present.Learning about the life and work of a historical figure in all its contradictions and complexity in the context of social processes will foster creative thinking and interest in history as a subject. A thoughtful study of the personality of a prominent figure will contribute to both a deeper knowledge of history and a positive pedagogical impact on the formation of a student's personality.At the same time, analyzing a particular personality can be the key to understanding the events in which they participated. When studying the life and work of a historical figure, you should avoid a dry list of the main dates and facts of their biography. Instead, it is necessary to create vivid, imaginative portraits that will be remembered by students and will influence the formation of their personality and values.
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Babunych, Yulia. "National-romantic manifestations of secession in the Ukrainian painting of modernism." Bulletin of Lviv National Academy of Arts, no. 43 (February 25, 2020): 20–25. http://dx.doi.org/10.37131/2524-0943-2020-43-3.
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Background. The article highlights the stylistic search for secession (modern) in the context of formative principles in Ukrainian painting of modernism. Objectives. The work reveals the features of modern, stylistic, pictorial, ideological search of a number of Ukrainian artists of the first third of the twentieth century. The genre differences of the principles of secession in Ukrainian painting and their synthesis by other stylistic tendencies are highlighted. The philosophical and ideological-aesthetic basis of secession in the art of the first third of the XX century is studied. The decorative beauty of nature invariably dominates in A. Manevych's landscapes. He stylizes its forms, synthesizing in his work the latest artistic trends of Impressionism, Post-Impressionism, secession in combination with realistic traditions of the Ukrainian landscape genre. F. Krychevsky in his work combines the innovations of secession with the decorativeness of folk art. His works are characterized by breadth of design, confidence in drawing, attention to detail, epic images. M. Zhuk was close to literary symbolism and secession, most developing in his own work genres of decorative panels and portraits. The artist resorts to symbolism, poeticization of images, boldly filling them with associations. The work of V. Maksymovych, as well as M. Zhuk, demonstrates connections with the art of secession and symbolism. His panels - unusual in design and technique - are full of romanticism, combining the real and stylized. The defining feature of K. Piskorsky's work is the depth of his artistic worldview and philosophical nature. The balance of compositional elements, rhythmicity, geometry of volumes and clear linearity are among the main arsenal of the artist's means of expression. Results. The article proves that powerful inspirations of secession came to our lands through artists who studied in Krakow, Vienna, Munich: M. Zhuk, F. Krychevsky, O. Novakivsky, O. Murashko, A. Manevych. The publication highlights the regional features of secession in Ukrainian painting: the attraction of Western Ukrainian artists to monumental and decorative religious compositions, and Eastern Ukrainian - to paintings on secular themes. The national sources of secession in Ukrainian painting, which are organically combined with Western European figurative and plastic principles, are also indicated.
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Simic, Vladimir. "Politics, orthodoxy and arts: Serbian-Russian cultural relations in the 18th century." Muzikologija, no. 28 (2020): 79–98. http://dx.doi.org/10.2298/muz2028079s.
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The complicated political and cultural position of the Serbs who migrated to the Habsburg Monarchy in the early eighteenth century caused the rise of popularity of Russian rulers, who were recognized as protectors of the Orthodox against religious persecution. Political ties were accompanied by a strong Russification of Serbian culture, which was carried out through the mass procurement of Russian liturgical books and the arrival of many Russian teachers to Serbian schools. Ukrainian painters who came to the Metropolitanate of Karlovci brought new forms of baroque religious painting and introduced changes in the structure of the iconostasis. The cult of the Romanov dynasty among Orthodox Serbs in Hungary was amplified by their numerous portraits and engravings.
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YERMOLENKO, Svitlana. "ART NARRATIVE OF THE AHATANHEL KRYMSKYI AS A PHILOLOGIST." Culture of the Word, no. 95 (2021): 132–45. http://dx.doi.org/10.37919/0201-419x-2021.95.11.
