Literatura académica sobre el tema "Ukrainian Canadian art"

The article highlights the process of incipience of Ukrainian fine art in Canada. During the second half of the 20th century the Ukrainian diaspora created its own art and multiplied traditional Ukrainian art. Unfortunately, the achievements of the Ukrainian diaspora as a rule aren’t well-known to Ukrainian scientific community. The names of these people have filled up the treasury of spiritual values not only in Ukraine or Canada, but worldwide. Ukrainian artists from Canada have created artistic values reflecting the progress of the world’s fine art and have retained the best traditions of native schools. The article contains information about such organizations as the Ukrainian Association of visual artists of Canada, the Ukrainian-Canadian Art Foundation, the Alberta Council for Ukrainian Art. The article also highlights life and artistic journey of V. Kurilyk, M. Dmitrenko, Leo Mol, G. Novakivska, O. Lesyuk, M. Antoniv.

The aim of the research is to analyze peculiarities of cultural exchange between Canada and the Ukrainian SSR in the 1960s and 1980s, which took place during the Cold War. The research methodology is defined by an interdisciplinary approach (history, culture, foreign relations) and is based on general scientific and special scientific methods, first of all, retrospection and historical comparison. The scientific novelty of the research is that on the basis of archival materials determined the forms and content of cultural exchange between the Ukrainian SSR and Canada, in particular its propaganda content. The Conclusions. During the Cold War the cultural sphere became an arena of confrontation, and art (or what was meant by it) became part of ideological propaganda campaigns. Cultural exchange was seen by the Soviets as a way of representing «achievements of socialist culture» to Canadian Ukrainians and as an effective propaganda tool. Formally, on the Soviet side, cultural exchanges were carried out by specially created organizations, which, however, were managed and financed through the Central Committee of the Communist Party and the International Department of the Committee of State Security (KGB). The request to maintain cultural ties with the Ukrainian SSR in Canada was largely due to the desire of the Ukrainian community overseas to maintain spiritual ties with the Motherland. Different approaches to the interpretation of cult exchange – from approval to complete denial – have provoked a lively discussion in the diaspora. Adherents of cultural programs from the Ukrainian SSR were Canadian left-wing organizations, such as the Association of United Ukrainian Canadians. The League of Liberation of Ukraine was a categorical opponent of the cultural exchange, whose representatives saw in the artists from the USSR Soviet emissaries called to «destroy» the Ukrainian community in Canada. Organizations within the Ukrainian Canadian Committee (UCC) condemned cultural exchange as a one-sided tool of Soviet propaganda, but viewed cultural ties as a way to influence Soviet artists. Because of one-sided Soviet cultural infiltration, on several occasions the UCC voiced its protest against Canada’s cultural exchanges with this country. Ukrainian Canadian artists, choirs and dance ensembles are not permitted to perform in Ukraine unless they were politically acceptable to the Soviet authorities.

The purpose of the study — to analyze the phenomenon of the author’s style “multiculturalism” in the painting of the Canadian-Ukrainian artist W. Kurelek, as well as to characterize the unique author’s artistic technique. The methodology. Symbolic-metaphysical and philosophical aspects of the artist’s work are studied on the basis of art analysis of individual paintings. The method of formal and stylistic analysis helped to identify the appearance of individual works, characterized the artistic processes that took place in the Canadian-Ukrainian environment, which had a significant impact on the work of W. Kurelek. This method effectively helped in the stylistic characterization of the canvas, in particular in identifying the formal organization of the work: space, time, color, light, rhythm, composition, perspective. The scientific topicality. The role of W. Kurelek in the formation of the multicultural process in Canada is proved, in particular the importance of his art — chronicles of the formation and development of Canadian emigrants (Frenchmen, Irishmen, Ukrainians, Jews, Poles), as well as the first comprehensive study of the author’s creative method “multiculturalism”. The practical significance. Theoretical material can be used in scientific art and cultural studies, as well as for teaching courses in: history of Ukrainian culture in the diaspora, art of the Ukrainian diaspora, the development of Ukrainian art in Canada, in the preparation of textbooks and manuals. The conclusions. The author’s creative method “multiculturalism” of the Canadian artist, the grandson of the first Ukrainian emigrants W. Ku-relek has been studied. The uniqueness of this creative method lies in the system of abilities of the artist. First of all, it is a comparative approach to the selection of ideas and thematic outlines of works, which was based on a long analysis of the historical context, socio-cultural environment and futuristic predictions, which the artist observed and tried not just narratively capture in his work. From childhood, from his first emigrant grandparents, and later from his own experience of “dual” identity, it was very important for the artist to record in painting the presence and contribution of each emigrant group that was a member of multicultural Canadian society. In order to properly crystallize the author’s style, W. Kurelek traveled to all twelve provinces of Canada, capturing the geopolitical, climatic, natural and social characteristics of each province. He studied the histories of the aboriginal tribes, the arrival of the first emigrants, and the stages of the “multiplication” and integration of the various waves of emigrants on Canadian land. The uniqueness of this style was that the artist did not generalize the standard image of “Frenchman”, “Irishman”, “Pole”, but went by inductive method, studying the history of a person, his life, as well as the history of a country, its art , traditions, music, literature, customs, even cooking. The unique artistic author’s “mixed” technique obtained by long-term experiments and the influence of Nikolaides’ artistic method on the compositional structure of W. Kurelek’s work are also analyzed.

