Видавничо-поліграфічний центр “Київський університет”
Literary and scientific activity of Maksym Rylskyi in french-speaking cultural context: problems and perspectives
Background. The creative, scientific and organizational activities of Maxym Rylskyi in the French-speaking sociocultural context require a complex consideration and formulation of promising areas of research, considering the necessity for broader integration of the poet-academician's work into the sociocultural space of French-speaking world. Methods. The work employs general scientific methods of analysis and synthesis, as well as specific philological methods, in particular, semiotic, cognitive, and linguo-cultural analysis. Results. The article examines not only M. T. Rylskyi's translations from French-language literatures, but also his contribution to the diffusion of Shevchenko's works in the French-speaking sociocultural space, as well as the reception of his literary heritage in French-language academic and translation interpretations. In particular, the article identifies the features of an important scientific and organizational project for the French-speaking sociocultural area, the preparation of the French edition of Taras Shevchenko's “Selected Works”. We have analyzed the linguistic and cultural features of the literary reception of the Kobzar's work in contemporary Ukrainian and foreign editions initiated by the poet­academician, with further reception in the most recent literary projects of the 21st century. Problems of the reception of M. Rylskyi's works in the French anthology “New Literary Wave in Ukraine” have been identified. Problematic and promising aspects of further analysis and possible publication projects have been highlighted. Conclusions. An analysis of M. T. Rylsky's multiple activities in the French­speaking sociocultural space reveals certain perspectives. Further analysis is needed, both of his artistic work, including his translations (with an annotated publication of his long-unpublished translations) in the context of French-speaking cultures, and of his scientific and organizational activities in this field. At the same time, after conducting a critical analysis of the existing translations, it seems promising to begin preparing a comprehensive edition of M. T. Rylskyi's works in French.
translation studies, history of translation, French-Ukrainian literary relations, semiotics, literary translation
Copyright (c) 2025 Literary Studies https://creativecommons.org/licenses/by-sa/4.0
The contrary nature of social communications in the biography of Maksym Rylskyi
Background. The problem of the contrary nature of social communications in the works of Maksym Rylskyi is multifaceted and understudied. The term "social communications" requires clarification, as there are various interpretations. The contrariness in Rylskyi's work has also not been fully explored, which emphasizes the relevance of this study. The aim of the research is to identify the signs of the frame in the process of forming the poet's image based on the contrary nature of social communications presented in his works and biography. Methods. The study is based on a holistic approach that examines Rylskyi's work as an integrated system. Methods used include content analysis, discourse analysis, biographical method, sociological analysis, semantic analysis, comparative analysis, and frame analysis. Literary analysis and historical methods are also employed to study the influence of socio-political conditions on the poet's work. The research includes two stages: theoretical analysis of literature and an experiment with a survey of 32 respondents aged 17-22 years. Results. The analysis of Rylskyi's works revealed several key signs of the frame: the contrast between the personal and the social, the use of irony and self­defense, the conflict between art and ideology, symbolism and allusions, the change ofposition and adaptation, as well as the reaction of critics. The experiment showed that 93.9 % of respondents consider the social communications in Rylskyi's work to be contrary. Positive assessments of his image accounted for 71.8 %, ambivalent assessments for 25 %, and neutral assessments for 3.2 %. Conclusions. The study confirmed the hypothesis about the presence of the contrary nature of social communications in the works of Maksym Rylskyi. The poet managed to preserve his inner freedom and dignity in difficult historical conditions, which makes his work relevant today. The results obtained allow for a better interpretation of Rylskyi's works and biography, as well as an understanding of how his image was formed under the conditions of Soviet ideology.
Maksym Rylskyi, social communications, contrariness, frame, irony, biographical method, literary analysis
Specificity of modeling the image of Maksym Rylskyi in the printed media "Literary newspaper" in the period from 1937 to 1961
Introduction. The article highlights the specifics of modelling the media image of Maksym Rylskyi in the printed media "Literary Newspaper" for the period from 1937 to 1961. The relevance of the study lies in the need to clarify the features of the transformation of the artist's media image, which is part of a holistic image that is gradually created thanks to the research of scientists into the biography and multifaceted creativity of Maksym Rylskyi. Methods. During the study, the methods of analysis, synthesis, generalisation, and the descriptive method were used. The analysis method made it possible to thoroughly process journalistic materials in which the media image of Maksym Rylskyi was formed. The synthesis method contributed to the unification of information obtained as a result of the analysis of 14 journalistic materials. The conclusions were formulated using the generalisation method. The descriptive method enabled the creation of a comprehensive picture of the study. Results. As a result of the analysis of 14 journalistic materials (notes, greetings, creative portraits, articles, reviews, essays, information reports) of the printed media "Literary Newspaper" for the period from 1937 to 1961, the trends and means of modeling (gradations of common examples with character-forming epithets, epithets, direct speech of the artist, photographs with texts that express his popularity and diligence, positive characterization of other people by Maksym Rylskyi, emphasis on the artist's activity and the versatility of his activities) of the media image of Maksym Rylskyi were identified. Conclusions. In 13 journalistic materials, the media image of Maksym Rylskyi has the following range of modeling - from a multifaceted personality, a creator of high-quality poetry, a person who strives for constant development, a patriot, a cultural messenger to a person who has popularity and influence on society, a poet-intellectual of a European scale. In one article, the media image of Maksym Rylskyi was modelled with a negative connotation, which consisted of stating the revival of bourgeois artistic tendencies in the artist's works
медійний образ, друковане медіа "Літературна газета", Максим Рильський
Background. Maksym Rylskyi is known to the general public primarily due to his poetic heritage. Literary and art critics deserve high praise for his popular science studies, translators immerse themselves in unsurpassed examples from different languages, theoretical and practical materials. However, prose creativity remains out of focus. A small number of artistic texts are truly interesting not only due to their stylistic synthesis and content, authorial discoveries and expressive and figurative means, but also important for understanding the artist's worldview orientations, in the study of the peculiarities of idiostyle. Methods. The article uses philological, biographical and intertextual methods of literary research. The results. Maksym Rylskyi's fiction touches on topical and timeless themes. The author uses thoughtful dedications and intertextual interludes, conjecture and fiction, reflections and description, apt artistic means and indicative titles that help reveal the characters' personalities and motivations, speed up or slow down the tempo of the narrative or story, show the spectrum from humor to sarcasm, from comedy to drama and tragedy, evoke associations in recipients thanks to multi-level and polysemantic symbols, express the palette of sensations and feelings, expand or narrow the chronotope, emphasize the leitmotif and subtextual dominants of the work, and encourage the reader to reflect and self-discovery without moralizing. Conclusions. Maksym Rylskyi is a talented prose writer who revealed in small epic forms the specifics of an individual style, showed himself, his pains, doubts, experiences, joys, moments of happiness and despair, presented a vision of existence and the roles of an individual who influences or is subordinated to the environment, which later turns into a symbolic vision of society and the world. The writer's prose works contain many autobiographical details, memories and confessions, which make up a holistic confession-polylogue with the recipients.