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The article offers a linguosophical approach to the artistic linguistics of A. Krymskyi, historian-orientalist, writer (prose writer and poet), polyglot, philologist, translator. More than a hundred years have passed since A. Krymskyi wrote the novel “Andriy Lahovskyi”, and the author’s artistic narrative is of interest not only to historians of Ukrainian literature, but also to culturologists, psychologists, and language historians. The analysis of the artistic narrative of the Krymskyi as philologist is carried out in the following aspects: linguistic and structural characteristics of the text (vocabulary, phraseology, syntax) in comparison with the literary norm of modern Ukrainian, pragmalinguistic modeling of markers of the society represented by linguistic portraits of characters. characters. The conclusion about the interaction of colloquial and book (foreign language borrowings) sources in the modern reception of the history of the Ukrainian literary language of the end of the XIX – the beginning of the XX century is made. Numerous foreign words-terms, in particular in the field of psychiatry, are indicative of A. Krymskyi’s artistic narrative, especially when it comes to the state of the character’s psyche. foreign terminological vocabulary contrasts with the emotionally expressive content of colloquial structures, Ukrainian phraseology and interspersed foreign language mintexts. Text markers of social stratification of society include psycholinguistic evaluative statements of the author about the situational behavior of the characters. A. Krymskyi’s artistic narrative reveals signs of the author’s philological thinking, his constant attention to the explanation of the meanings of words, to the translation of foreign names. A significant number of lexical, word-forming, grammatical variants of the Ukrainian language are recorded in the individual style of the writer. Comparing them with lexicographic sources reveals the author’s preferences, time markers of the dynamic literary norm of the late nineteenth – early twentieth century.
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Melnykova-Kurhanova, Olena, Antonina Ivashchuk, and Nataliia Bukina. "Coverage of fighting tasks of ukrainian aviation in documentaries." Obraz 44, no. 1 (2024): 83–91. http://dx.doi.org/10.21272/obraz.2024.1(44)-83-91.
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Introduction. Documentaries about Ukraine's aerospace industry create conditions for the audience to immerse themselves in the world of aviation, to feel the effect of being present during combat missions, to cover military events and military operations, but in the first place, they tell the story of a person or people. Documentary filmmakers touched upon the topic of aviation at the beginning of the Russian-Ukrainian war in 2014 and 2015. After the full-scale invasion, the role of aviation became more important in the war, and a new wave of documentaries about military aviation appeared. The peculiarities of covering the combat missions of Ukrainian aviation during the full-scale invasion of Ukraine by the Russian Federation, the use of the latest methods of recording events, transmitting testimonies, and creating images ofheroes in documentaries are the subject of this study. The purpose of the study is to identify the features of contemporary television documentaries on aviation in the context of the Russian-Ukrainian war. Research methods. The results of the study were obtained using theoretical, descriptive, comparative methods, and systematic monitoring of documentaries about Ukrainian military aviation. The features of these films were identified, in particular, by the following criteria: duration, methods of recording events and facts, peculiarities of presentation, creation of characters, artistic techniques. The documentaries from 2015 and 2023 were compared. Results. We have analysed documentaries about the combat missions of Ukrainian aviation, such as Pilots. Return", "Masters of the Sky", "Downed Russian pilots". The authors of the films use the techniques of video portraits, video interviews, and comments by experts or heads of relevant structures. Testimonies and interpretations of events help the viewer to understand the specifics of aviation. Conclusions. Documentary films enhance the publicistic images of heroes, including pilots and other aviation professionals, Ukrainian defenders, not only by recording facts, documenting events, testimonies, comments and interviews, but also by artistic techniques and editing.
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Kharchuk, Roxana. "Shevchenko’s theme in legacy of historian and teacher Mykola Storozhenko." Слово і Час, no. 1 (February 20, 2020): 102–9. http://dx.doi.org/10.33608/0236-1477.2020.01.102-109.
