Видавничо-поліграфічний центр “Київський університет”
Historical narrative in contemporary ukrainian dramature
Background.The article examines the historical narrative as a meaning­making basis of contemporary Ukrainian drama, which is implemented in the relevant categories of narrative and functions as an active consolidating factor of contemporary culture. The relevance of the research is determined by the need for a comprehensive and multi-faceted study of contemporary Ukrainian drama in its narrative embodiment, thanks to which the connection of the artistic text with the emotions, values, personal projections of the recipient is established, and the self­interpretation and identification of the consumer of the artistic product is formed. The purpose of the study is to observe the specifics of the implementation of narrative categories in the texts of new playwrights, to consider the dramaturgical event, temporality and intentionality in connection with theatrical media, to understand the historical, biographical and gender themes of contemporary Ukrainian drama in a narrative perspective. Methods. The work used general scientific methods of observation, analysis, synthesis, selection and systematization of material. In addition, comparative-historical, comparative-typological, intertextual, mythocritical, descriptive methods regarding the subject of the article. Results. The results of the study reveal the role of historical narrative and its functions in contemporary culture, outline productive figurative-thematic models in which the historical narrative of drama is implemented, and reveal interesting and highly artistic textual techniques for the development of the narrative. Conclusions. The study proves that plays united by a historical narrative represent a national-centric model of thinking, perform a compensatory function in understanding the traumatic experience of society, contribute to the reconstruction of national memory, ensure the search and restoration of different levels of identity, in the context of the current decolonization discourse.
Ukrainian literature, poetics, contemporary drama, decolonization, narrative, author, recipient, biographical drama
Copyright (c) 2026 Мар'яна ШАПОВАЛ (Автор) https://creativecommons.org/licenses/by-sa/4.0
Social and communicative role of resistance in Volodymyr Vynnychenko's dramatography (bolshevism and the bourgeoisie through the writer's perspective)
Background. The study is dedicated to the analysis of the social- communicative function of resistance in the dramaturgy of V. Vynnychenko, particularly through the prism of depicting the conflict between Bolshevism and the bourgeoisie at the beginning of the 20th century. The problem lies in studying resistance not only as an artistic device, but as an active communicative mechanism that ensures the author's dialogue with the audience, forms national identity, and criticizes the ideological dominants of the era. The relevance of the topic is due to the contemporary rethinking of the role of literature as a tool of social criticism and cultural resistance, especially in the context of the historical events of the Ukrainian Revolution of 1917-1921 and the subsequent Bolshevik occupation. Methods. Using methods of descriptive analysis of dramatic works and classification of types of resistance by degree of explication, we investigate the evolution of V. Vynnychenko's authorial position - from criticism of bourgeois morality to an ambivalent attitude towards Bolshevism, which is reflected in his political activity and journalism ("Revolution in Danger!", 1920). Results. The main attention is paid to three plays: "The Lie", and "The Black Panther and the White Bear". Using a comparative table, the degree of expression of the social-communicative function of resistance is established: 90 % ("The Lie " - allegory of class struggle, peak of political radicalism) and 80 % ("The Black Panther and the White Bear" - ambivalence of individual and collective). The average indicator - about 85 % - indicates the consistent use of dramaturgy as a means of social communication. The results are consistent with the works of V. Humeniuk, T. Hundorova, S. Mykhyda, M. Soroka and others, who emphasize the psychological depth of intellectual heroes, their internal struggle, and function as carriers of social tension. Vynnychenko's dramaturgy appears as a psycho-autobiographical code that transforms the artist's personal conflicts into a universal aesthetic language of protest. Conclusions. The social-communicative function of resistance in V. Vynnychenko's dramaturgy is a key mechanism for criticizing Bolshevism and the bourgeoisie, a platform for dialogue on national identity, moral dilemmas, and resistance to imperialism. The works retain relevance as a model of literature­catalyst for social transformations and can be the basis for further studies of the author's other plays.
