«GOGOLIANA» IN THE FUNDS OF THE SCIENTIFIC LIBRARY OF THE ODESSA I. I. MECHNIKOV NATIONAL UNIVERSITY: TO THE 210TH ANNIVERSARY OF THE BIRTH OF NIKOLAI VASILYEVICH GOGOL (1809–1852)

The subject of the research is the mythology of time and space in the early works of N. V. Gogol. The focus of the study is the mythopoetic world in the novella "Taras Bulba," first published in 1835 in the collection "Mirgorod." In this article, the author examines the third edition of this novella, released in 1855. Since its publication, this article has intrigued many researchers, especially in the context of studying the historical nature of the work and the specifics of folk narrative. Moreover, Gogol included numerous religious elements in the novella: small icons gifted by a mother to her children, the initiation ceremony at the Sich, and so on. The novel also shows the primary reason for the outbreak of war – the violation of faith. In this article, we use the morphology of the fairy tale by V. Ya. Propp and also the findings of other scholars who have continued his work in this field. Combined with the methodology of the chronotope by V. V. Bakhtin, we will conduct a structural analysis of the plot of the novella and then discuss the spatial-temporal organization within it. As is known, this novella has a vivid historical context and realistically depicts large-scale military scenes. However, in the author's opinion, it is not merely a work of art on a historical theme. Behind this magnificent epic lies an important literary archetype – the "Book of Judith" from the Old Testament, which has both Orthodox and Catholic interpretations. Both versions tell the story of how women saved their people from a difficult situation. In this article, the author will focus on the mythopoetic aspects of time and space in "Taras Bulba" and analyze their structure and functions from the perspective of the morphology of the fairy tale by V. Ya. Propp and the chronotope of M. M. Bakhtin. In conclusion, the author comes to the conclusion that Gogol created a unique world in "Taras Bulba," where space and time obey their own laws.

На рубеже XVIII–XIX вв. история, которая традиционно рассматривалась как часть литературы, искусства, обретает статус науки. В это время интенсивно развиваются такие ее отрасли, как философия истории, источниковедение и др., формируется научная методология изучения и описания прошлого. Гоголевское понимание истории сближается по меньшей мере с двумя утвердившимися в исторической науке первой трети XIX в. концепциями: библейским историзмом и всеобщей историей. Исходным представлением для обеих является постулат о действии Божественного Промысла в земном бытии отдельного человека и всего человечества. В картине мира Гоголя идея о Промысле утвердилась довольно рано и нашла отражение в исторической публицистике, письмах и художественных сочинениях. Христианская концепция Божественного Промысла прочитывается в художественной системе повести «Тарас Бульба», определяя ее хронотопическую и мотивную организацию, систему персонажей. Цель – определить особенности историософской концепции Гоголя и авторские стратегии ее художественного воплощения в повести «Тарас Бульба». Материалом исследования послужили художественные, публицистические сочинения Гоголя, а также его эпистолярий. Материал анализируется в религиозно-философском и историко-литературном аспектах. По результатам исследования сделан вывод о специфике историософских воззрений Гоголя, в том числе о воплощенной в «Тарасе Бульбе» художественной историософии. В поэтике «Тараса Бульбы» идея Божественного Промысла прослеживается не только на концептуальном уровне, но также в мотивном комплексе и хронотопической организации. Мотивный комплекс «Тараса Бульбы» включает следующие семантические звенья: воля Божия и свободная воля человека, ситуация выбора, поиск своего места/предназначения, исполнение человеком своего долга как проявление свободного послушания Богу и др. Для хронотопа повести характерно соединение разных временных планов, что позволяет автору показать историю как целостную систему, указав на причины событий и на их последствия, а также представить исторический процесс и земное бытие человека в векторе Божественного Промысла. Изображая прошлое России, Гоголь акцентирует внимание на том, что «каменная ткань» большой истории сплетается из «нитей биографических» частных историй, что исторический процесс есть результат диалога свободной воли человека и Божественного Промысла. Для «Тараса Бульбы» характерна многоплановая и подвижная оптика изображения, в фокусе которой оказываются и эпохальные события национальной истории, и личные истории отдельных персонажей, включающие подробности