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The paper deals with Shevchenko’s theme in Mykola Storozhenko’s memoirs “From My Life” and in his letters to Panteleimon Kulish. The author of the paper believes that this issue was marginal for the historian, as Storozhenko’s attitude towards the poet was ambivalent. After all, in articles on historical issues, Mykola Storozhenko quoted Shevchenko only once without giving his name.Special attention is paid to the authorship of the paper “An Episode from the Life of T. Shevchenko”, which researchers now attribute to Mykola Storozhenko based on the signature ‘С-кo’. It is noteworthy that he did not mention this episode in his memoirs, writing about dance evenings in Moisivka, as well as in the publication about his grandmother Maria Korsun. While Mykola’s authorship is the most probable, there are some arguments in favor of his brother’s authorship. Andrii Storozhenko signed his publications with the signature ‘C-кo, A.’. He was interested in Shevchenko’s artistic heritage, ancient portraits and understood the importance of Shevchenko for the Ukrainian idea, despite the fact of creating the caricature character of the poet in his work “The Ukrainian Movement”, which is still used by Russian propaganda in its fight against the ‘Ukrainian separatism’. The article also deals with the problem of perceiving Shevchenko as a natural talent without proper education. It is evidenced by the letter of Mykola Storozhenko tо Panteleimon Kulish. The author is inclined to explain the vitality of the thesis about the poet’s ignorance and poor literacy by the dual Russian-Ukrainian identity which was widespread among the contemporary intellectuals of Dnieper Ukraine and rooted in their sense of inferiority.
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Nestayko, Markiyan. "Photos of Levko Yanushevych on the pages of Ukrainian magazines." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 362–75. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-26.
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The article studies the activities of one of the famous Ukrainian photographers of the XX century — Levko Yanushevych in the field of photography. We have systematized and characterized the artist’s photographs on the pages of Ukrainian and foreign (for Ukrainian emigrants) periodicals of the XX century, specifically, «Dilo», «Nashi Dni», «Nova Khata» (all titles in Lviv), «Kholms’ka zemlya» (Krakow), «Ukrainskyi visnyk», «Holos» (both in Berlin), «Na slidi» (Augsburg). The process of shaping Yanushevych’s creative personality via a prism of public activity and cooperation with famous figures is analyzed. The significant contribution of the photographer to the preservation of important facts and information about the Ukrainian intelligentsia of that time is revealed. Levko Yanushevych appears in the general picture of the XX century not only as a photojournalist of the cultural life of Ukraine, but also as an active participant in the processes taking place at the background of art. This is evidenced by articles, interviews and memoirs left by Yanushevych in local magazines. His popularity at that time is confirmed by publications in foreign editions made by efforts of the Ukrainian émigrés. Levko Yanushevych’s photographs are stored in the archives of the V. Stefanyk Institute of Library Art Resources Research of the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv. They are not accessible in some magazines. The personality of this photographer is quite interesting not only in terms of his professionalism and famous works, but also as a cultural and public figure. His photo portraits are still stored on the pages of the Ukrainian General Encyclopedia. His photographs of landscapes and architectural masterpieces of the Ukrainian cities of the late XIX and early XX centuries help to plunge into the past. However, information about the photographer is very scarce, and there is no study of his work. In the mentioned press archives in 1920s, 1930s and 1940s, as well as some authorial articles available on the Internet were found about 50 photographs of the artist. We analyzed and systematized images by genre groupings. The article also covers a range of issues related to the origin and existence of photography in the 19-20th century, the main figures of the time, photo studios and vocational schools of Ukrainian photography. The findings of our research show trends in photography relevant in a perspective of the 21st century were experienced by professionals and amateurs in the past. Capturing information, transmitting emotions and feelings, preserving architectural monuments, landscapes, recording important moments in the lives of relatives or prominent people, coding or symbolism were important stages in the evolution of photography. Keywords: Levko Yanushevych’s photos, Ukrainian photographer, Ukrainian magazines, photography.