Volodymyr Vynnychenko, dramaturgy, social-communicative function, resistance, Bolshevism, bourgeoisie, national identity, modernism, conflict, Ukrainian Revolution
Copyright (c) 2026 Олександр ХОЛОД (Автор) https://creativecommons.org/licenses/by-sa/4.0
Odessa magazine "Theatre" (1922): genesis, genre system, content
Background. The introduction of the NEP (New Economic Policy) contributed to the activation of artistic processes that required theoretical understanding, as reflected in periodicals of the 1920s. Theatre magazines of this period became platforms for discussing theatrical trends and shaping the cultural discourse of the day. One such magazine was the Odessa publication "Theatre", which requires thorough scientific research. The purpose of the article is to clarify the genesis, highlight the genre system, and examine the content of the journal "Theatre" (Odessa, 1922). To achieve this, the text and visual content of the Odessa journal "Theatre" for 1922 were analysed. Methods. The study used the descriptive method, the method of analysis, synthesis, and generalisation. Results. 4 issues of the journal "Theatre", published in 1922, were analysed, including the text and visual content of the publication. It was found that the journal "Theatre" covered not only theatrical but also cinematic topics. Information about cinema was presented minimally, due to the magazine's orientation towards theatre-related content, as evidenced by its name, and also due to the lack of active development of Ukrainian cinema in 1922. Conclusions. Despite the difficult conditions of its existence, the magazine "Theatre" was a centre of unity for the creative and intellectual community and played a significant role in the formation of theatrical critical thought. This is evidenced by the variety of genres through which theatrical topics were covered in the publication. At the same time, cinematic topics occupied a secondary place and were represented mainly in the form of short information messages and film advertisements. The content of the magazine "Theatre" had a distinctly text-centric nature and was structured according to headings with different names; the visual component was minimal and limited to three photographs and one drawing.
genres, magazine "Theatre", pictorial content, cinematic topics, theatrical topics, text content
Copyright (c) 2026 Ганна ХОЛОД (Автор) https://creativecommons.org/licenses/by-sa/4.0
Specificity of the lexicon of the tragicomedy of Ivan Karpenko-Karyi "One hundred thousand"
Background. Thematically and genre-rich dramaturgy of Ivan Karpenko- Karyi, one of the founders of Ukrainian professional theater, vividly represents the living language culture of the second half of the 19th century. The playwright's plays well reflect the state and peculiarities of the language of the era, which is a valuable historical and linguistic source for researchers. Methods. The study of the vocabulary of Ivan Karpenko-Karyi's play "One Hundred Thousand" was carried out using descriptive, comparative-historical, and linguo-cultural methods of studying and analyzing the text, based on which the specificity of the linguistic units of the work was investigated. Resultations. Ivan Karpenko-Karyi masterfully recreates the linguistic flavor of the era. The basis of the characters' speech parts is colloquial, commonly used vocabulary, which contains many colloquialisms, phraseological units, proverbs and sayings, which aptly reflect the type of personality. Folklore elements make the language of the peasants bright, imaginative, authentic, and lively. Conclusions. Ivan Karpenko-Karyi in the play "One Hundred Thousand" appears as a great expert in colloquial vocabulary and phraseology. The author skillfully uses commonly used words to denote everyday life, everyday objects, vocabulary to denote professional agricultural and social orientation. The language of Ivan Karpenko-Karyi's tragicomedy "One Hundred Thousand" well reflects the worldview of the Ukrainian people of that time, the peculiarities of their speech, their lexical and expressive potential.
Ukrainian language, vocabulary, colloquial vocabulary, commonly used words, paremias, dramaturgy, tragicomedy
Copyright (c) 2026 Олена ФЕДОСІЙ (Автор) https://creativecommons.org/licenses/by-sa/4.0
Background. Dramaturgy is a unique phenomenon, as it combines the verbal and visual into a whole. The writer's idea is first embodied in a literary text, which is later developed by the screenwriter and director and presented in a performance. The division of dramatic works into "for reading" and "for stage performance" is very conditional, because the content and sensory expressiveness are the key to theatrical interest and audience success. In addition, if the first dramatic attempts for national theatrical art were focused on the formation and establishment of a new Ukrainian dramaturgy and theater and reaching as many recipients as possible, then the dramatic texts of the 20th century are multi-level psychological studies intended for both an egalitarian and an elitist perceiver. It is precisely such works that belong to the authorship of Lydia Chupis. Methods. The following main methods were used in the work: philological (a thorough study of works, formal and content components), biographical (prototypes of characters) and intertextual (the role of autoallusions, allusions and reminiscences), analysis and synthesis (the actual study of texts and generalization in conclusions). Results. The genre diversity of Lydia Chupis's drama is studied in the literary and authorial dimension (dramatic poem, drama proper and monodrama; poetic interpretation, melodramatic tragicomedy, dramatic extravaganza), which reveals certain semantic accents in the works. The themes and issues of the works are highlighted, which remain relevant given the universal issues raised, highlighted in the existential aspect (life and death, good and evil, righteousness and sinfulness). The portraits of the characters are analyzed according to external and internal characteristics and actions (emotions, thoughts and actions, reasoning and communication, visions and delusions). The peculiarities of the interpretation of iconic figures, the author's understanding of their worldview positions, and their evaluation by the environment, themselves and future generations, in the specific present and on the scale of world time, are studied. The writer's findings in showing conflicts in the essence of the characters, in attempts at self-justification or in a fierce struggle to preserve one's essence, when existential concepts (borderline situation, borderline existence) dominate, are clarified. Conclusions. It is proven that Lydia Chupis's drama is timeless. The writer raises topical issues related to knowing herself through observation, the search for cause-and-effect relationships, self-reflection, etc. The borderline situation acts as a border of no return and a test of value priorities, and the choice of heroes becomes the beginning or end of being (physical / spiritual). At the same time, the author's texts become her self-disclosure.