описания их внутреннего мира. At the turn of the XVIII–XIX centuries, history, which was traditionally considered as part of literature, art, acquires the status of science. At this time, its branches such as philosophy of history, source studies, etc. are intensively developing, a scientific methodology for studying and describing the past is being formed. Gogol’s understanding of history approaches at least two concepts established in the historical science of the first third of the XIX century: biblical historicism and universal history. The initial idea for both is the postulate about the action of Divine providence in the earthly existence of an individual and all mankind. In Gogol’s picture of the world, the idea of Fishing was established quite early and was reflected in historical journalism, letters and works of art. The Christian concept of Divine providence is also read in the artistic system of the story “Taras Bulba”, defining its chronotopic and motivic organization, the system of characters. To determine the features of Gogol’s historiosophical concept and the author’s strategies of its artistic embodiment in the story “Taras Bulba”. The research material was Gogol’s artistic and journalistic works, as well as his epistolary. The material is analyzed in religious-philosophical and historical-literary aspects. According to the results of the study, a conclusion is made about the specifics of Gogol’s historiosophical views, including the artistic historiosophy embodied in “Taras Bulba”. In the poetics of “Taras Bulba”, the idea of Divine providence can be traced not only at the conceptual level, but also in the motivic complex and chronotopic organization. The motivic complex of “Taras Bulba” includes the following semantic links: the will of God and the free will of man, the situation of choice, the search for one’s place/destiny, the fulfillment of one’s duty as a manifestation of free obedience to God, etc. The chronotope of the story is characterized by a combination of different time plans, which allows the author to show history as an integral system, pointing out the causes of events and their consequences, as well as to present the historical process and the earthly existence of man in the vector of Divine Providence. Depicting the past of Russia, Gogol focuses on the fact that the “stone fabric” of great history is woven from the “threads of biographical” private stories, that the historical process is the result of a dialogue between the free will of man and Divine providence. “Taras Bulba” is characterized by a multifaceted and mobile optics of the image, which focuses on both epochal events of national history and personal stories of individual characters, including details of the description of their inner world.

In addressing the issue of modern China and world literature in the age of globalization, we should not neglect this fact: in contemporary Chinese society as well as elsewhere, the elite literary market has been increasingly shrinking, with more and more readers reading online rather than in the libraries, for there have appeared numerous netizens who write and publish online. I think it's hard to say whether or not the Internet will ruin or contrib- ute to the popularization of serious literature: a lot of print literature, chiefly serious literature, is likely to be published on the Internet, but although that means fewer books will be printed on paper, it also means that it will pos- sible for more and more readers to get access to serious literature, including translated world literature online. Since translated literature comprises a large part of the literary market, Internet writing might well contribute a bit to the popularization of world literature in China as well. But my concern in this article is the extent to which the Internet will help to popularize literature. Obviously, the emergence of the Internet in our daily lives provides us with a new way to communicate and express our feelings and opinions. As a global system of interconnected computer networks, the Internet con- nects billions of users (or their computers) worldwide by using the standard Internet protocol suite (TCP/IP). Thus, for most users, it is the first time that they have not been limited by space and time in communicating with others, and they now have the opportunity to know other people's (public or private) stories and share their experiences in just a matter of seconds. Speed changes everything and makes things go more smoothly in our lives. Not only do the younger generations like to communicate online, but even the older scholars are gradually taking interest in communicating through the Internet.