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ROMANENKOVA, Yuliia. "“VICTORY CODE”: THE PAINTING BY OLGA KARPENKO AS A REFLECTION OF ARTISTIC PROCESSES IN UKRAINE DURING THE WAR." ART Space 1, no. 4 (2024): 19–35. http://dx.doi.org/10.28925/2519-4135.2024.42.
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Modern Ukrainian art has a heterogeneous, rather rapidly pulsating character. Its latest history formally begins in 1991, when Ukraine began to write its own art history. Stages of development of contemporary Ukrainian art in the first quarter of the 21st century became extremely short. The most extreme of them to date has a duration of only one and a half years – It began on February 24, 2022, from the moment of the full-scale invasion of Russian troops into the territory of Ukraine. It was the war that became the Rubicon that changed the value orientations of artistic processes in Ukraine. The article is an episodic review of the creative biography of the Kyiv artist, painter, designer, scientist Olga Karpenko of the wartime era. The purpose of this investigation is to supplement the picture of the creative chronicle of Olga Karpenko, emphasizing the reasons that provoked a change in her style and plot. She possesses all the advantages of genre variety – portrait, still life, plot compositions (of different directions), but the landscape always attracted the most attention – free, fast, sketchy, light. But the main note that affects all of Olga Karpenko's work since February 2022 has become the note of war. A comparative analysis of the painting style of the previous years, when a light palette, textured painting, and impressionistic influence prevailed, with the creativity of the two war years, when both the subject of the painting and the color scheme, was made. The reasons for these changes are highlighted, the analysis is based on the material of the exhibition “War and Victory”, which took place in the “Hlibnya” gallery in May-June 2023. The narrative canvases, portraits, landscapes of the artist, created during 2022-2023, are highlighted, and the peculiarities are analyzed transformations of artistic language, reasons for stylistic changes. Emphasis is placed on colors, rhythms of painting. Two canvases of 2023 are highlighted as a visualization of the “victory code” in Olga Karpenko's painting of the war period.
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Кузнєцова, Кристина. "LITERARY PORTRAITS OF THE NEW CENTURY. SEARCH FOR IDENTITY THROUGH COGNITION OF PLACES AND CITIES." Молодий вчений, no. 10 (98) (October 31, 2021): 329–32. http://dx.doi.org/10.32839/2304-5809/2021-10-98-69.
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In modern prose the city takes an important role, not only in the formation of the mental worldview, mental state of man and seeing himself in the city as part of society, but also personal and national identification. In article we analyze the novel by Ukrainian writer V. Amelina "Home for Dom" and Czech author A. Cima "I wake up on Shibuya", which became an example of understanding the world of the youngest generation. We focused on the topos of the city and its influences on the formation of national and individual identity of the characters. In conclusion, we can again state that the search for oneself through other worlds, other cities, other people. This is probably the only thing that can be considered common in the both literatures of today, because it’s due to generational proximity, everything else is much different, and the reason for the differences is also hidden in the past, namely in the history and traditions of each nation.
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Kosovan, Elena A. "PROSOPOGRAPHIC APPROACH IN UKRAINIAN STUDIES (THE “BELARUS AND UKRAINE: PEOPLE AND CONCEPTS” CONFERENCE, INSTITUTE OF SLAVIC STUDIES OF THE RUSSIAN ACADEMY OF SCIENCES, OCTOBER 19, 2021)." RSUH/RGGU Bulletin. Series Eurasian studies. History. Political science. International relations, no. 1 (2022): 134–39. http://dx.doi.org/10.28995/2686-7648-2022-1-134-139.