monodrama, freedom, choice, existential (un)certainty, existence, borderline being, limit situation, self-reflection
Copyright (c) 2026 Тетяна ТКАЧЕНКО (Автор) https://creativecommons.org/licenses/by-sa/4.0
Background. Where is the profit-driven business leading the foundations of theatre and cinematic art? The share of arthouse cinema compared to mass film production is steadily declining. The reasons lie in the thirst for enrichment through indulgence in the slogan known since antiquity, "Bread and circuses!" Increasingly, preference is given not to the play of emotions conveyed through the language of cinema, but to the display of muscles, endless blockbusters filled with the destruction of machinery and buildings, bestial instincts, hordes of undead zombies etc. All this resembles a kind of invocation of real cataclysms - a visual spell, an ominous croaking - according to the images and likeness of which a truly horrific reality later emerges. How does all this affect the educational process? Methods. General scientific (analysis-synthesis-forecast), philological, comparative, intermedial; elements of the essayistic style have also been used. Results. In the era of total visualization and informational oversaturation, interest in reading is generally declining. Both in secondary and higher education, students increasingly rely on condensed summaries of literary works, which the internet abundantly provides alongside intrusive, aggressive advertisements promoting gambling, pornography, easy earnings through dubious schemes, fraud, and even betrayal of the homeland. How can this be countered? Long-term practice has shown that one of the effective measures, at least in the education of humanities students, is to assign reading of a work from our classical literature, followed by viewing a film adaptation of that work, and conducting a comparative analysis of the literary text's transformation into a cinematic text. This approach allows students to engage with the literary original and its representation in a related art form, while also actively combating the widespread illiteracy that continues to progress in society. Conclusions. The latest syncretism of different art forms has existed in our culture for over a century. However, film dramaturgy, a type of dramaturgy as a literary genre, still does not feature in the literary-artistic genre classification. While dramaturgy is studied both in connection with its theatrical realization and independently, film dramaturgy remains largely "invisible", even in an era of comprehensive visual information saturation. Like any innovation, artificial intelligence has its advantages and disadvantages. Its use in the educational process, in particular for writing comparative reviews, often becomes a form of procrastination. This state of knowledge acquisition is also caused by the unnatural conditions of the current educational process, which takes place online and offline and is interrupted by constant air alarms, power and heat outages, and migrations. Consequently, the role of moral responsibility increases, as does the importance of careful verification and detection of signs of negligent delegation of creative work to a machine.
cinema, Ukrainian literature, dramaturgy, film dramaturgy, intermediality, recoding, comparative analysis, AI
Copyright (c) 2026 Анатолій ТКАЧЕНКО (Автор) https://creativecommons.org/licenses/by-sa/4.0
Interpretation of Mykola Khvylovyi's fiction on the stage of contemporary Ukrainian theatre
The article offers an overview of contemporary theatrical productions based on the works of Mykola Khvylovyi and attempts to explain the relevance of theatrical interpretations of this author's texts, given that Khvylovyi was a prose writer who never created dramatic works. It analyzes the inherent theatricality of his prose as well as the directors' interpretations of individual stage productions inspired by Khvylovyi's works. The article traces how theatrical performances contribute to the popularization of the writer's legacy in the contemporary world, emphasizing the importance of shaping and rethinking national identity through the means of theatrical art.
theatre, interpretation, theatrical production, director's concept, national identity, thriller, spiritual disorientation, stage potential, musical, performance, etc.