The article is devoted to the outstanding Ukrainian writer, teacher, literary critic, translator, public figure and public figure I. Steshenko. The life and work of I. Stešenko are explored, his significant contribution to the development of Ukrainian literature, national education and culture has been revealed, the importance of his creative heritage in the context of the formation of Ukrainian national education, literature and art has been actualized. The authors of the article, due to the analysis of numerous publications in the periodicals, the widespread publication of a large number of documentary evidence and scientific discoveries made by historians and archivists, represent an interesting figure of Ivan Steshenko, an outstanding writer, literary critic, educator, public figure and public figure. The life and creative way of I.Stešenko was explored, the significance of his creative heritage in the context of the formation of Ukrainian national education, literature and art was revealed. On the basis of historical-biographical, cultural-historical methods of research, it was proved that the writer was a man of a wide scientific range, conducted active social, educational and cultural activities. The emphasis is on social activity of I.Stešenko, which is characterized by a wide range and many-sidedness: the development of Ukrainian schooling, the education of young people, the struggle for the Ukrainian university, the development of Ukrainian political life, the development of cultural institutions and the Ukrainian popular press to form the national outlook of the Ukrainian people. The authors focus on the pedagogical activity of I. Steshenko, which was carried out on the basis of the principles of humanism inherent in the most prominent representatives of philosophical, historical, cultural science and national ethnopedagogy; on the basis of social value traditions of native pedagogy, considering them as a leading factor in the formation of national identity consciousness. An outstanding teacher has determined the methodological principles and theoretical sources of modern national ethnopedagogy, the tasks aimed at ensuring the interconnection between school, family and society in the formation of the national identity of children and young people. The main principles of the educational and educational work of the school are analyzed: the unity of the formation of ideas about social reality as a part of the environment in children, reflecting the activities and relationships of people, and the education of a conscious desire to participate in the lives of the people around them; emotionogenicity as a necessary condition for children to learn social experience; complex application of different kinds of activity of children; formation of an active attitude towards the world; using an example of an adult as a carrier of knowledge, norms, values; showing personal qualities of people due to their attitude towards themselves and the attitude of adults to other people and to the child, etc. In his writings, I. Stetshenko asserted national ideas of patriotism, national consciousness, education and culture. These concepts are peculiar codes for reading his works of art, the key to understanding literary criticism and the Ukrainian literary process in general.

Modernism, Time Machines, and the Defamiliarization of Time Charles M. Tung (bio) “We do not all of us inhabit the same time.” —Ezra Pound, “Dateline” “History is no entity advancing along a single line . . . it is a polyrhythmic and multi-spatial entity.” —Ernst Bloch, Heritage of Our Times Modernism and Time Machines Many works of modernist literature and art aspired to the condition of time machines. While the early phases of modernism’s history contain the first appearance of such a device in H. G. Wells’s The Time Machine: An Invention (1895), the aesthetic experiments that we typically associate with the singular noun modernism have not been considered in relation to this foundational science-fiction trope or its numerous offshoots burgeoning through our cultural landscape today. Yet, if we reflect on what many of the most famous texts and paintings were doing in form and theme, it is clear that the modernist aesthetic called attention to itself not only as a vehicle for experiencing and moving in time, but also as a technique for rethinking that experience and movement. Moreover, modernist experiments often sought self-consciously to question and reconceptualize time by foregrounding the ways in which their own devices, often in concert with psychological, social, and historical mechanisms, structured [End Page 93] and produced time. Modernism was itself, in many hitherto-unconsidered senses of the phrase, a time machine. By reading modernism as a peculiar kind of time machine, I would like to expand our sense of both the well-known obsession with time at the beginning of the twentieth century and the popular trope of the time machine. The fascination with time in canonical works of literature and art should be reframed alongside the rise of time-travel narratives and alternate histories because both modernism and this cardinal trope of science fiction (SF) have been able to produce a range of effects and insights that go beyond the exhilarations of simply sliding back and forth in history.1 Together, these strands of “high” art and “low” popular culture form part of a larger network whose primary function is the defamiliarization of time itself. Running throughout the twentieth century, this network includes not just literary tropes, formal techniques, and SF themes, but also technological, cultural, and historical conditions, as well as disciplinary formations like critical geography and postcolonial historiography. Drawing, in part, on Gilles Deleuze and Felix Guattari’s sense of the term, this essay envisions a larger machine comprising these disparate components, a heterogeneous assemblage whose “identity” resides in what it does.2 This kind of time machine, which I also refer to as a “heterochrony machine” or “alternate-history maker,” is not just the standard aesthetic artifact featured in our critical narratives—an instrument that symptomatically picks up and perhaps processes the shifting spatiotemporal conditions of modernity; it is rather a set of connections that construct and reveal a multiplicity of nonstandard times and strange timespaces and a variety of ways of imagining history otherwise. [End Page 94] In studies of literary modernism, the relations among these elements of the network have been construed most often as the familiar oppositions between high and low, aesthetic and historical, internal and external, modernism and modernity. For instance, the heightened preoccupation with time that emerged in the late nineteenth and early twentieth centuries is usually treated as a poignant turn away from clock-time in favor of subjectivity and lived experience. In the face of capitalism’s standardization and regulation of time, the acceleration of changes in social life, and the vertiginous elongation of human and planetary history by evolutionary theory and geology, writers and artists are said to have moved inward to explore the workings of memory, the pathos of finitude, and the intensities of fugitive moments. As Adam Barrows puts it in The Cosmic Time of Empire: Modern Britain and World Literature, “the dominant critical tendency has been to treat modernist time as a purely philosophical exploration of private consciousness, disjointed from the forms of material and public temporality that standard time attempted to organize.”3 For Sara Danius in The Senses of Modernism: Technology, Perception, and Aesthetics, the assumption that modernism responds to “the growing hegemony...

The title of Gloria Fisk's monograph is somewhat deceptive. Seemingly a throwback to a fast-disappearing species of literary criticism—the single-author study—the book is not that at all. Taking Orhan Pamuk as an exemplary case study, Fisk brilliantly leapfrogs from there to raise broader questions on how the field of world literature is constituted in Euro-American academies and institutions; on what underpins our assumptions when reading literary works from different regions, especially those from the global South; and on the chasm between local and global forms of reception while reading international authors. Her monograph can be situated in a two decades-long conversation regarding the field and compass of world literature that has been shaped by a series of key texts, among them, Pascale Casanova's The World Republic of Letters (originally published in French in 1999 and translated into English in 2005); David Damrosch's What Is World Literature? (2004); Gayatri Spivak's Death of a Discipline (2005); Eric Hayot's On Literary Worlds (2012); Emily Apter's Against World Literature (2013); the Warwick Research Collective's Combined and Uneven Development (2015); and Aamir Mufti's Forget English! Orientalisms and World Literature (2016). Populated by heavyweight critics, the field has generated a daunting debate that has grown alongside a flourishing mini-industry—at least relative to the rest of the squeezed humanities—that caters to the pedagogy of world literature in undergraduate and graduate curricula, tenure-track hires, research institutes, textbook anthologies, and academic monographs.It is undoubtedly reductive, though nonetheless accurate, to suggest that this debate has largely been divided into the polar camps of the proponents and opponents of world literature. Its proponents see world literature expanding the narrow confines of the Western canon, thereby breaking down disciplinary linguistic and national-literary boundaries, and also generating knowledge about other cultures to foster a cosmopolitan diversity. But its detractors invariably read world literature as the literary handmaiden to a neoliberal ethos that superficially celebrates diversity while reinforcing both the global forces of capitalism and the hegemony of the Anglophone, since these authors and their works are mainly propped up by multinational publishing industries, Western-based literary prizes (e.g. the Booker and the Nobel), and Anglo-American academic institutions. The divide between the enthusiasts and the skeptics of world literature was conveniently on display at a 2011 conversation at the American Comparative Literature Association between Damrosch and Spivak. The former suggested that we “have much to celebrate here” (456), thanks to a global expansion of the literature canon that might lead to “a more genuine understanding of the world” (463), whereas the latter maintained that “to say that [world literature] is the message of capitalist