prose, title, refrain, personification, contrast, narrator, autobiography
Theorist and practitioner of translation. Poetry visualization. Ketches
Background. The scope of Maksym Rylskyi's creative work is impressive. Much has been written about him, and new emphases in the assessment of the artist and scholar have been added even in reference resources. The aim of this article is to contribute new insights into the study of Rylskyi's activity as both a theorist and practitioner of translation, as well as to explore the visualization of some of his poetic texts. Methods. General scientific methods (analysis-synthesis-forecast), philological, historical-literary, comparative, and intermedial approaches were used. Elements of academic polemics and essayistic style were also applied. Results. The article consists of three parts. The first part, presented in the format of an "article within an article", contains a textual section of a creative presentation by a 4th-year student at the Institute of Philology (specialty "Creative Writing, Ukrainian Language and Literature, and English") Sofia Malakhivska titled "Maksym Rylskyi as a Theorist of Translation." The second part of the article adds new details to the topic "Rylskyi as a Practitioner of Translation": the adequacy of rendering Janka Kupala's poem "And Who Goes There?" and the polemical spirit of a sonnet by Slovak poet Hviezdoslav - an ideologically clear response to Pushkin's aggressive pamphlet justifying the suppression of the 1830 Polish national liberation uprising by the tsarist army and inciting further storms in the "Slavic sea". The third part of the article is devoted to the need for intermedial embodiment of the poet's works through the language of art synthesis. Here, issues of receptive aesthetics are also considered. Examples are provided of the visualization of Rylskyi's poems "Roses and Grapes," "To the Rhone," "Remember, madman," "Apples are ripe, apples are red...," "Swallows fly, for it is flying time..." and the creative challenges that accompanied their realization. Visualization must be used in teaching practice to revive the classics and bring them closer to the hearts of new generations. The third part of the article is devoted to the need for intermedial embodiment of the poet's works. This is also a translation - in the language of the synthesis of arts, since we live in the age of visualization. And here the problems of receptive aesthetics are involved. Examples of visualization of Maksym Rylskyi's poems "Roses and Grapes", "To the Rhone", "The apples are ripe, the apples are red...", "Swallows fly, because they fly...", "Remember, you fool" and various collisions that accompanied their creation are given. Conclusions. The 130th anniversary of M. Rylskyi's birth was a good occasion to reflect on his best works, to understand the compromises he had to make-not only for survival but also to continue creating aesthetically superior works. For example, in the poem "Roses and Grapes," the poet sought to illustrate the concept of ancient kalokagathia, combining it with Skovoroda's teaching on innate vocation, and at the same time aligning it with the socialist realist poster aesthetic. The attempt was not entirely successful. The third Socratic component, still the most important today, moral virtue, in addition to beauty and usefulness, was not represented. Yet it emerges implicitly in his other poems. This can also be historically justified: 1955. Two years after Stalin's death, ten years after the atomic destruction of Hiroshima and Nagasaki, a new arms race, and the draining of strength from "creative" workers, peasants, and intellectuals. And the attempt of an older poet, by activating the memory of the Neoclassicist, to depict an antique - Skovoroda - "our" idyll and to inspire readers with a renewed appreciation for the beauty of the world. This was accomplished more organically and artistically in the other poems discussed in the third part of the article, which have now visualized in the hope of a soul unclouded by officialdom and dogmatization.
Ukrainian literature, theory and practice of translation, Maksym Rylskyi, adequacy of translation, reception, visualization, artistry
Maksym Rylsky in the secret documents of the bolshevik government
Background. Maksym Rylsky was an outstanding Ukrainian poet whose work was shaped by the harsh ideological pressure of Soviet rule. This article examines his life and creative path, particularly the periods of suspicion and repression due to his alleged nationalist sentiments, as well as his forced conformity within the framework of socialist realism. Methods. During the study, the methods of analysis, synthesis, generalisation comparative-historical and the descriptive methods were used. Results. Archival documents are analysed that testify to the constant control of the special services and ideological conflicts surrounding his work. Particular attention is paid to the influence of the political situation on the poet's artistic and public performances, his position during the Second World War, and ideological criticism from Soviet officials. С onclusions. Based on archival materials, the civic courage and creative genius of Rylsky are revealed, who, despite external pressure, preserved his national identity and made a significant contribution to the development of Ukrainian literature in the 20th century.