Copyright (c) 2026 Олена ПИЛИПЕЙ (Автор) https://creativecommons.org/licenses/by-sa/4.0
The article explores the discourse of Mark Kropyvnytskyi's relationships with women, primarily with his family and loved ones. Among them are his mother, stepmother, first and second wives, as well as several other women, including Antonina Markovych, Maria Starytska, and others. It is noted that the playwright's mother, Kapitolina Ivanovna, was the illegitimate daughter of a young lady and an officer. This officer died in the war before she was born. Because of this, the girl was given to the family of a former serf, Ivan Dubrovinsky, for upbringing. It is noteworthy that the playwright had a tense relationship with his mother. This is due to the fact that in childhood she caused him serious psychological trauma by leaving the family for a hussar officer. It is emphasized that M. Kropyvnytskyi's stepmother, Yavdokha Petlyshenko, did not pay due attention to her husband's children, and their father was often absent due to official business. Therefore, little Marko and his sister often spent the night with one of the serfs. It is emphasized that M. Kropyvnytskyi's first wife, Oleksandra Vukotich, was ten years younger than him, had an attractive appearance, and gladly participated with him in amateur performances. However, their marriage was short-lived (1868-1880), as Alexandra died of diphtheria after twelve years of marriage, leaving her forty-year-old husband with two young children. It is emphasized that the artist's next possible chosen one could be a twenty-six-year-old woman from Poltava, Antonina Markovich. Their romance developed mainly in the format of correspondence over a period of three months - from October 1880 to January 1881. Rumors were already circulating about their imminent marriage, but for unknown reasons this did not happen. It is also noted that in the summer of 1883, M. Kropyvnytskyi had a short­lived affair with seventeen-year-old Maria, the eldest daughter of Mykhailo Starytskyi. However, the relationship did not work out, probably due to the refusal of her father, who did not want his young daughter to link her fate with a much older man. The article notes that M. Kropyvnytskyi's second wife was the twenty-nine- year-old doctor Nadiya Gladushchenko, whom he met in 1887 during his troupe's tour in St. Petersburg. Almost all of her married life with the playwright was spent in the Kharkiv region, on her husband's estate on the Zatyshok farm, where Nadiya's main occupations were raising children and practicing medicine, mostly on a volunteer basis. The conclusions summarize that information about the women with whom M. Kropyvnytskyi had contact helps to form a more holistic picture of him as a person and an artist.
mother, stepmother, Oleksandra Vukotich, Antonina Markovich, Maria Starytska, second wife
Copyright (c) 2026 Анатолій НОВИКОВ (Автор) https://creativecommons.org/licenses/by-sa/4.0
The "stage within a stage" means in ukrainian dramaturgy at the end of the 19th - beginning of the 20th century
The author of this article analyzed the Ukrainian drama works written at the end of the 19th - the beginning of the 20th century, which are partially or completely composed on the basis of 'the text within a text.' There was confirmed that the aforementioned compositional factor, albeit not always dealing with the display of a theatrical action, can be a propeller of the interaction between several formal and substantial dimensions within a single drama. This interaction is apparent in Lesya Ukrayinka's heritage: taking into consideration that her early drama 'Blakytna troyanda' ('The Light-Blue Rose') is the only one to be connected with the scenic arts, we should point out that the other plays - 'U puschi' ('In the Wliderness'), 'Lisova Pisnya' ('The Forest Song') and 'Kaminnyi Hospodar' ('The Stone Master') the method of the included sketch would work at the revelation of the specifications of the characters' internal world and psychic intentions. On the other hand, in the masterpieces 'Zhyteiske more' ('The Sea of Life') by Ivan Karpenko-Karyi and 'Talan' ('The Talent') by Mykhailo Starytskyi, directing or acting out the classical play, namely Shakespeare's 'Othello' or the tragedy by an unknown dramatist, based on the events occurred in the 17th century Ukraine, is inextricably connected with the collisions of life and activity of the actors themselves. All the factors studied would symbolize the persevere movement to the event initials of the theatrical art as it is, providing that the events shown in the play are extraordinary and thenceforth serve as the basis for the dramatic conflicts to emerge and be solved (or remain open). The further detailed research on the drama works based on 'the stage within a stage' means, either in Ukrainian or in any other literature, would be relevant as well in terms of receptional esthetics, especially when it comes to the observations on the actors' activity. Apart from the 'illusion crash' traditional to such kind of dramas, the constant 're-creation' of the certain scenic masterpiece in various temporal and spatial dimensions becomes the signpost in the play studied.