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On October 19, 2021, the Institute of Slavic Studies of the Russian Academy of Sciences held an International Scientific Conference “Belarus and Ukraine. People and Concepts”, arranged by the Eastern Slavs Department employees. The main purpose of the conference was to introduce and discuss the prosopographic research results in the field of Ukrainian and Belarusian history. During the conference, it was scheduled to cover the issues of creation of national movement leaders’ collective portraits, as well as carriers of the national concept against the imperial history background. It was also expected to discuss issues related to the studying of national historical aspects of religions, family history, and women’s history. The conference, which was held in combined format (face-to-face and by Zoom), was attended by specialists in Ukrainian and Belarusian Studies from Moscow, Minsk, Grodno, Warsaw, Prague. The Russian scientific community was represented by the members of the Institute of Slavic Studies of the Russian Academy of Sciences, the Institute of Russian History of the Russian Academy of Sciences, Lomonosov Moscow State University, Russian State University for the Humanities The conference became a debut in the field of prosopography for the Institute of post-Soviet and Interregional Studies, which presented a study of UkrainianFinnish relations in the early twentieth century.
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Fedotova, Marina. "ON AN EPITAPH TO DIMITRY OF ROSTOV (ON THE HISTORY OF THE EPITAPH’ GENRE IN THE 18TH СENTURY)." Проблемы исторической поэтики 19, no. 4 (December 2021): 190–214. http://dx.doi.org/10.15393/j9.art.2021.9743.
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The article analyzes an epitaph dedicated to Dimitry of Rostov. It was written in Ukraine after the death of the metropolitan in 1709, but before his official canonization in 1757. Unlike the two other well-known epitaphs dedicated to Saint Dimitry (the funeral oration by Stephen Yavorsky and the inscription by Michail Lomonosov engraved on the silver icon case of his tomb complex), this text, which belongs to the syllabic epitaph genre, was an inscription under Dimitry’s lifetime portrait that was kept in the Novgorod-Seversky monastery. This epitaph, like the first two texts, can be clearly characterized as a baroque text, however, it differs significantly from them in content and style. It reflects other artistic phenomena of baroque poetics and has the features of synthesis, a combination of an iconographic image and signature, illustrations and text, words and images. The portrait-icon with verses was delivered to Rostov to metropolitan Arseny (Matseevich) through Fyodor Dubyansky, the confessor of Empress Elizabeth Petrovna. For a long time, it was preserved at the tomb of St. Dimitry in the interior of the Trinity (Conception) monastery. This epitaph reflects the Ukrainian tradition, in which portraits with epitaphs were hung at the graves of bishops and churchwardens. Who was the author of this epitaph to Dimitry of Rostov? It was most certainly a representative of the Ukrainian elite who knew Dimitry’s biography very well. Perhaps it was Ioann (Maksimovich), the future metropolitan of Tobolsk. The location of the original icon with the inscription is unknown, but a copy has survived in the museum of the Kiev-Pechersk monastery. However, this epitaph continued to exist in the written tradition. Several copies of it are known, and its text was reproduced and perceived separately from the iconographic model as a hagiographic text. It served, in turn, as a source of other such texts dedicated to Dimitry of Rostov and created after his canonization. The subsequent fate of this epitaph is also associated with the phenomena of the new cultural epoch, in which different types of art did not merely complement each other, but also led to the expansion of artistic expression, to the creation, interaction and interchangeability of new artistic forms, evolution of genre, which are undoubtedly important for the studying the genre poetics of the 18th century.
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Kondratenko, Nataliia, and Hlib Kuchma. "COMMUNICATIVE PORTRAIT OF AN ENGLISH-SPEAKING DRIVER: FEATURES OF DIALOGICAL INTERACTION WITH THE DISPATCHER." Odessa National University Herald. Series: Philology 28, no. 2(28) (December 23, 2023): 73–85. http://dx.doi.org/10.18524/2307-8332.2023.2(28).299790.