Maksym Rylsky, Ukrainian literature, repression, nationalism, socialist realism, Soviet ideology, World War II, creativity, archives, ideological criticism
Poetic features of M. Rylskyi's poetry studied at school
The article considers the poetry of Maksym Rylskyi that is analyzed with particular emphasis on the works which are studied at school. It is highlighted the uniqueness of his depiction of natural landscapes, which plays a key role in the author's creative style. The article offers an analysis of selected poems, emphasizing distinctive poetic features, revealing their educational value, identifying the means and techniques which are used to portray the surrounding world. The writer's creativity is presented through the lens of his worldview and inspiration drawn from nature, emotional renewal and life's essential energy. It is briefly noted the value of artistic words in forming personality and the significance of Ukrainian literature by reflecting and responding to historical processes in society.
poetry, sonnet, landscape, poetics, color imagery, metaphor, epithet, comparison, personification, anaphora, alliteration
Anacreontic motifs in Maksym Rylskyi's poetry
The author of this article analyzed the 'wine-imaged' poems by Maksym Rylskyi, written in different years, having based on the esthetic concepts of the anacreontic style. Dated back to the early period, these were the folk song stylizations ('White snow, red wine...'), philosophical meditations ('I've just taken a sip from my glass...'), sonnets related to intimate lyrics ('Once in warm days of vintage...'); whereas in the 1950s the generic palette of Rylskyi's 'wine' poetry got complemented with lyrical portraits ('A Winegrower,' 'Roses and Grapes'). This method allowed confirming M. Rylskyi's lyrics as the base for Ukrainian 'khamriyyat,' or the specific poetic massif connected with images of wine drinking and tasting, feasts, and love. The importance of researching the poetic heritage under this angle is defined as revelation and interpretation of archetypal imagery through the details of everyday life.
the 20th century Ukrainian literature, M. Rylskyi's works, poetry, wine, imagery, anacreontics
Maksym Rylskyi - translator of the fragment "On the nature of things" ("De rerum natura") by Titus Lucretius Carus and five poems by Mihai Eminescu
The article examines a little-researched and little-known aspect of the work of Maksym Rylskyi as a translator, namely his translation of a fragment of the philosophical work of Titus Lucretius Carus "On the Nature of Things" ("De rerum natura") and five pearls of intimate lyrics by the classic of Romanian literature Mihai Eminescu, which were published in the first edition of his poetry in Ukrainian in Kyiv in 1952. The historical and cultural context of the appearance of translations is characterized, the creative preferences of the translator are explained, parallels with other translations and scientific research are given. A detailed purely linguistic analysis of translations is a task for the future, and this is the perspective of the article.
Maksym Rylskyi, translation, Titus Lucretius Carus, Mihai Eminescu, typology
Apology of classics through the prism of modernity in the poetry of Maksym Rylsky
Background. The article highlights the problem of the relationship between the classics and modernity using the example of Maksym Rylsky's poetry and his 'neoclassical' beliefs. Methods. The research methodology consists in adequately decoding M. Rylsky's text, proceeding from it, and not from external literary-critical matrices. Results. A poet who was non-polemical by nature, he was forced to debate with opponents of so-called 'proletarian literature' and to prove with his own work the self-evident fact that ancient literature and culture do not contradict the modern era, but rather enrich it, and that without knowledge of the cultural past, a full-fledged culture of the present and future is impossible. С onclusions. Maksym Rylsky's poetry demonstrated a keen sense of the often dramatic and tragic processes of the early 20th century, even predicting possible catastrophes if the sense of moral imperative was lost, delving into the dynamics of urban life, imbued with naturalistic visions of the natural environment, represented the Apollonian attitude of 'neoclassicism' while preserving and disciplining the cardiocentrism of Ukrainian poetry, represented a high culture of artistic thinking and experimentation, and stood as an active crossroads of tradition and innovation.
'neoclassicism', Apollonianism, modernity, creative discussion, ancient and modern European literature, experiment, providentiality
Pronunciation Norms in the Course of Ukrainian for Specific Purposes (based on audio recordings of recited poetry by Maksym Rylskyi)
Background. The modern educational process is practice-oriented, which is why the discipline 'Ukrainian Language' in the educational programme 'International Business, Commerce and Finance' of the Educational and Research Institute of International Relations of Taras Shevchenko National University of Kyiv provides for the formation of the necessary competencies, in particular linguistic and communicative - proficiency in Ukrainian, to prepare highly qualified and competitive specialists for professional activities in the field of international business, commerce and finance. In view of this, this discipline provides for the mastery of language norms, an integral part of which is accentuation and orthoepic - pronunciation, the study of which will contribute to the formation of communication skills and abilities necessary for the performance of professional tasks. The article demonstrates how audio video recordings (freely available on the Internet) of recited poetry by Maksym Rylskyi, it is shown what skills can be developed in students studying the Ukrainian language for professional purposes. The article also substantiates the use of media materials of Ukrainian poetry, in particular the works of Maksym Rylskyi as a representative of the Ukrainian literary language, i.e. as one in which pronunciation norms are observed in the texts.and video recordings can be used in a course of Ukrainian for Specific Purposes. On the example of audio and. Methods. To answer the question of which speech norms - accentological and orthoepic - are important for conveying meaning and thought in the professional activities of internationals, general scientific and linguistic methods were used, as well as perceptual analysis, which is part of the experimental-phonetic method. The analysis of audio and video recordings of recited poems by Maksym Rylskyi included listening, thanks to which students, under the guidance of a teacher, learned to identify what goes beyond the orthoepic and accentuation rules provided by the language and what does not. While working with media files, they identified variations in sound. Results. As a result of the work in the ESP classes, it was found that pronunciation norms can be studied on the example of classical works with the involvement of, in particular, recited poems by Maksym Rylskyi, which are publicly available on the Internet on YouTube and on the Ukrlib platform (https://www.ukrlib.com.ua/), which is considered the largest online library of Ukrainian literature and allows listening to selected works from the Audiobooks section. It has been found that working with the media involves the development of tasks aimed at developing the skills and abilities of accentuation and orthoepic pronunciation necessary to perform the professional tasks of an international specialist. Conclusions. The study of orthoepic and accentuation norms of the Ukrainian language is a key element in the formation of professional linguistic and communicative competence of future international specialists. Adherence to these norms ensures effective communication, promotes the development of a culture of speech and avoids misunderstandings in the professional environment.