Ukrainian drama, the 'play within a play' technique, irony, duality, conflict, form-content, theatrical art
Copyright (c) 2026 Наталія НАУМЕНКО (Автор) https://creativecommons.org/licenses/by-sa/4.0
History and modernity of Olga Strashenko's dramaturgy: reminiscences, images, characterization
The article examines a little-researched and little-known aspect of the activity of the contemporary Ukrainian writer Olga Strashenko (1950-2015) - her dramaturgical heritage, presented in three editions - "Dramatic Poems about Kyivan Rus" (2007), "Seven Selected Plays" (2004) and "Theatrical Playbill. 30 New Plays" (2014). The historical and cultural context of the appearance of dramatic poems and comedies (mainly) by the author is characterized, the creative preferences of the writer are explained, parallels with the historical past of the theater and its role in various historical circumstances are given. The plays are briefly grouped by theme and genre varieties, the features of the appearance of individual works are characterized. A detailed purely literary and linguistic analysis of the plays is a task for the future, this is the perspective of the article.
Olga Strashenko, dramatic poem, drama, comedy, reminiscences
Copyright (c) 2026 Сергій ЛУЧКАНИН (Автор) https://creativecommons.org/licenses/by-sa/4.0
The passionary act of the coryphaei of ukrainian theatre
The article, dedicated to honoring this year's anniversary celebrants Marko Kropyvnytskyi (22 May 1840 - 21 April 1910) and Mykhailo Starytskyi (14 November 1820, according to Vol. Polishchuk on the basis of relevant documents, - 27 April 1904), not only addresses the illumination of their contributions to the formation of a professional Ukrainian theatre, the shaping of its repertoire, and the emergence of a new type of dramaturgy, but also substantiates their adequate response to the challenges of a reality unfavorable to national culture, literature, and art. Together with the Tobilevych brothers (M. Sadovskyi, P. Saksahanskyi, I. Karpenko-Karyi), Mariia Zankovetska, Hanna Zatyrkevych- Karpynska, I. Zahorskyi, A. Maksymovych, and others, they dared to undertake a passionary act of cultural and educational resistance. Borrowing the name from the leader of the chorus of ancient Greek theatre, having found a niche within the repressive Russification policy of the Russian Empire, they mounted a cultural and educational resistance to it, while at the same time elevating Ukrainian theatre from an amateur level to a world-class one, comparable to the Meiningen Theatre. It played a significant constructive artistic and social role in a devastated national life, "becoming the only hearth around which Ukrainian forces could gather," "feeling itself as a driving force of the Ukrainian movement" (Antonovych, 2003, pp. 146-147), and turning into a tribune of educational resistance. Despite the fact that the Kyiv Governor-General O. Drenteln, guided by an amendment to the Ems Ukaz, banned performances within Kyiv Governorate, the coryphaei successfully toured the Kuban region, Voronezh region, Saratov, Moscow, St. Petersburg, and Warsaw. They represented socio-domestic theatre with elements of ethnography (M. Kropyvnytskyi), romantic-heroic theatre (M. Starytskyi), and socio-realist theatre (I. Karpenko-Karyi), which underwent certain changes, evolving into the "Theatrical Society of Russian-Little Russian Artists" (P. Saksahanskyi) and the stationary theatre of M. Sadovskyi in the Kyiv People's Trinity House, and later influenced Les Kurbas's experimental "Young Theatre," offering an alternative Ukrainian dramaturgy within the framework of modernism.
theatre, coryphaei of Ukrainian theatre, dramaturgy, stage art, troupes, play, performance
Copyright (c) 2026 Юрій КОВАЛІВ (Автор) https://creativecommons.org/licenses/by-sa/4.0
The language of resistance of the Theatre of the coryphaei (based on posters as a type of advertising text)
Background. The theatre of luminaries led by Mark Kropyvnytskyi embodies cultural resistance during the time of tsarist prohibitions, when the public use of the Ukrainian language became an act of national identification. The activities of the Coryphaei filled the repertoire gap, ensuring the longevity of their works on professional and amateur stages from the 1880s to the present day. Not only the content of the productions, but also the texts of their playbills testify to the national orientation of the Coryphaei Theatre. Linguistic analysis of the posters of the Theatre of the Coryphaei as a type of advertising text reveals their structure: titles with the names of plays ('Martin Borulia', 'One Hundred Thousand'), lists of actors, date and place, supplemented by imperative calls that activate pragmatic potential. These texts combine a nominative function (informing) with an appellative one (persuasion), using lexical means of influence - epithets, hyperbole and rhythmic punctuation to emotionally engage the audience. Methods. Linguistic, linguistic-pragmatic, structural-semantic, linguistic- stylistic, linguistic-statistical, and corpus methods of analysis were used. Results. The analysis revealed that the posters for Ivan Karpenko-Karyi's plays evolved from verbal resistance to Russification (bilingualism in 1901's 'The Landlord') to visual-metaphorical nationalism (banknote/embroidered shirt in 2008-2017's 'One Hundred Thousand'), implementing the models of J. Riffaterre (Riffaterre, 1971) (attraction-conviction) and AIDA (Hogan, 2007; Maxwell, 2008) through a triple dominant: reference (80 %), appeal (imperatives ~20 %), expression (epithets ~15 %). Dialectisms (>30 %), allusions ('Ukrainian-style swindle') activate the decolonisation frame according to Lakoff (1980), hybridity according to Selivanova (2008) enhances rhythmic persuasion, and, according to N. Fairclough's three-level model (Fairclough, 1992), (censorship^-resistance^-reception of the UNR), transforming ephemeral announcements into artefacts of national discourse. Conclusions. An analysis of Ivan Karpenko-Karyi's play posters as a type of advertising text shows their evolution from a verbal-hierarchical structure with a bilingual topos (1901 'The Landlord') to a visual-metaphorical dominant (2008­2017 'One Hundred Thousand'), reflecting the transformation of national discourse from resistance to Russification to postcolonial identity. The discourse analysis and characterisation from the perspective of pragmatics according to R. Riffaterre have made it possible to demonstrate the poster as a multimodal artefact of cultural resistance, ensuring the continued reception of the classics in contemporary theatres.