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The article characterizes the issue of correlation and demarcation of the terminological concepts “slang”, “jargon” and “sociolect” and emphasizes the need to define the terms “professional language”, “sublanguage”, “sublanguage”. The concept and structure of the communicative portrait are defined and the main features of the communicative portraits of the driver and dispatcher are defined. The characteristics of drivers’ speech are given, with the highlighting of slang elements in their speech and explanations of possible options for understanding and translating professionalism in drivers’ speech. The purpose of the study is to analyze the professional speech of English-speaking drivers in the USA and to develop and identify the main features of the communicative portrait of an English-speaking driver. The object of the study is the professional speech of English-speaking carriers (dispatchers and drivers), and the subject is slangisms in the professional speech of English-speaking drivers and the principles of creating an electronic dictionary of their slang. The source base includes recordings of the dispatcher’s conversations with English-speaking drivers (in total, more than 30 hours of audio recordings were analyzed), text messages in the corporate chat (more than 500 messages). Truck drivers from the USA were selected as communicators, whose logistics of movement and work are regulated by the online dispatcher. In general, the speech of five drivers is characterized based on the personal professional experience of the author of the study for the year 2023. Illustrative material is provided with the author’s translation into Ukrainian and relevant comments. It has been proven that the communicative portrait of an English-speaking driver covers the following features: speech behavior (style, lexical content and tone of voice, individual features of speech, pronunciation of sounds, pace, clarity, volume, etc.); the ability to express thoughts, the ability to listen and understand others; compliance with the accepted norms of communication, traditions, interaction skills in a certain culture or environment; responding to various communicative situations; psychological type of communicator.
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Drozdovskyi, Dmytro. "Review of Giovanna Brogi's work. Cultural polymorphism of the Ukrainian world; foreword by S. Plokhiy, afterword by O. Pakhlоvska. K.: Duh i Litera, 2022. 520 p." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, no. 26-27 (2022): 292–97. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-292-297.
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The research “Cultural polymorphism of the Ukrainian world” (2022) by the Italian Ukrainian scholar J. Brogi was reviewed in a critical analysis. The work represents a fundamental collection of academic studies about the revision of Ukrainian history and culture of the 17th-18th centuries. The research provides an attempt at historical reconstruction of important figures of politics and culture of the Ukrainian Early Modern period, which is characterized as an immanently polymorphic phenomenon. This feature determines its special vitality and is a factor in the consolidation of internal forces, which over time led to the consolidation of Ukrainian political state intentions and identity narrative. The main interpretive vectors regarding the Ukrainian world as a civilizational category have been systematized. For the first time, it was proposed to define the category of “polymorphism” as a factor of identity, a component of socio-cultural and political processes that took place on Ukrainian territory in the Early Modern period. The inhomogeneity of the Ukrainian socio-cultural dimension, which is represented in cultural works and reflected in archival materials related to the analyzed era, has been determined. A significant corpus of historical materials and archival data has been developed, which make it possible to reconstruct the portraits of key figures of the Early Modern period, to determine their worldview guidelines and political orientations. The works of J. Brogi, presented in the review, make it possible to represent the Ukrainian world as a component of the geopolitical and sociocultural map of Europe in the 17th-18th centuries, introducing the concept of the polymorphism of the Ukrainian world into the dimension of the latest Ukrainian studies. The interaction of Muslim, Jewish, and other influences in Ukrainian society and their reflection in the culture of the studied era has been discussed. The forms of reaction of the Ukrainian world to the images of the Stranger and the Other, which representatives of the Muslim and Jewish worlds used at different times, have been outlined. In the chapter “Judaica Ucrainica”, Brogi refers to a significant historical corpus, which explicates the textological evidence, in which the image of the Jewish component occupies a special place. Jews had to go through the procedure of renouncing their own faith, while for Ukrainian communities they were considered more dangerous and more threatening than, say, “Sratsyns”, representatives of the Muslim world. The cultural concept of polymorphism, which is presented in the studies of Professor Brogi, complicates the discourse of cultural and political phenomena, demonstrating that the inhomogeneity of such phenomena in religious, social, political and cultural configurations will determine such basic components of political history and identity as tradition, faith (religion), social stratification, a complex of ideas about “Own” and “Others” in various versions, etc. The research provides questions that require further discussion in academic circles. However, the reviewed work is a significant contribution to Ukrainian studies and it attests, without exaggeration, to the fundamental long-term work of Professor Brogi. Hence, the research “Cultural polymorphism of the Ukrainian world” raises the question of the category of "polymorphism" as an anthropological, sociocultural and civilizational phenomenon, the presence of which in the discourse of historical and cultural transformations gives grounds to talk about the civilizational significance of culture and nation. For the first time, the question of the "Ukrainian world" was raised as an important category that needs to be understood in the paradigm of political and cultural studies. Such a perspective of the scientific problem brings Ukrainian studies first of all into the sphere of global studies, convincingly demonstrating how the study of Ukrainian socio-cultural and political processes can be important for understanding contemporary political configurations and the special vitality that is inherent in a polymorphic world. The researcher revises the Ukrainian world precisely in the paradigm of its polymorphic nature, which is determined by various "configurations of configurations" of Ukrainian history in the context of European, Turkish, Muslim, and Russian influences and determinations. Separate interpretations of historical figures reveal various controversies that happened in the past and that determined the political development of the Ukrainian world in one or another vector.