The article analyzes the ensemble work of the diaspora bandura players. It is noted that ensemble music has its origins in the so called “kobzarism” in Ukraine. The development of bandura art in the diaspora of the twentieth century occurred differently. This is due to the chronological, spatial, geographical and cultural factors of the countries of the world where the bandura cells were located. The history of the appearance of Ukrainian bandura players on the territories of other continents is covered, and the emigration waves that became the impetus for the development of bandura art abroad are mentioned. The leading bandura ensembles of the diaspora were analyzed – the Taras Shevchenko Bandura Band (Detroit), the Canadian Bandura Band, the Gnat Khotkevych Bandura Ensemble (Toronto), and the Maiden Bandura Band. P. Orlyk (Detroit), ensemble “Haidamaki”, children’s choir “Golden Strings” and their cooperation with various groups both in the diaspora and in Ukraine. The article also describes the repertoire, tools and their modifications in connection with certain historical events. It is noted that the Ukrainian theme became the basis for the repertoire of the diaspora bandura players – Ukrainian folk songs, patriotic, Cossack, Duma, spiritual works, carols, works of Ukrainian composers, instrumental melodies and others. The names of famous bandura masters abroad are mentioned. Ensemble performance of non-mainland Ukraine is associated with the names of many artists, including Vasyl Yemets, Mykhailo Teliga, Hryhoriy Kytasty, Hryhoriy Nazarenko, Stepan Hanushevsky, Volodymyr Lutsyv, Viktor Mishalov, Olga Gerasimenko-Oliynyk and Yuriy Oliynyk. The article mentions the close cooperation of bandura ensembles and representatives of choral and vocal art. The concert life of famous bandura groups of the diaspora and their artistic achievements are described. It is also noted that the ensemble art of the diaspora is currently actively studied by scholars of the diaspora and Ukraine.

The article presents the results of empirical research on ethnopsychological groups of people living in different regions of Ukraine in the context of intercultural ideological systems. In particular, residents of Ukraine and foreign students from Africa and Middle East, which study at Sumy State University, were invited to share their impressions from the listened dumas, performed by Canadian bandurist Victor Mishalow during his concert tour in Ukraine. They also watched and listened to video recordings of such folk dumas as «Cossack Golota», «Marusya Boguslavka» performed by kobzar Mykola Budnyk and bandura player Fedir Zharko. Students analyzed the characters’ images, expressed their understanding and attitude to characters’ actions and compared them with the national heroes of their own countries. The national peculiarities of the worldview of Ukrainians, representatives of Africa and the Middle East expressed in their language are defined. The language itself is the core of people’s psyche, way of thinking, and identity of ethnic group’s moral and ethical norms of life. The analysis of folk art helps to emphasize the peculiarity of foreign students’ perception of words, rhythm, music, and the symbolic system of folk poetic works. Author notes that the psychological of figurative system of Ukrainian dumas and folk songs of the mentioned peoples has a purely national color: it is a category of national outlook and at the same time is a artistic and aesthetic category. The solution of these problems forms an understanding of the specific of national characters and the national world in folk poetic works of the peoples of Africa, the Middle East and Ukrainian folk dumas, which is the main purpose of the study and its novelty, because such typological comparisons are investigated for the first time. These experimental studies, the development of the ideas of dumas studies and studies on a national character, the peculiarities of a national world perception, world outlook and world expression have substantiated the need for a deeper study of Ukrainian dumas’ role in the formation of the national personality during intercultural communication.