Ukrainian language, media language, poster, advertising text, media style, journalistic style, vocabulary, linguistic-pragmatic strategies, stylistic markers, the Theatre of the Coryphaei
Copyright (c) 2026 Олександра КАСЬЯНОВА (Автор) https://creativecommons.org/licenses/by-sa/4.0
Mythological images in ukrainian dramaturgy of the second half of the 19th century (on the example of Marko Kropyvnytskyi's play "Viy" (based on the work of Mykola Gogol))
Background. The study of the specifics of the reproduction of mythological images in Ukrainian dramaturgy of the second half of the 19th century (using the example of Marko Kropyvnytskyi's play "Viy" (based on the work of Mykola Gogol)) is important and relevant given the significance of M. Kropyvnytskyi's activities and creativity as one of the founders of Ukrainian professional theater. Although the themes of M. Kropyvnytskyi's works are mainly events from folk life, he actively incorporates Ukrainian mythological images into his artistic world, which reflect the folk worldview and testify to the originality of Ukrainian culture. Methods. During the research, comparative-historical (comparative), hermeneutic and structural-semiotic methods of studying and analyzing works of art were used, in particular, the specifics of the artistic reproduction of mythological images were studied. The methods used, which are based on the interpretation of the text, the identification of explicit and hidden meanings, the comparison of drama and story, allowed us to identify the peculiarities of the interpretation and transformation of mythological images in the play by M. Kropyvnytskyi. Results. The article analyzes the artistic features of Mark Kropyvnytskyi's drama "Viy" (based on the story of the same name by M.Gogol), in particular, it examines the specifics of the reproduction of mythological images and motifs as deep symbolic systems that encode folk worldviews, beliefs, and customs. It is noted that mythological images in the drama "Viy" by M. Kropyvnytskyi expand the realistic chronotope, contribute to a deep recreation of the life and everyday life of Ukrainians in the second half of the 19th century, and the Ukrainian national character. The comparison of the prose original source and the dramatic adaptation demonstrated the productive intertextual communication of myth, epic, and drama. Conclusions. Based on the conducted research, it was concluded that the thematic and plot organization of the works of M. Gogol and M. Kropyvnytskyi is aimed at revealing the worldview of Ukrainians, in which belief in the supernatural is deeply rooted, which formed a unique combination of pagan traditions and Christianity. Both works indicate that belief in demonic beings, "lower mythology," was of great importance to Ukrainians, was a kind of moral and ethical regulator of behavior, helped maintain customs, traditions, and social order.