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Fedosov, Egor A. "The evolution of graphics in newspaper holiday issues in the Soviet Ukraine (1953-1984)." Rusin, no. 69 (2022): 269–81. http://dx.doi.org/10.17223/18572685/69/15.
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The article focuses on the issues of the Soviet Ukrainian periodicals Pravda Ukrainy(Kyiv) and Rabochaya gazeta (Kyiv), timed to the most popular Soviet public celebrations: New Year, May Day, and October Revolution Day. The author analyses the graphics of about 180 newspapers of 1953-1984 to determine the approaches to selecting visual elements (front page drawings, caricatures, cartoons and other decorative sketches). The chronology of newspaper images and symbols clearly shows the evolution of key political categories, their relevance, diversity, and interrelation, depending on the regional specificity of the newspaper. The visualization scheme naturally differed for each celebration. For example, the May Day or, especially, October Revolution Day newspaper issues invariably published portraits of Vladimir Lenin, while the political symbolism of New Year holiday referred to the Kremlin towers. In different years, the background that formed the plot of holday illustrations was industry or space exploration, international workers' parade or family life. The repetition of compositional and semantic elements not only emphasized their significance, but, in time, began to indicate the lack of new ideas. Meanwhile, the political satire, represented by foreign policy caricatures, gradually gave way to humorous cartoons related to domestic casual topics. The national specificity of visual symbolism could be found only in some types of visual images, as well as in accompanying texts in Ukrainian.
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Lisun, O., and A. Sovietna. "THE SPECIFICITY OF CHARACTER PORTRAITS REPRODUCTION IN UKRAINIAN LITERARY TRANSLATION (BASED ON TRUMAN CAPOTE’S NOVEL “OTHER VOICES, OTHER ROOMS”)." International Humanitarian University Herald. Philology 4, no. 43 (2019): 68–71. http://dx.doi.org/10.32841/2409-1154.2019.43.4.16.
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Berezovich, Elena L., and Valeria S. Kuchko. "Once More on the Etymology of the Russian Word Mazurik ‘Cheater’ (in Light of the Cultural and Linguistic Image of Mazur in Slavic Traditions)." Slovene 6, no. 1 (2017): 413–48. http://dx.doi.org/10.31168/2305-6754.2017.6.1.17.
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The article proves the hypothesis of the origin of the Russian colloquial word mazurik as deriving from the name of the Polish ethnographic group mazury ‘Mazurs’—inhabitants of Mazovia (in central and south-eastern Poland) as well as immigrants from this area to other places, mainly in the north-east. This hypothesis had previously been stated in the literature, but it had not been demonstrated rigorously. The authors show that the word mazurik is included in the big semantic word family that is derived from mazur, by studies focused on nationwide usage and through dialects. Using data from the lexical system and from folklore, the linguistic portrait of the Mazurs in the Russian tradition is reconstructed, and it is compared with linguistic stereotypes of the Mazurs in the source language (Polish) and the languages of peoples in close contact with the Mazurs (Ukrainian and Belarusian). The main features of these portraits are the same in these languages, and they create a negative image of the Mazur in the Slavic tradition, making the “Polish” etymological version semantically legitimate. In addition, the authors prove this hypothesis from the point of view of word formation, linguogeography, and sociolinguistic characteristics of the words under consideration. It is noted that the derivatives of the word family derived from mazur are attracted to the lexemes which have similar form and meaning but different origin, in particular, to derivatives of the verb mazatʹ and the words murza and zamurzannyi. The article contains an overview with commentary of hypotheses about the origin of the Russian mazurik existing in Slavic etymological literature.