Ukrainian language, language of the profession, pronunciation norms, accentuation and orthoepic norms, variability, Maksym Rylskyi
M. Rylskyi - the researcher of Shevchenko's works
Background. The article analyzes the literary and critical works of M. Rylskyi, dedicated to the figure and work of T. Shevchenko, which were included to the 12th and 14th volumes of the 20-volume collection of works of the outstanding figure of Ukrainian culture. Methods. The descriptive method and methods of analysis and synthesis were used. Results. The analyzed scientific articles present a majestic multifaceted image of the Poet from the perspective of M. Rylskyi. The researcher considers T. Shevchenko to be an exceptional poet in the world in terms of his significance for his people. The main characteristic of the artist is that he spoke for and on behalf of his Ukrainian people, but did so in his own voice, possessing a powerful creative individuality. M. Rylskyi repeatedly emphasizes the artist's high education. The researcher suggests a periodization of T. Shevchenko's work, names the main themes and motifs, unique features, compared to world poets. Thus, he considers the cult of motherhood, the apotheosis of female love and suffering, the poet's "female lyrics", etc., to be exceptional phenomena in world literature. Recognizing T. Shevchenko as a born innovator, M. Rylskyi dwells in detail on the thematic, genre, and formal features of his work, and draws attention to the artist's language. An important feature of the poet's literary innovation is his awareness of himself as a Ukrainian writer, confident in the power and possibilities of his native language. The researcher calls musicality and melodiousness the basis of Shevchenko's poetics. Сonclusions. In view of the socio-political context, proclaiming the revolutionary content of Shevchenko's poems as one of the main ones, M. Rylskyi, however, tried to show broader semantic horizons of the artist's works, his extremely wide spiritual range.
T. Shevchenko, M. Rylskyi, Ukrainian literature, lirics, snnovation, folk poet
Memoir poem by Maksym Rylskyi "Journey to youth": reception-textological aspect
The article analyzes the textual and receptive aspects of Maksym Rylskyi's memoir-autobiographical poem "Journey to Youth". The specifics of memoir literature and its genre modifications are emphasized. The conditions for writing the work, the origin and formation of the idea, the role of the author-narrator in the text are investigated. The ideological and aesthetic principles of Maksym Rylskyi's work in the projection onto the memoir text are emphasized, and the specifics of his artistic writing are highlighted. The historical circumstances of the appearance of the work in the context of Ukrainian literature during the Second World War and its relevance for our days are revealed. The need for further research into the history of the text of the poem "Journey to Youth" is noted in order to establish the final, basic text for all subsequent editions of this work. The facts of censorship and authorial self-censorship of individual parts of the poem are indicated. Through the prism of a memoir text, important socio-political, psychological, national, philosophical and existential problems of existence are emphasized. The history of the formation of not only the artist's creative personality, but also the history of an entire generation is shown, where the personal and the social are closely intertwined. An integral part of the analysis of the work is its reception by readers and critics, the correlation of one's own experience with the experience of the author-narrator, the heroes of the story. Full of deep philosophical and existential content, internal emotions and experiences, the memoir-autobiographical poem "Journey to Youth" plays an important role in preserving spiritual, historical, cultural memory, evokes feelings of empathy, sympathy. Occupying one of the leading places in modern humanitarianism, memoir literature allows us to better understand ourselves, the present and the past. Its wide genre palette, which is constantly being enriched, outlines the paths of new research in the field of geneology, theory and history of literature, and literary criticism.
memoirs, poem, history of the text, reception, censorship
Philosophical parameters of M. Rylskyi's portrait poems
This article examines M. Rylskyi's portrait poems as an ontological model that represents the core parameters of the creative personality of prominent cultural figures through the lens of transcending temporal boundaries. The paper focuses on the defining features of these poems, particularly the construction of artists' images based on vivid biographical episodes, key character traits, or extraordinary actions. By adopting neoclassical aesthetics, the author achieves a concentrated artistic and semantic intensity, while the sonnet form provides a structured space for expressing the emotional and imaginative states of the characters. The aim of the article is to define the philosophical foundation of Rylskyi's portrait poems, to outline their artistic characteristics, to identify the key aspects of image construction within the genre, and to delineate the semantic and aesthetic significance of the portrayed figures. The object of the study is M. Rylskyi's portrait poems, while the subject is the analysis of their philosophical dimensions. Methodology. The hermeneutic method is employed to interpret the philosophical parameters of Rylskyi's portrait poetry. Additionally, a cultural studies approach is applied to comprehend culture as an integrated intellectual and aesthetic space that reflects the achievements of global cultural and historical development. Rylskyi's portrait poems exemplify a vivid manifestation of cultural memory, expressed through fundamental existential constants - primarily through the realization of the vast creative potential of figures from Ukrainian and global culture, articulated via the categories of emotional and intellectual formation and expression. In Rylskyi's work, poetic language becomes a medium for the artistic crystallization of aesthetic and ethical values associated with the names of cultural and artistic figures who have transcended the boundaries of time.