Ukrainian literature, dramaturgy, Ukrainian professional theater, mythological images, drama
Copyright (c) 2026 Галина ЖУКОВСЬКА (Автор) https://creativecommons.org/licenses/by-sa/4.0
The theatre of the coryphaei in Georgia: types and forms of ukrainian-georgian literary relations in the nineteenth century
The article aims to interpret the activity of the Theatre of the Coryphaei in Georgia from a literary studies perspective, rather than a traditional theatre studies approach. It aims to assess the role of this theatre in the development of Ukrainian- Georgian literary and artistic relations and in the formation of new, previously unaccented types and forms of interliterary interaction, such as Ukrainian-language performances and non-translated works, which contributed to the reception of the Ukrainian word. The study is grounded in Ukrainian-Georgian relations of earlier periods, including personal contacts, translations, especially Taras Shevchenko's Testament, and historical events, for example the life and creative work of D. Guramishvili, the activities of M. Hulak, particularly his interpretation of Shota Rustaveli's The Knight in the Panther's Skin, as well as the work of O. Navrotskyi. During the period of the Theatre of the Coryphaei in Georgia, special attention is paid to D. Mordovets, whose novel The Descendants of Prometheus was widely known among the Georgian intelligentsia, and to T. Sakhokia, a prominent public figure, linguist, and literary scholar who maintained close contacts with Ukraine, among others. As the analysis of the material demonstrates, education, particularly at the Kyiv Theological Seminary, as well as the presence of representatives of the Georgian intelligentsia in Ukraine for various purposes, including K. Kekelidze, P. Melikishvili, and D. Uznadze, later renowned scholars and cultural figures, played a significant role in the specific reception of the Theatre of the Coryphaei's performances, which were staged in the original language. Performances of the Theatre of the Coryphaei in Georgia testified that, despite numerous prohibitions, the Ukrainian word continued to live and develop. Almost all members of the theatre were also engaged in literary activity. An important factor in shaping the specific features of the reception of Ukrainian- language works was the fact that, to renew and expand the theatre's repertoire, actors, including M. Starytskyi, not only wrote their own plays but also adapted works by Ukrainian and foreign authors, such as E. Franzos, E. Orzeszkowa, Yu. Kraszewski, and M. Gogol. As a result, what emerged was an encounter with one's own translated material through the prism of another, foreign-language work, most often reworked individually. These practices proved more powerful than any attempts to prohibit the Ukrainian word and to discredit the very existence of Ukrainian theatre. Our task is to demonstrate the role and functions of new types and forms of interliterary and artistic relations in the reception of Ukrainian literature.
Ukrainian-Georgian literary and artistic relations; types and forms; the Theatre of the Coryphaei; reception
Copyright (c) 2026 Людмила ГРИЦИК Людмила ГРИЦИК (Автор) https://creativecommons.org/licenses/by-sa/4.0
Theatre studies by L. Starytska-Cherniakhivska in view of the tasks of ukrainian scholarship on national dramaturgy and theatre
Highlighting the peculiarities of the development and formation of Ukrainian theatre is an extremely complex phenomenon that requires thorough theoretical and critical preparation. When speaking about the theatre studies of L. Starytska- Cherniakhivska and the writer's profound familiarity with the specifics of theatrical life of the late nineteenth and early twentieth centuries, it should be noted that the artist devoted exceptionally great attention to theatre scholarship. This has been emphasized by M. Zhulynskyi, L. Demianivska, L. Protsiuk, V. Shvets, I. Chernova, and others. It has been proven that the theatre studies of L. Starytska-Cherniakhivska remain relevant, as they "...represent the progress of the national spirit through the comprehension of national history" [1, p. 139]. The paper underscores the significance of the writer's theatre research in view of the tasks of Ukrainian scholarship on national dramaturgy and theatre. In her theatre studies, as in her literary works, the writer sought to emphasize and remind the Ukrainian people of their historical memory and their identity.
theatre studies, the works of L. Starytska-Cherniakhivska, Ukrainian literature, theatre, image, criticism, national spirit
Copyright (c) 2026 Надія ГАЄВСЬКА (Автор) https://creativecommons.org/licenses/by-sa/4.0
The artistic interpretation of Bohdan Khmelnytskyi and the understanding of the Pereiaslav agreement in the works of Mykhailo Starytskyi (based on his prose, dramaturgy, and poetry)
The article analyzes Mykhailo Starytskyi's artistic interpretation of the Pereiaslav Agreement of 1654 as a political act in Ukrainian history. The study is based on three of his works: the historical-romantic trilogy "Bohdan Khmelnytskyi", the verse drama "Bohdan Khmelnytskyi", and the ballad "The Epiphany Night". Particular attention is paid to the realization of artistic traditions of European and national literatures, as well as folklore, as reflected in the author's treatment of themes, problems, and imagery in works written on historical material. The research takes into account the circumstances and constraints - primarily censorship pressure - that forced the author, in the process of artistically interpreting the tactics and strategy of Hetman Bohdan Khmelnytskyi in his struggle against Ukraine's enemies in the seventeenth century, to adhere to the viewpoints of imperial historiography regarding the period of the Khmelnytskyi Uprising and its final event, the Pereiaslav Council. It is emphasized that despite these limitations, Starytskyi, as a representative of the nationally conscious Ukrainian intelligentsia and a talented artist, succeeded in convincing readers that there should be no place for skepticism or disillusionment, since Ukrainian history of this period is marked not only by defeats resulting from the betrayal of allies, such as at Berestechko, but also by great victories and achievements. These were the outcome not of situational resistance, but of the national experience of a heroic, long-lasting, and exhausting struggle for freedom over the centuries. The article also argues for the logical evolution of this theme - previously artistically explored by the author - of the Ukrainian struggle for their rights, and examines the critical interpretation of the consequences of Bohdan Khmelnytskyi's political choice as presented in the ballad "The Epiphany Night".