globalization is not to be tendentious” (467).Fisk comes neither to praise nor to bury world literature but instead to intervene elegantly and incisively in this impasse. As she writes, “I am reading the debate for and against world literature with less interest in taking sides than in taking the polarity apart” (166). The two ostensibly opposed camps have more in common than it may seem, she argues, in that both are structurally generated out of the same institutional framework. Operating in a domestic context in which a rhetoric of crisis pervades the humanities, in which the literary sphere of letters is marginalized in the broader public sphere, in which tenure-track positions and undergraduate enrollments in literature departments have dropped precipitously, critics are quick to instrumentalize literature to make more ambitious claims for its political utility. The supporters of world literature insist on “the good world literature can do” because of “the view it gives its readers on [foreign] worlds they would find hard to see without a local and literary guide” and because of “the kinds and degrees of solidarity [it] creates among strangers” (3–4). The importance of the humanities becomes legible insofar as world literature provides an aesthetic incubator for ethical principles that help readers navigate an increasingly plural and globalized world and that can thus counter the homogenizing processes of capital. Detractors, by contrast, see world literature as a product of neoliberal capitalist systems and seek to unmask its underlying complicity with “the cultural logic of the multinational corporation and the neoliberal university” (184). Fisk sees this anti–world literature position making similarly “grandiose claims” for the political radicalism and ethical good of literary studies. She notes the material irony of this critique in view of both the structural marginality of the humanities and the fact that mounting them helps us to “amass the cultural capital we need to get and keep a tenure track job” (184–85) in the neoliberal university in which we all work. Burdened by the assumptions we bring to world literature, we approach global novelists like Pamuk with the expectation that they, too, must function as a political agent of the liberal values of Western academies—to wit, as a defender of free speech, a cross-cultural bridge, a voice for the marginalized, and a critic of capitalism—without any regard for the position these authors occupy in their national spaces. This leads to the promotion of some global authors at the expense of others who do not meet these standards of liberal goodness, and forces novelists writing for a global readership into an uneasy role, caught between their domestic constraints and the international literary norms imposed on them.Fisk unfolds this argument over the course of her monograph with a dazzling demonstration of methodological scope and variety that reveals an expert grasp of different ways of reading. This scope is revealed in the tripartite structure and expanding foci of the book. The first two chapters examine the good attributed to the global novel in the kinds of cultural work it is expected to perform; the next two consider the good values the novelist is expected to champion qua world author; and the final two chapters interrogate the literary institutions (the Nobel Prize and the U.S. academy) that make claims for the good of world literature. Fisk's scale of interpretation thus widens from section to section, with the first hewing toward the more traditional approaches of close reading. She slyly titles her first two chapters “A Novel Can Teach You about Other People” and “A Novel Can Teach You about Other People's History”—common assumptions about the cultural work expected of world literature—but goes on to argue that a novel fails to reliably do such things. Focusing primarily on Pamuk's Snow, she shows how Pamuk toggles between realist conventions and metafictional postmodernism to cannily satisfy and subvert the reader's expectations by creating both proximity and distance between Western readers and his foreign characters. Furthermore, by altering the representation of historical events in Turkey in ways that elude most non-Turkish readers, Pamuk “thematize[s] the limits of the mimetic representation in world literature” (84) and reveals how realism is always culturally specific rather than a transparent lens into a different world.Turning in the next section from a hermeneutic focus on the text to the broader methods of cultural analysis, Fisk explains how the figure of the global author is constructed in the world republic of letters. Chapter 3 examines the controversy stemming from Pamuk's acknowledgment of the mass murder of Armenians—though he does not use the word genocide, as Fisk points out—under the Ottoman Empire to the fury of nationalist Turks, on one hand, and the admiration of his Western readers, on the other. Tracing the reasons for these opposed responses in his local and global readerships, Fisk criticizes how we box a novelist like Pamuk into being an advocate of human rights, even as we fail to attend to the local histories—nationalism, class, colonialism—that shape the Turkish public sphere and make it dangerous for Pamuk to occupy such a position. By doing so, we inadvertently “reinforce the global unevenness we