philosophical depth, ontological model, image, cultural motif, M. Rylskyi's poetry, portrait poems
Markers of negative verbal evaluations of the life and creativity of O. Dovzhenko as a tool for forming the ideology (based on declassified documents of the special services)
Background. Our study aimed to identify and describe markers of negative verbal assessments in the materials of declassified documents of the special services regarding the life and work of O. Dovzhenko as a tool for forming an ideologeme. Methods. In the first stage, we identified four classes of words with markers of negative assessments of the life and work of O. Dovzhenko in 24 randomly selected fragments of texts. In the second stage, we grouped the identified classes of words into a continuous list and turned to the artificial intelligence program (Chat GPT4.0) with instructions to create a portrait of O. Dovzhenko. The third stage of the study involved expanding the number of research tools to three electronic artificial intelligence programs ("Chat GPT4.0"; "Chat Mistral"; "Playground") with instructions to create visualizations of the ideologeme "O. Dovzhenko". At the fourth stage of the study, based on the verbal ideologeme "O. Dovzhenko" two programs ("Chat GPT4.0." and "Chat Mistral AI") created two visual images. Results. We found that out of 100% (1456) of words in the selected fragments with verbal markers of negative assessments of the life and work of O. Dovzhenko in the analyzed texts, only 12.7/ were represented by nouns, adjectives, verbs and adverbs with negative semantics. Only every eighth word in the selected texts of declassified documents regarding O. Dovzhenko has negative evaluative words/lexemes. Visualization of the ideologeme "Olexandr Dovzhenko" by verbal markers made it possible to state the negative sad image that circulated in the press, on the radio and in the minds of citizens of the Soviet Union during the 1920s-1930s. Conclusions. The word markers of negative assessments of the life and work of O. Dovzhenko are not adequate to the real negative assessments of the filmmaker. If ideologemes based on word markers stimulated artificial intelligence programs to create portraits without taking into account the specifics of the negativity of the figure of O. Dovzhenko, then the verbal text description of the ideologeme allowed artificial intelligence programs to create an adequate portrait-image of the filmmaker. The latter was successfully exploited by the Soviet authorities from the 20s to the 30s of the twentieth century to achieve the "higher" socialist goal of "cleansing" Soviet society from Petliurists, Trotskyists, Ukrainian nationalists, etc.
creativity of O. Dovzhenko, ideologeme, markers, negative assessments, tools, visualization
Pecificity of modeling the media image of O. Dovzhenko in the magazine "Kino" for the period from 1926 to 1927
Background. The work of O. Dovzhenko, in particular films, graphics, and literary works, has repeatedly become the object of research by scientists. The assessment of the artist's work in the Ukrainian and foreign press allows us to create a general picture of the recognition of his talent in different countries. However, the study of the media image of O. Dovzhenko remains a little-studied topic. The article "Specifics of modelling the media image of O. Dovzhenko in the magazine "Kino" for the period from 1926 to 1927" sets the goal of studying the specifics of modelling the media image of O. Dovzhenko in the magazine "Kino" for the years 1926, 1927, which will contribute to the formation of a holistic idea of his media image. Methods. The study used analysis, synthesis, generalization, descriptive and comparative methods. Results. The text and image materials of the magazine Kino for 1926 and 1927 were analyzed, taking into account the information obtained during the study of O. Dovzhenko's films "The Berry of Love" (1926), "The Diplomatic Messenger's Bag" (1927), and "Zvenygora" (1928). It was found that the editorial staff of the magazine Kino used a wide range of media products to model a predominantly positive media image of O. Dovzhenko. Conclusions. The media image of O. Dovzhenko in the magazine "Kino" began to take shape in 1926, when publications related to his films "Vasya the Reformer" (1926) and "The Berry of Love" (1926) appeared. The image of the film director was formed thanks to such genres as notes, mini-essays, portrait sketches, essays, photographs of episodes of the artist's films with texts; drawings, photo collages, cartoons with verbal accompaniment, emphasizing the originality of O. Dovzhenko's talent and his innovative approaches in cinema. During 1926 and 1927, a positive image was mainly created in the magazine "Kino". However, one case of negative modelling in a cartoon was recorded, presumably caused by the author's creative style, not by the attitude towards the director.
"Ukraine on Fire" by Oleksandr Dovzhenko in the context of philosophical ideas about the evolution of culture and civilization of the 20th century (Oswald Spengler, Mykola Khvylovyi, Francis Fukuyama, Samuel Huntington)
The article deals with the creative legacy of film director Oleksandr Dovzhenko during World War II, primarily the film story "Ukraine on Fire", and its modern context. Despite the realities that minimized the presence of Ukrainians in the historical field, the artist presents Ukrainianness as an authoritative subject of the military confrontation of peoples. The song-romantic image of the people overcoming all the terrible trials of wartime is recreated. he story was subjected to devastating criticism by Joseph Stalin and banned as a nationalist work, one that revises the very foundations of the Soviet state system. An analysis of Dovzhenko's texts from the war years suggests that the artist perceived the terrible cataclysms that brought the very existence of the Ukrainian people to the brink of catastrophe as a systemic sin of the Bolshevik regime led by Stalin. A regime that opposed itself to Europe not only ideologically, but also as an autonomous socio-cultural organism. This corresponded to the concept of the German philosopher Oswald Spengler, which was based on the idea that there is no holistic world culture, it is made up of autonomous cultural organisms. Each of which has its own genetic program of development, from birth to death. Western European ("Faustian") culture, according to Spengler, is in a stage of total aging, degradation, transition to civilization (ossification of cultural organisms) and needs "donor assistance" from younger cultures. Among the latter is the youngest, which was born in the territories of the former Russian Empire, including Ukraine. Mykola Khvylovyi built his own idea of the German philosopher's concept, based on the Asian Renaissance, Ukraine as the vanguard of the newest cultural and historical type, an organic compound, cosmic in its naturalness. It is through it that Europe will renew itself, refreshing its strength, its energy. Simultaneously, Ukraine itself will borrow something from Europe from its acquisitions, the process here is mutual. Dovzhenko's work is also in the context of similar ideas, from the film "Earth", the film story "Ukraine on Fire" to "The Enchanted Desna". According to Samuel Huntington's popular concept of the "clash of civilizations", the borders that divide humanity in the modern world are determined not by ideology, not by economics, but by culture. It is not nation-states that are in conflict, but nations and groups belonging to different civilizations, and their clash is the dominant factor in world politics. Despite the idea, once formed by Francis Fukuyama, that the history of global conflicts effectively ended at the end of the 20th century. The current Russian-Ukrainian war in the above-mentioned context is a war for the affirmation of civilizational meanings and attitudes. From the Ukrainian side, it is a struggle for a return to Western civilization. A struggle that was defined and discussed by Ukrainian intellectuals, among them Dovzhenko, back in the 1920s and 1930s.