This article analyzes the impact of the Ukrainian diaspora on Ukraine using an extensive survey of more than sixty opinion leaders, scholars, representatives of Ukrainian organizations in the diaspora, as well as data shared by these organizations and relevant scientific literature. The article attempts to identify the main types of influences by areas and nature of the activity of the diaspora. One type of influence of the diaspora is informational or propaganda influence. Through the Ukrainian media, literature, art, scientific works, petitions, actions, and protests, the Ukrainian diaspora promotes information about Ukraine, contributing to the creation of a positive international image for the country. During the massacres and imprisonment of Ukrainian dissidents worldwide, student and human rights organizations set up committees to defend political prisoners under the leadership of Ukrainian diaspora representatives. The struggle for the release of Ukrainian political prisoners was also waged by the Ukrainian media that published self-published works (samvydav), research, memoirs, and documents of many Ukrainian political prisoners, documents and bulletins of the Ukrainian Helsinki Group, as well as many other materials about Soviet arbitrariness in Ukraine. Today, all Ukrainian diaspora organizations, to a greater or lesser extent, are fighting against Russian propaganda. Another type of influence of the diaspora is political influence, i.e., the ability of the diaspora to facilitate the adoption of political decisions beneficial to Ukraine by their host countries. Ukrainian diasporas are actively lobbying for Ukraine’s interests, which resulted in the proclamation of Captive Nations Week in the USA, recognition of the Holodomor as genocide of the Ukrainian people in 17 countries, the introduction of the Defending American Security from Kremlin Aggression Act and other bills to the US Senate Committee on Foreign Relations, establishment of support groups for Ukraine in the US and Canadian Parliaments, adoption of numerous laws and political documents worldwide that condemn Russia’s invasion of Ukraine, impose sanctions on the Russian Federation, and create a legal basis for providing financial, humanitarian, and military assistance to Ukraine. The economic or financial influence of the Ukrainian diaspora on the homeland is represented by remittances sent by representatives of the diaspora to their relatives who still live in Ukraine and by financial aid provided to Ukraine by diaspora organizations and patrons to achieve specific goals. Thanks to the diaspora efforts, millions of dollars in assistance were provided to Ukraine during the years of its independence. Significant results have been achieved in the field of cultural and educational impact. The most notable examples of educational and cultural influence are the return of Ukrainian folklore and traditions to Ukraine taken away by the Soviet oppression; the establishment or restoration of organizations such as Plast, the Shevchenko Scientific Society, the Ukrainian Youth Association; organization of internship programs for Ukrainian students and young specialists; creation of advisory programs for the Government of Ukraine with the participation of highly-qualified Western specialists; transfer of know-how; and creation of training programs for Ukrainian police and army. Specific examples given in the article can demonstrate the extraordinary efforts made by the diaspora to support and assist Ukraine.

This article examines the resettlement of Ukrainian Displaced Persons (DPs) in Canada during the immediate post-World War II period (1945–1951). Allowed to emigrate from Western Europe to Canada, partially as a result of the lobbying efforts of various voluntary agencies established by Ukrainian Canadians, these DPs soon became embroiled in acrimonious debates with representatives of the previously established Ukrainian Canadian population. The DPs’ creation of a number of new organizations both alienated the receiving Ukrainian society and had deleterious effect on the latter's overseas refugee relief and resettlement operations, which lasted only until 1951.