critique” (112). Chapter 4 expands on this paradox by juxtaposing Pamuk with the father of comparative literature, Erich Auerbach, showing how the disciplinary fetishization of authorial exile forces world writers to sacrifice their relationship to their national publics to become celebrated international figures. Finally, in chapters 5 and 6, Fisk draws on the methods of the sociology of literature to clarify the way our definitions of world literature are inseparable from the norms with which our institutions of literary prizes and universities operate. The Nobel Prize honors foreign authors “for behaving like good citizens of participatory democracies” (164), a political standard rarely applied to Western authors, while U.S. academics make claims about world literature to “advance institutional interests” (171) that have little to do with Pamuk himself or his work. Moving deftly from text to context, from the literary to the extra-literary, from the internal dynamics of the work of art to the institutions the work inhabits, Fisk displays a rare methodological versatility and performs these analyses with a sophistication that is rarer still.The strength of Fisk's argument rests on her reorientation of the debate over world literature, reading it as a product of its institutional location, rather than the terms it sets for itself. She reminds us of the political limits of criticism; of the meaningful difference between aesthetics and politics in their effects on the world; of our privileged status as tenured or tenure-track faculty trafficking in world literature; and of our complicit if agonized relationship with the structures of literary and academic capitalism. In this respect, her monograph is an accomplished example of what Jeffrey Williams has described as a “new modesty in literary criticism.” He traces the fullest articulation of this trend to Stephen Best and Sharon Marcus's 2009 essay “Surface Reading,” which recognizes that, despite the long and robust tradition of criticism conducted in the name of “political activism”—particularly under the aegis of the hermeneutics of suspicion and symptomatic reading—such claims overlook the fact that the “disasters and triumphs of the last decade have shown that literary criticism alone is not sufficient to effect change” (2). Fisk echoes their call for a new “political realism about the revolutionary capacities of both texts and critics” (Best and Marcus 15) when she insists that critical discourses which make grandiose pronouncements about world literature—whether about its ethical good or its complicity with capital—obscure the material conditions allowing those pronouncements to be made in the first place. These arguments rely solely on a form of “magical thinking,” Fisk complains, a phrase she repeatedly uses to describe these critical modes, and “we should not confuse talk of revolution for revolution” (Fisk 170). Williams rightly suggests that this trend toward critical modesty emerges in the wake of the waning power and status of the humanities and literary studies. Rather than being “the unacknowledged legislators of the world”—the Shelleyesque aims of the Nobel Prize formulated by Alfred Nobel (Fisk 137)—we are closer today to Auden's modest rebuttal that “poetry makes nothing happen.” But if critical modesty aspires to “less hubris” in its claims, it also loses something by virtue of its pragmatism—“the utopian impulse of criticism,” according to Williams, what Fisk would call “magical thinking” perhaps. This loss has led to the accusation that these varieties of surface reading ultimately succumb to a certain “political quietism” (Best and Marcus 16), an acceptance of the status quo of the diminished standing of humanistic study in the world.Given that the coda to her monograph is titled “Now, What?,” Fisk is clearly not proposing the quiet acceptance of the world as it is. If the assumptions we make about the good of world literature make us rather bad readers, we could do better, she argues, by developing reading methods that acknowledge our complicity with the neoliberal university instead of polemics that assume our autonomy from it. This might return us to the solutions of a modest criticism: more accurate descriptions of our state of affairs and self-reflexivity about how we are conditioned by them. Fisk's persuasive sociological analysis, however, also points us in a different direction, suggesting that the answer lies not in the intellectual realm of improved reading methodologies but in the material realm of institutional change. If we can arrive at a more nuanced understanding of Pamuk's local constraints—“give literary establishments . . . a vocabulary through which to see the complexity of [his] relation to the nationalist discourse” (194)—instead of expecting him to function as a neutral conduit across cultures, we can do so only if we continue to have access to scholarship from historians knowledgeable about Turkey, critics fluent with Turkish literary traditions, or institutional ties that link U.S.