culture, civilization, Renaissance, Europe, Ukraine, conflict, clash
Pedagogical accents of Oleksandr Dovzhenko
Background. The name of Oleksandr Dovzhenko is known all over the world. In Ukraine, his cinematic work, prose heritage and diary are better known. But the speeches, lectures and publications of Oleksandr Petrovych contain important considerations of the artist regarding upbringing and education, moral and ethical values and worldviews that shape the individual, influence social processes, determine the attitude towards the country and the people on the part of the citizens themselves and the international community. Despite significant bias, pathos and sloganeering due to objective reasons (pressure from the chauvinistic Soviet regime), the texts are saturated with appropriate emphases, relevant to this day, sincerity and love for people. Methods. The article uses philological, biographical and intertextual methods of literary research. Results. In the articles, speeches and lectures of Oleksandr Dovzhenko there is a clear humanistic leitmotif. The creator person acts as the heart of history, as he is able not only to reflect what he has seen, heard, felt, but also to foresee, motivate to create powerful beautiful and new things, providing specific examples for embodiment in artistic images; he becomes a teacher for contemporaries and future generations, because he must present examples of morality, behavior, attitude to nature and the environment, encourage development and improvement, regardless of place of residence, age, gender, profession, etc. After all, cinema and literature are the most mass cultural "figures" that unite different people with common feelings and thoughts. Conclusions. Oleksandr Petrovych Dovzhenko is a tragic figure in the history of Ukraine. Forced and violent isolation-emigration led to a constant internal conflict, which only deepened due to surveillance, harassment, censorship, and denunciations from those closest to him. However, even under such circumstances, the artist remained true to himself as much as he could reveal himself, risking his work and life, because he understood his mission - to be a teacher who cares about humanity in Man, to be an exile who speaks the truth in the text and subtext, even for the chosen ones, and to be and remain a Ukrainian who represents Ukrainianness through his works in the world and above all loves and strives to return home - to Ukraine.
Ukraine, language, thinking, art, artist, innovation, measure, autobiography
Cascade of stylistic figures in the episode of "The Enchanted Desna": poetic tradition
Analyzing key terms in modern definitions ofpoetics and style, the author of this paper concludes that they are virtually identical. This observation serves as a basis for merging poetics and style into a binary opposition, grounded in the theoretical frameworks of Wilhelm von Humboldt, Oleksandr Potebnia, and Ferdinand de Saussure. Poetics is defined as an ever-expanding repository of artistic techniques that can be analyzed through its elements, while style represents the dynamic process of adherence/deviation (process) from this repository. This process occurs on deductive and inductive levels, encompassing both general (epochal or period style) and individual (idiolect) dimensions. Thus, the specific factors of style are the same as the elements of poetics but in an active state, in the author's creative synthesis. Systematizing these poetic elements and stylistic factors, the author highlights stylistic figures, analyzing various classifications and proposing a simplified and more accessible framework. Among the forgotten and now oversimplified figures is imprecation. In the renowned episode of curses from Oleksandr Dovzhenko's film-novella, the author identifies a cascade of stylistic figures, including rhetorical exclamations, addresses, polysyndeton, anadiplosis, cumulation, gradation, synonymic variations, similicadence, retardation, synoeciosis, traductio, ellipsis, inversion, homeoteleuton, homoiarkton, cataphora, aposiopesis etc. The analysis concludes that this richness reflects the influence of folkloric poetics, transmitted across generations but currently, unfortunately, lost. This film story is interpreted as both an expression of the so-called return-to-the-womb complex and resistance to the regime's sadistic injustice. The paper addresses some aspects of the resonance between the poetics and style of the artist in diachronic and synchronic dimensions, as well as in intermedial achievements and losses. Further research of this topic is encouraged.
poetics/style, binary opposition, stylistic figures, classification, imprecation, Oleksandr Dovzhenko, poetic tradition
Medieval chronicle traditions of heroic deeds and "Ukraine on Fire" by Oleksandr Dovzhenko
This article explores the concept of the medieval chronicle "heroic deed" and its profound impact on the narrative structure and thematic development of "Ukraine on Fire" by Oleksandr Dovzhenko. The research focuses on the analysis of "The Tale of Bygone Years", the earliest chronicle of Kyivan Rus', with particular attention given to the military tales about Princes Oleh and Sviatoslav. These tales, characterized by their depictions of martial valor, defense of the homeland, and resistance against foreign invaders, serve as a foundation for understanding the concept of the "heroic deed". The study examines the critical elements of these narratives, with special emphasis on Prince Sviatoslav's legendary motto, "I'm coming at you," which epitomizes the prioritization of martial virtues, courage, and the ethos of selfless service to defend the homeland. This motto, alongside Sviatoslav's unyielding dedication to protecting his land from foreign invaders, illustrates the deep-rooted cultural significance of the heroic deed within the medieval chronicles of Kyivan Rus'. The research delves into how these ideals, steeped in the historical tradition of valor and loyalty, find a renewed and profound resonance in Dovzhenko's Ukraine on Fire. Dovzhenko draws inspiration from these medieval archetypes, integrating the image of the knight-warrior and the ethos of the heroic deed into the narrative fabric of Ukraine's struggles. His work reimagines the medieval concept in a modern historical context, portraying the Ukrainian people's unyielding fight as a continuation of their ancestors' valor and commitment to freedom. Through this lens, the concept of the heroic deed becomes a timeless symbol of Ukraine's resilience, connecting its medieval legacy to contemporary struggles for sovereignty and justice. In "Ukraine on Fire", Dovzhenko brings these historical archetypes into a modern framework, portraying Ukraine and its people as heroic figures in their resistance against fascist invaders during World War II. At the same time, the author critiques the Soviet regime, emphasizing its role in abandoning Ukraine to devastation, which resulted in catastrophic human losses and widespread destruction. Through this dual lens, Dovzhenko draws upon the medieval heroic ethos while addressing contemporary political and social realities. The article underscores the continuity of the heroic tradition in Ukrainian literature and its role in shaping national identity, as well as its ability to adapt to new historical and cultural contexts.