The study of indirect translations (IT) into Ukrainian, viewed from a psycholinguistic perspective, will contribute to a better understanding of Soviet national policies and the post-Soviet linguistic and cultural condition. The paper pioneers a discussion of the strategies and types of IT via Russian in the domains of literature and religion. In many cases the corresponding Russian translation, which serves as a source text for the Ukrainian one, cannot be established with confidence, and the “sticking-out ears” of Russian mediation may only be monitored at the level of sentence structure, when Russian wording underlies the Ukrainian text and distorts its natural fluency. The discussion substantiates the strategies and singles out the types of IT, in particular, (1) Soviet lower-quality retranslations of the recent, and mostly high-quality, translations of literary classics, which deliberately imitated lexical, grammatical, and stylistic patterns of the Russian language (became massive in scope in the mid1930s); (2) the translation-from-crib type, or translations via the Russian interlinear version, which have been especially common in poetry after WWII, from the languages of the USSR nationalities and the socialist camp countries; (3) overt relayed translations, based on the published and intended for the audience Russian translations that can be clearly defined as the source texts for the IT into Ukrainian; this phenomenon may be best illustrated with Patriarch Filaret Version of the Holy Scripture, translated from the Russian Synodal Bible (the translation started in the early 1970s); and, finally, (4) later Soviet (from the mid1950s) and post-Soviet (during Independence period) hidden relayed translations of literary works, which have been declared as direct ones but in fact appeared in print shortly after the publication of the respective works in Russian translation and mirrored Russian lexical and stylistic patterns. 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Декамерон / пер. Л. Пахаревського та П. Майорського; ред. С. Родзевича та П. Мохора; вступ. ст. В. Державіна. [Харків]; ДВУ, 1929. Ч. 1. XXXI, 408 с.; Ч. 2. Цит за вид.: Кальниченко О. А., Полякова Ю. Ю. Українська перекладознавча думка 1920-х – початку 1930-х років: Хрестоматія вибраних праць з перекладознавства до курсу «Історія перекладу» / Укладачі Леонід Чернований і Вячеслав Карабан. Вінниця: Нова Книга, 2011. С. 344-356. Munday, J. (2010). Introducing Translation Studies: Theories and Applications. 2nd Ed. London & New York: Routledge. Pauly, M. D. (2014). Breaking the Tongue: Language, Education, and Power in Soviet Ukraine. Toronto Buffalo London: University of Toronto Press. Pieta, H. & Rosa, A. A. (2013). Panel 7: Indirect translation: exploratory panel on the state-of-the-art and future research avenues. 7th EST Congress – Germersheim, 29 August – 1 September 2013. Retrieved from http://www.fb06.uni-mainz.de/est/51.php Плющ, Б. O. Прямий та неопрямий переклад української художньої прози англійською, німецькою, іспанською та російською мовами. Дис. …канд. філол. наук., Київ: КНУ імені Тараса Шевченка, 2016. Ringmar, M. (2012). Relay translation. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4 (pp. 141-144). Amsterdam / Philadelphia: John Benjamins Publishing Company. Simeoni, D. (1998). The pivotal status of the translator’s habitus. Target, 10(1), 1-39. Солодовнікова, М. І. Відтворення стилістичних особливостей роману Марка Твена «Пригоди Тома Сойера» в українських перекладах: квантитативний аспект // Перспективи розвитку філологічних наук: Матеріали ІІІ Міжнародної науково-практичної конференції (Хмельницький, 24-25 березня). Херсон: вид-во «Гельветика», 2017. С. 99-103. Sommer, D, ed. (2006). Cultural Agency in the Americas. [Synopsis]. Durham, NC: Duke University Press. Špirk, J. (2014). Censorship, Indirect Translations and Non-translation: The (Fateful) Adventures of Czech Literature in 20th-century Portugal. Newcastle upon Tyne: Cambridge Scholars Publishing. Venuti, L. (2001). Strategies of Translation. In M. Baker (ed.). Routledge Encyclopedia of Translation Studies, (pp. 240-244). London & New York: Routledge. References (translated and transliterated) Beletskii, A. (1929). Perevodnaia literatura na Ukraine [Translated literature in Ukraine]. Krasnoe Slovo [Red Word], 2, 87-96. Reprint in: Kalnychenko, O. A. and Poliakova, Yu. (2011). In Leonid Chernovatyi and Viacheslav Karaban (Eds.). Ukraiins’ka perekladoznavcha dumka 1920-kh – pochatku 1930-kh rokiv: Khrestomatiia vybranykh prats z perekladosnavstva do kursu “Istoriia perekladu” [Ukrainian translation studies of the 1920s – early 1930s: A textbook of selected works in translation studies for a course on the “History of Translation”]. (pp. 376-391). Vinnytsia: Nova Knyha, Burghardt, O. (1939). Bolshevytska spadschyna [The Bolsheviks’ heritage]. Vistnyk [The Herald], Vol. 1, Book 2, 94-99. Dollerup, C. (2014). Relay in Translation. Cross-linguistic Interaction: Translation, Contrastive and Cognitive Studies. Liber Amicorum in Honour of Prof. Bistra Alexieva published on the occasion of her eightieth birthday, Diana Yankova, (Ed.). (pp. 21-32). St. Kliminent Ohridski University Press. Retrieved from https://cms13659.hstatic.dk/upload_dir/docs/Publications/232-Relay-in-translation-(1).pdf Dong, Xi (2012). A Probe into Translation Strategies from Relevance Perspective—Direct Translation and Indirect Translation. Canadian Social Science, 8(6), 39-44. Retrieved from http://www.cscanada.org/index.php/css/article/viewFile/j.css.1923669720120806.9252/3281 Dzera, O. (2014). Istoriia ukraiinskykh perekladiv Sviatoho Pysma [History of Ukrainian translations of the Holy Scripture]. Inozemna Filologiia, 127, Part 2, 214-222. Filaret, Patriarch of Kyiv and all Rus-Ukraine et al. (2018). Rozmova Viacheslava Kyrylenka iz Patriarkhom Kyivskym ta vsiiei Rusy-Ukrainy Filaretom. Vira [A Conversation of Viacheslav Kyrylenko with Patriarch of Kyiv and all Rus-Ukraine Filaret. Faith]. In: Try rozmovy pro Ukrainu [Three Conversations about Ukraine], compiled and edited by V. Kyrylenko. Kharkiv: Family Leisure Club, 9-92. Flynn, P. (2013). Author and Translator. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4, (pp. 12-19). Amsterdam / Philadelphia: John Benjamins Publishing Company. Gutt, E.-A. (1990). A theoretical account of translation – without a translation theory. Retrieved from http://cogprints.org/2597/1/THEORACC.htm Kolomiyets, L. (2015). Ukraiinskyi khudozhniy pereklad ta perekladachi 1920-30-kh rokiv: Materialy do kursu “Istoriia perekladu” [Ukrainian Literary Translation and Translators in the 1920s-30s: “History of translation” course materials]. Vinnytsia: Nova Knyha. Ilarion, Metropolitan (1958). Bibliia – naipershe dzherelo dlia vyvchennia svoiei literaturnoi movy [The Bible is the first source for studying our literary language]. Vira i kultura [Faith and Culture], No. 6 (66), 13–17. Ilarion, Metropolitan. 1962. Bibliia abo Knyhy Sviatoho Pusma Staroho i Novoho Zapovitu. Iz movy davnioievreiskoi i hretskoi na ukrainsku doslivno nanovo perekladena. Commissioned by United Bible Societies. Jinyu L. (2012). Habitus of Translators as Socialized Individuals: Bourdieu’s Account. Theory and Practice in Language Studies, 2(6), 1168-1173. Leighton, L. (1991). Two Worlds, One Art. Literary Translation in Russia and America. DeKalb, Ill.: Northwestern Illinois UP. Lukash, M. (2009). Prohresyvna zakhidnoievropeiska literatura v perekladakh na ukraiinsku movu [Progressive West European Literature in Ukrainian]. Protei. Vol. 2. Edited by O. Kalnychenko. Kharkiv: Vydavnytstvo NUA, 560-605. Maifet, H. (1930). [Review]. Chervonyi Shliakh [Red Path], 2, 252-258. Review of the book: Boccaccio G. Decameron. Tr. by L. Pakharevskyi and P. Maiorskyi; S. Rodzevych and P. Mokhor (Eds.).; introduction by V. Derzhavyn. Kharkiv: DVU, 1929. Part 1. XXXI; Part 2. Reprint in: Kalnychenko, O. and Poliakova, Yu. (2011). In Leonid Chernovatyi and Viacheslav Karaban (Eds). Ukraiins’ka perekladoznavcha dumka 1920-kh – pochatku 1930-kh rokiv: Khrestomatiia vybranykh prats z perekladosnavstva do kursu “Istoriia perekladu” [Ukrainian translation studies of the 1920s – early 1930s: A textbook of selected works in translation studies for a course on the “History of Translation”]. (pp. 344-356). Vinnytsia: Nova Knyha. Munday, J. (2010). Introducing Translation Studies: Theories and applications. 2nd Ed. London & New York: Routledge. Pauly, M. D. (2014). Breaking the Tongue: Language, Education, and Power in Soviet Ukraine. Toronto Buffalo London: University of Toronto Press. Pieta, H. & Rosa, A. A. (2013). Panel 7: Indirect translation: exploratory panel on the state-of-the-art and future research avenues. 7th EST Congress – Germersheim, 29 August – 1 September 2013. Retrieved from http://www.fb06.uni-mainz.de/est/51.php Pliushch, B. (2016). Direct and Indirect Translations of Ukrainian Literary Prose into English, German, Spanish and Russian. PhD thesis. Manuscript copyright. Kyiv: Taras Shevchenko National University of Kyiv. Ringmar, M. (2012). Relay translation. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4 (pp. 141-144). Amsterdam / Philadelphia: John Benjamins Publishing Company. Simeoni, D. (1998). The pivotal status of the translator’s habitus. Target, 10(1), 1-39. Solodovnikova. M. I. (2017) Vidtvorennia stylistychnykh osoblyvostei romanu Marka Tvena “Pryhody Toma Soiera” v ukrainskykh perekladakh: kvantytatyvnyi aspekt. 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Abstract Clearly devoted to the analysis of various issues of belonging, the work of Marusya Bociurkiw, a Ukrainian-Canadian queer writer, director, academic, and activist, examines culture, memory, history, and subjectivity in a fascinatingly unique way. Such a thematic composition is, however, not the only aspect that visibly marks and unities Bociurkiw’s multi-generic oeuvre; what clearly stands out as yet another distinguishing characteristic that Bociurkiw’s works have in common is the idea that seems to stand behind their creation – an impelling notion that “[t]o have one’s belonging lodged in a metaphor is voluptuous intrigue” (Brand 2001: 18). Consequently, what Bociurkiw’s works vividly portray is the writing-self “in search of its most resonant metaphor” (Brand 2001: 19). In one of her works, Comfort Food for Breakups: The Memoir of a Hungry Girl (2007), this metaphor is food as the art of food-making and the act of eating become here a crucial background against which the issues of belonging are played out. The aim of this article is thus to show how Bociurkiw finds her way of discussing various aspects of subjectivity by means of writing about food, whether about preparing it, tasting it, or recollecting its preparation and tastes. Ultimately, however, the article is to prove that food in Bociurkiw’s memoir not only reflects identity but is presented as a vital site of intersectionality. Thus, embedded in intersectionality discourse, and particularly instructed by Vivian May’s Pursuing Intersectionality, Unsettling Dominant Imaginaries (2015), the analysis of Comfort Food for Breakups is carried out from an interdisciplinary perspective because it is simultaneously grounded in food studies theory, i.e., the ideas developed by Elspeth Probyn in Carnal Appetites: FoodSexIdentities (2000), confirming, in this way, that vital connections can and should be made between the two, ostensibly unrelated, fields of study.