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Palamarenko, Anatoly. "Performing Accents of Stage Speech Expression in the Ukrainian Opera (from the Work Experience of Ivan Patorzhynsky)." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(56-57) (December 26, 2022): 197–211. http://dx.doi.org/10.31318/2414-052x.3-4(56-57).2022.278245.
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The author considered the relationship between words, music and stage action in Ukrainian classical opera. The stage language of the artist is characterized as the most powerful means of influencing the listener, thanks to which the ideological content and inner world of the character (singer-actor) is conveyed to the audience. The process of the singer-actor's work on creating a complete vocal and stage image with the use of spoken dialogues is analyzed. The peculiarities of the implementation of musical and theatrical works by means of stage broadcasting in an opera on national themes, taking into account the mentality of the Ukrainian people (peculiarities of life, culture, customs, rites of various social strata of the population, etc.) have been revealed. The specific methods of emotional and meaningful accents of the expressiveness of stage speech in Ukrainian opera are determined, using the example of Ivan Patorzhynskyi's performance. An organic combination of character-comedic features and pathos was revealed in Ivan Patorzhynskyi's creation of a complex and multifaceted image of Karas in S. Gulak-Artemovsky's opera "Zaporozhets za Danube" (Zaporozhian Beyond the Danube). The personal intonation and emotional techniques of the outstanding artist in the embodiment of the bright and unique image of Vyborny Makogonenko in M. Lysenko's opera "Natalka Poltavka" were clarified. The resolute, heroic intonations of Ivan Patorzhynskyi in the image of Taras as a brave, wise commander and his deep drama and tragic experiences as a father in the scene of the murder of his traitorous son in M. Lysenko's opera "Taras Bulba" are outlined. The professional approach and thorough search work of the master in creating socio-psychological portraits of the characters embodied by the actor in the specified operas are proven. Further scientific research is predicted to identify new synthesized means of expression in the combination of music, speech and stage action in today's realities.
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Собкович Ольга. "ТВОРИ ПЕТРА ХОЛОДНОГО-СТАРШОГО З ПРИВАТНИХ КОЛЕКЦІЙ. НОВІ ШТРИХИ ДО ДОСЛІДЖЕННЯ МИСТЕЦЬКОЇ СПАДЩИНИ." International Journal of Innovative Technologies in Social Science, no. 2(23) (February 28, 2020): 3–9. http://dx.doi.org/10.31435/rsglobal_ijitss/28022020/6942.
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This publication analyses the artwork by Petro Kholodny Sr., the distinguished artist of the first third of the XX century, from private collections, that gives an opportunity to better comprise and study the artist's searches in different periods of his creative work in the visual-stylistic and genre-thematic spheres. The Moscow collection of easel paintings by the Kholodny family is analysed, showing a range of artistic interests up to 1917. Landscapes and sketches from this collection testify his fascination with plein-airism and, at the same time, with heritage of impressionism. Artist’s portraits and landscapes from various private collections outside and within Ukraine and little-known works of sacral painting of the Lviv period are also analysed: sketches of icons; the “Blahovishchennia” (Annunciation) icon reflecting the national line of modernist style in Ukraine. The mentioned images greatly expand the interpretation of Kholodny Sr’s searches in the synthesis of modern art and Ukrainian-Byzantine tradition and his coloristic feeling.