romantic-historical prose, dramaturgy, poetry, artistic interpretation, political history, national self-awareness
Copyright (c) 2026 Ярослава ВІЛЬНА (Автор) https://creativecommons.org/licenses/by-sa/4.0
Dramatization as representation of artistik interpretation of Samiilo Velychko's chronicle
Background. The article examines the chronicle of Samiilo Velychko as an important phenomenon of Baroque historiography, characterized by an increased artistic quality and belletrization with pronounced elements of dramatization. Monologues, dialogues, letters, inserted stories and novellas, etc., in the work contain features of dramatization through which the artistic interpretation of events and figures is formed. The purpose of the article is to study the elements of dramatization in Samiilo Velychko's Baroque chronicle, to determine their function in the belletrization of the work, and to reveal how they contribute to the formation of an allusive poetics. Methods. The research methodology is determined by the use of a range of methods, including historical-literary, biographical, hermeneutic, and philological methods. The specificity of the dramatization of Samiilo Velychko's chronicle in shaping the artistic dimension of the work is analyzed. Results. In the chronicle of Samiilo Velychko, as a prominent phenomenon of Ukrainian Baroque historiography, the predominance of the artistic dimension is notable, where historical events and figures are presented in an artistic manner and include expressions of the author's perspective. The dramatization of the text plays a significant role in shaping the artistic dimension of the chronicle, particularly through the integration of characters' monologues and dialogues, letters, inserted novellas, stories, and so on. Elements of dramatization in the chronicle text are a feature of suggestive Baroque poetics, which finds expression in Velychko's chronicle. Conclusions. Dramatization, as an element of the suggestive poetics of the work, plays an important role in creating the artistic dimension of the monument of Baroque historiography - Samiilo Velychko's chronicle. It allows the author to express his own thoughts and views and also contributes to the fictionalization of both the text itself and historiography in particular.
Baroque, historiography, chronicle, dramatization, artistic dimension, monologue, dialogue, letter
Copyright (c) 2026 Назарій БАРАНІВСЬКИЙ (Автор) https://creativecommons.org/licenses/by-sa/4.0
Dynamics of masculine visions in 21st century Ukrainian drama
Background. This article examines the transformation of masculinity in 21st-century Ukrainian drama, particularly against the backdrop of national crises, economic instability, and war. Gender studies in Ukrainian literary criticism have gone through stages from feminist criticism to a deep understanding of masculine discourse, which became particularly important after the collapse of the Soviet Union and the start of the Russian-Ukrainian war. The aim of the study is to analyze the evolution of the image of men in contemporary Ukrainian drama and to identify the main stages of change in masculinity. Methods. The analysis uses textual and contextual analysis methods, as well as a gender approach, which allows us to examine the change in masculine models in drama through the prism of sociocultural and political changes. The plays of Ukrainian playwrights Oksana Taniuk, Oleksandr Irvanets, Vitalii Chenskyi, and others are analyzed. Results. The study identified three main stages in the development of masculinity in Ukrainian drama: 1990-2013 - a crisis of the traditional male image associated with economic destabilization and colonial trauma. Male characters are portrayed as weak and devalued, which is reflected in their dependence on the Russian model of masculinity. 2014-2021 - ethical search, formation of new morally responsible images. Male characters strive to find a balance between strength, spirituality, and ethical responsibility. 2022-present - post-gender heroism, where masculinity becomes collective and integrates elements of empathy and responsibility, transforming into a universal model of action. Conclusions. The development of the image of men in Ukrainian drama reflects profound sociocultural changes and reactions to external challenges, particularly national identity, wars, and social transformations. Contemporary Ukrainian drama demonstrates post-gender heroism, where strength and empathy are combined in a new male image. This approach to the portrayal of masculinity shapes Ukraine's new cultural identity, which includes not only patriarchal elements but also the capacity for collective care and responsibility to society.
masculinity, heroism, trauma, war, postcolonialism, gender
Copyright (c) 2026 Степан АНТОНЮК (Автор) https://creativecommons.org/licenses/by-sa/4.0
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