The presented material studies one of the important forms of transmission of the musical folklore tradition of Ukrainians in the United States and Canada during the XX – the beginning of the XXI centuries – sound recording, which is a component of the national spiritual experience of emigrants. Founded in the 1920s, the recording industry has been actively developed and has become a form of preservation and promotion of the traditional musical culture of Ukrainians in North America. Sound recordings created an opportunity to determine the features of its main genres, the evolution of forms, that are typical for each historical period of Ukrainians’ sedimentation on the American continent, as well as to understand the specifics of the repertoire, instruments and styles of performance. Leading record companies in the United States have recorded authentic Ukrainian folklore reconstructed on their territory by rural musicians and choirs. Arranged folklore material is represented by choral and bandura recordings, to which are added a large number of records, cassettes, CDs of vocal-instrumental pop groups and soloists, where significantly and stylistically diversely recorded secondary Ukrainian folklore (folklorism).

Iconography of the Ukrainian diaspora is an important component of Ukrainian (Western Ukrainian) canonical sacred art. Genetically, the iconography of the Ukrainian diaspora is based on the principles of Byzantine iconography, which included the color canon, the compositional canon and the canon of proportions, which performed important functions in Byzantine art. Ukrainian artists of the diaspora, adhering to the Byzantine iconographic canon, believed that it brings to the art information of utilitarian, historical and narrative plan. Scientific intelligence is devoted to these issues. The purpose of the section is to analyze the preservation of the iconographic canon in the sacred art of artists of the Ukrainian diaspora in the United States, Canada and Western Europe. It is necessary to consider the Byzantine iconographic rules, which serve as an artistic scheme for the creation of Christological, Mariological and festive themes in the iconography presented in the temples of ethnic minorities. Using the principles of Byzantine aesthetics, the diaspora artists of Ukrainian origin (Petro Kholodny Jr, Sviatoslav Hordynsky, Juvenal Mokrytsky and Khrystyna Dokhvat) managed to preserve the ancient Eastern Christian tradition of cult painting. The art of the above-mentioned artists is based on strict artistic rules recognized by the official Church after the Trullian Council (691-692), the Seventh Ecumenical Council (787) and the «Triumph of Orthodoxy», associated with decisions to introduce the dogma of icon worship in Constantinople Council (843). Preservation of the iconographic canon in the Ukrainian diaspora is a manifestation of the ancient Christian artistic spirit, which determined the types of major saints. The principles of the iconographic canon used in the painting of the Ukrainian diaspora also substantiated the location of the main gospel scenes in certain places on the walls of Christian religious buildings.