Ukrainian literature, Middle Ages, military tale, Oleksandr Dovzhenko,
Reception of Oleksandr Dovzhenko's figure in 20th century French film criticism
The article deals with the perception of O. Dovzhenko's work in the French crinocritics of the twentieth century. A review of literature on the study by French film criticism of the reception of the work of the Ukrainian film director is presented. The works of E. Deslav, L. Mussinak, J. Sadul, M. Oms, B. Amengal and others are analyzed. The aspects that French film critics paid attention to when analyzing the work and achievements of the Ukrainian film director (analysis of films, the use of new techniques, the role of the Ukrainian national mentality in the work of O. Dovzhenko, a detailed biography of the artist and aesthetic categories around which the films of O. Dovzhenko are built).
film discourse, film criticism, cinema, cinema art, film industry, cinema, reception
Generic specifications of the lyrical fragments in works by O. Dovzhenko, Ye. Malaniuk and P. Tychyna
The author of the article analyzed the formal and substantial traits in the diaries and notebooks by the prominent 20th century Ukrainian writers - Oleksandr Dovzhenko ("Diaries" written from 1941 to 1956), Yevhen Malaniuk ("Reflections on the Arts", 1962) and Pavlo Tychyna ("From diary entries", 1950-1959). What was taken for the essential research concept was the moment of intermediality, thanks to which the exposition of the certain phenomenon of everyday life gets confirmed as the result of the artistic synthesis and, in process, becomes the impulse for the subsequent creative search. Having based on the essence of a diary or a notebook as the collection of some personal and even intimate confessions, reflections and observations, the author of this article studied the works by Dovzhenko, Malaniuk and Tychyna in terms of the specific poetic vision of the world that, however, is quite worth of sharing it with a reader - either an explicit or an implicit one - in order to get him involved into the creative process. In particular, O. Dovzhenko's notes taken at wartime are not only about the World War II, - due to the interweaving of realities and retrospectives, his diaries appear to be topical nowadays, during the current russian full-scale invasion into our country. What is more, the reflections of all writers analyzed over development of arts in soviet Ukraine (for example, their attitude to censorship and support of creative freedom) make their works helpful for any multifaceted studies of the 20th century Ukrainian arts, including literature. Therefore, the most important role in the narration of such kind belongs to the similes, paraphrases, symbolic images and archetypes, sensory (color, sound, tactile) images and artistic (literary, painting, architectural, cinematographic) concepts; along with that, the specific poetic syntax (parallelism, parceled constructions, nominative and run-on sentences) is essential to turn a diary into a real pageturner.
prose, diary, lyrical fragment, notebook, works by Oleksandr Dovzhenko,Yevhen Malaniuk and Pavlo Tychyna, artistic language, arts
Study of existential problems in the works about war by O. Dovzhenko and O. Kolomiyts
Background. War is always an extremely cruel test in the life of not only every ordinary person, but also of the nation as a whole. During war, people clearly reveal both their best and worst traits. They are capable of powerful ups and downs of spirit and heroism, but they can also descend to deviant behavior, in particular betrayal. Therefore, O. Dovzhenko and O. Kolomiyets have always been concerned with the problems of human behavior in war. How does a person solve existential problems in these absurd conditions of inhuman trials: responsibility, duty, the meaning of life, choice, loneliness, etc.? In their works, artists depicted heroes as highly noble, courageous, glorifying their will to victory, indomitability, loyalty to duty, love of life. Methods. To solve individual tasks, the research used methods: descriptive, comparative-historical, structural using the method of component analysis and elements of statistical analysis. Results. During World War II, O. Dovzhenko was a war correspondent, he personally saw all the horrors of this disaster. His war-themed film scripts "The Tale of the Fiery Years" and "Ukraine on Fire" and the stories "Stop, Death, Stop!", "On Barbed Wire", "The Apostate", "Unforgettable", "Mother", "Will to Live" are filled with pain and suffering, but at the same time with faith in the victory of the Ukrainian people over their enemies. The film story "Ukraine on Fire" is the central work of O. Dovzhenko about the war. The author embodied his experiences, reflections, and beliefs in the thoughts and actions of his heroes. He focused on the suffering and resilience of the Ukrainian people, demonstrating the horrors of shelling, captivity, abuse and death, occupation and destruction. Through the images of the heroes, in particular the Zaporozhtsi family, the artist conveyed his inner pain and fierce anger towards the German-fascist invaders, emphasized the absurdity of war and its cruel consequences. The dramatic works of playwright O. Kolomiyets, who at the beginning of World War II volunteered to go to the front from the student ranks, are also distinguished by the depth of reflections on a person in war. These are such dramas as "Planet of Speranta", "Gorlytsia", "Blue Deer", "Kravtsov". The works about the war by O. Dovzhenko and O. Kolomiyets are characterized by similar basic existential problems: the search for the meaning of life, identity, self-expression, moral choice, and personal freedom. Conclusions. Even in the conditions of a totalitarian society and strict censorship, O. Dovzhenko and O. Kolomiyets continued the best traditions of Ukrainian literature, created artistic images of people who find themselves in absurd conditions of war and solve the issues of finding the meaning of life, identity and self-awareness, moral choice and personal freedom, etc. These are truly the best representatives of the Ukrainian people - highly noble, courageous, freedom-loving, indomitable, loyal to duty defenders of Ukraine from enemies. O. Dovzhenko and O. Kolomiyets explored the human personality in deadly crisis situations, focused their attention on the existentials of death, fate, choice, resistance to a hostile environment, and the will to live. In the current realities of the Russian-Ukrainian war, all these existentials remain relevant, which is reflected in the literary works of modern writers about the war.
existentialism, existential crisis, absurdity of the situation, personal freedom, moral choice, identity
Oleksandr Dovzhenko in projections Ukrainian Soviet literature
The extraordinary talent of O. Dovzhenko - the innovator both in cinematography and prose, the founder of synthetic intermedial genre of "film news," the writer and the scriptwriter of the world level did not fit in a cookie of the border of the dominant "socialist realism," nor the communist doctrines to which he often appealed, contradicted the principles of the totalitarian regime to which he was forced to adapt, which could not but affect on his psychotype. The split of O. Dovzhenko's consciousness. The split of Dovzhenko's consciousness between communist ideology and national identity corresponded to the party concept of literature "socialist in content, national in form." Realizing its limitations, O. Dovzhenko proposed an artificial idea of "diversity of trends," which was picked up by L. Novychenko and other literary critics, implemented by apologists of "socialist realism." Being in the epicenter of literary and artistic life, having considerable authority, the artist with his views and creativity not only influenced Ukrainian Soviet literature (art), but also determined its ambivalent essence, the prospect of development.