The article discusses the peculiarities of organization and work of Ukrainian preschools in the Ukrainian diaspora in Canada and U.S., which aim to develop children’s national identity. Realization of the fact that in countries of settlement, namely in the USA and Canada, a considerable number of the new generation are losing their identity and getting disattached from the Ukrainian community has encouraged progressive community to create grounds for common solving of the problems of pre-school education both on the first and the main stages of external assistance provided to families in bringing up the nationally conscious new generation of the Ukrainians living overseas. We believe it is necessary to point out that organizers of Ukrainian pre-school education in Canada and the USA, as well as in other countries of Ukrainian settlement, were well aware of the fact that in addition to study and material base and methodological provision, it is also necessary to have professionally trained kindergarten teachers for starting a children’s nursery school or a kindergarten. There were not enough of them, though. That was why a need for a pre-school education teacher arose.

In the national educational system of the Ukrainian diaspora of the USA and Canada the pre-school period covers the first stages of extra-familiar education, where establishing of child’s consciousness and connecting to spiritual values of the Ukrainian nation are taking place. Efficiency of this process depends on multiple factors. A significant role among them is played by didactic provision of educational-instructional process in pre-school educational institutions of various kinds whose main aim is to form national consciousness of the pupils through acquiring the Ukrainian language, as well as mastering contents of Ukrainian Studies subjects. Pedagogues at Ukrainian pre-school institutions in diaspora conditions clearly understand that the task of bringing up a child before the age of 6 implies providing them with various, beneficial for growing and useful for them, qualities. That is why teachers contribute to children acquiring such knowledge, abilities and skills which would help them to successfully prepare for elementary school in the future. Since the main task of Ukrainian pre-school education lies in development of a child’s personality by means of Ukrainian Culture studies, a pedagogue (teacher) has to know Ukrainian and all subjects well.

Professor M. Zhytaryuk’s review is about a book scientific novelty – a monograph by Professor M. Tymoshyk «Ukrainian journalism in the diaspora: Great Britain. Monograph. K.: Our culture and science, 2020. 500 p. – il., Them. pok., resume English, German, Polish.». Well-known scientist and journalism critic, Professor M. S. Tymoshyk, wrote a thorough work, which, in terms of content, is a combination of a monograph, a textbook and a scientific essay. This book can be useful for both students and practicing journalists or anyone interested in the history of the Ukrainian diaspora, Ukrainian journalism and Ukrainian culture. The author dedicated his work to Stepan Yarmus from Winnipeg, Canada – archpriest, journalist, editor, professor. As the epigraph to the book were taken the words of Ivan Bagryany: «Our press, born under the sword of Damocles of repatriation», not only survived and survived to this day, but also showed a brilliant ability to grow and develop. It was shown that beggars that had come to the West without money at heart can and know how to act so organized. It was also an example of how a modern «enbolshevist» and «denationalized» by the occupier man person is capable of a combined mass action».

In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.