кіноповість, "соцреалізм", національна ідентичність, радянська література, роздвоєння свідомості
Genre and stylistic characteristics of texts from the archive of Oleksandr Dovzhenko
Background. The article analyzes the genre and stylistic characteristics of texts from the Dovzhenko archive, samples of which were published for the first time in Ukraine in 2024 on the 130th anniversary of the writer and filmmaker's birth as part of the online project "Oleksandr Dovzhenko: Digital Collection" on the website of the Central State Archive-Museum of Literature and Art of Ukraine (CSMALA). The texts under consideration include diary notes, creative and pictorial archival documents (letters, statements, protocols, excerpts from protocols, etc.). The texts not only highlight various milestones in Dovzhenko's life and work, but also represent the language of the time, which can be used in Ukrainian as a foreign language classes to familiarize foreign communicators with the language policy of Ukraine. The texts from the writer's archive are indicative of the bans on the Ukrainian language in the official business sphere in the twentieth century. Methods. General scientific and linguistic methods were used to analyze the texts from O. Dovzhenko's archive. The system of methods and techniques used made it possible to answer the following questions: what language was used in Dovzhenko's time, what linguistic means were characteristic of the texts of that period, and whether the samples of the analyzed documents can be used in the educational process of foreign students studying philology. Results. Having familiarized ourselves with the documents and various texts in O. Dovzhenko's archive, we came to the conclusion that there is a genre diversity of several styles: artistic, official business, mass media and epistolary. The texts of these styles can be used in classes with foreign communicators studying philology as part of the disciplines that study the functional styles of the Ukrainian language, which will help familiarize students not only with the linguistic features characteristic of a particular style, but also with the language policy of the time, the literary process of Ukraine and its participants. However, samples of the texts presented in O. Dovzhenko's archive should be presented to a foreign audience with extensive commentary, due to screen-linguistic factors that may cause difficulties for non-native speakers. Conclusions. The analyzed materials have shown that the language of Dovzhenko's time has characteristic features of the twentieth century. Among the documents are tests in Ukrainian and Russian, handwritten and printed, purely textual and with illustrations. The genre and stylistic diversity of texts from the archive shows that Russian was used in official business speech during Dovzhenko's period, as evidenced by the minutes, excerpts from minutes, and information references written exclusively in Russian. However, private letters, posters, pages from magazines, notes, i.e. texts of mass media and fiction style were written in Ukrainian in most cases in compliance with the norms of the literary language.
style, document, foreign communicators, Ukrainian as a foreign language, Oleksandr Dovzhenko
Journalism by Oleksandr Dovzhenko and Andriy Malyshko period of World War II
The article deals with the journalism of O. Dovzhenko and A. Malyshko during the Second World War. The ideological and thematic palette of journalism of both writers is outlined; signs of their literary innovation in this genre. Particular attention is drawn to journalistic works written in the first period of the war, in particular, the circle of ideas in the works of O. Dovzhenko is characterized "We Affirm Peace," "Glory to Our People!," "People's Knights," "I See Victory," "Great Society" and A. Malyshko "The Battle of Kyiv," "Pobratymy" and others. The specifics of the perception of the ideas of both artists for the next generations of writers are analyzed; the features of the individual style of journalism of O. Dovzhenko and A. Malyshko are disclosed.
journalistic works, the Second World War, chronicles, victory, problems, genre, warrior-liberator
The aesthetic function of metaphorization in the story O. Dovzhenko's "The Enchanted Desna"
Background. Metaphorization is seen as an artistic technique that requires the formation of a new perception by significantly changing the context of certain phenomena, realities, objects, or by emphasizing the phenomena themselves or certain aspects of these phenomena shown from a different angle, which determines peculiar associative connections, unexpected analogies. Metaphorization provides the emphasis of new semantic accents, as it requires the construction of new forms of perception as opposed to mechanical reproduction. The purpose of the article is to define the distinctive features of metaphorization, to clarify the artistic parameters of metaphorization embodied in O. Dovzhenko's story, and to identify the specifics of its artistic realization. The object of the study is the writer's story "Enchanted Desna", and the subject of the study is learning of the aesthetic function of metaphorization in the literary work. Methods. The research methodology is determined by the principles of cognitive literary studies. The features of the artistic depiction through the prism of protagonist's perception are considered. The artistic technique of metaphorization is considered as an important component of the protagonis's perception formation. Results. The aesthetic function of metaphorization in O. Dovzhenko's story "The Enchanted Desna" is manifested in the depiction of the outside world through the prism of the protagonist's perception, according to which all the components of the depicted space appear in new, extraordinary perspectives, acquire unusual characteristics, undergo various transformations that emphasize the aesthetic parameters of the depiction and demonstrate artistic multidimensionality by combining the real and the unreal depiction, the real and the fantasized depiction, through the spiritualization of the depicted world. Conclusions. An important role in the spiritualization of the entire depicted space and its participants is given to the inner feelings of the protagonist, who is able to make amazing correlations between his own perception and the world he observes and creates.
metaphorization, perception, artistic technique, category, hero
Celebrating the 130th anniversary of the genius Oleksandr Dovzhenko
Nation-building mission of the theatre of the corypheses