-based scholars with scholars elsewhere, all of which Fisk's brilliant monograph is indebted to. Put differently, we read world literature best when we retain access to the very methodologies that the present formation of “world literature” has institutionally supplanted to some extent: “area studies, for example, critical race studies, Marxist theory, postcolonial theory, and translation theory” (166), housed in the shrinking departments of comparative literature and foreign languages. Fisk acknowledges that there are better and worse polemics against world literature, but in choosing to focus on the “least convincing arguments that scholarly critics make” against it (168), her argument does not give sufficient attention to critiques that are less about establishing one's political purity or academic credentials by inveighing against neoliberalism, and more about confronting the institutional losses and deaths of disciplines that make us collectively worse readers. We need not return to a fetishization of reading world literature in the original language—for Fisk, Apter's Against World Literature is an exemplary instance of this—to argue that there is a profound intellectual loss when that language and literature ceases to be taught if it is replaced by the proliferation of world literature courses in translation. In such a scenario, we eventually lose the opportunity to learn from scholarship by those fluent in different languages, even if we ourselves are not. Thus, although Fisk argues that the debate for and against world literature is one waged in the hermetic walls of the Anglo-American academy that imposes a set of constraints on world authors, it is frequently also the case that this debate is fundamentally about how to read authors like Pamuk well—or, at least, better—insofar as the material distribution of resources across disciplines and departments shapes these readerly practices. Fisk's monograph is invaluable for highlighting how these practices are imbricated in the institutions we inhabit. If we take the logic of her argument seriously, how to become a good reader of world literature may have less to do with improving the critical methodologies of world literature, and more to do with fighting to ensure that the methodologies of adjacent disciplinary formations can continue to flourish in our institutions of learning, rather than be slowly eclipsed by the allure of the global.

Scientific interest of the domestic art criticism to the national cultures of the East and West seems important because this is the way of creating conditions for further cross-cultural contacts of international community. Cultural integration is global process, which defines the strengthening of cultural, communicational, and civilizational links between national cultures. achievements of science and art are distributed and absorbed in the modern world, forming its integrity. problem of the comparative analyses of the Chinese and European music needs comprehensive research. During the 6-19th centuries in both geographical areas the bright individual cultural and artistic traditions were formed, but their analysison the level of aesthetic consciousness of the Renaissance and the Middle Ages epochs, the stereotypes of musical thinking,the typology of musical genre give an opportunity to see the similarity, classified by us as an isochronism. Thus, the first example of the typological isochronism can be seen in comparison of the Chinese Tang and Sung Dynasties’ poetry and European musical hymnography. On the basis of the research of analogues we can emphasize the division of the medieval period of cultural worlds under study into two qualitatively different phases, where China is represented by the eras of the Tang and Sung Dynasties (the dominance of the literature, music and painting, respectively), while Europe is represented by Byzantium, Britain and Franco-Germanic area (the flourishing of the musical-poetic hymns creation – the art of the troubadours (trouvere) and minnesingers, respectively). significance of the separate musical thinking in hymnography and song sphere inspired the birth of ballad-typed theatrical forms in China and Europe (zhugongdiao – a story accompanied by the musical instrument, of the troubadours) as well as Yuan drama in China and liturgical drama in Europe in the 13th century. All these factors prove the isochronism on the level of music genre typology. Thus, the next example of the typological isochronism can be seen in the embodiment of the early romantic expression into the artistic system of South Chinese and European musical theater of the 12-16th centuries. artistic and aesthetic experience of Kunqu opera (Kunshun) and Yuan drama (Zaju) shows that this cultural phenomenon is unique one in terms of performance techniques, vocal pronunciation, specific features of orchestral accompaniment’s participation in the performance, use of dance elements, acrobatic stunts. artistic system of Kunqu included dance elements and comic domestic scenes. This system stuck to the general orientation of the art work for the mythological literary themes which can be viewed as the analogy of European liturgical drama and early opera drama with definite order of the components. Cantilena expression in its aria (singing with instrumental accompaniment) can be paralleled with song and aria essence of zhugongdiao ballads. They are compared with the lyricism of liturgical dramas and mysteries in the European culture. It has to be said that vocal performances were identical to the ballads of the troubadours and minnesingers. To our mind Chinese opera Kunqu has the same mixture of serious and funny, sacred and domestic, symbolic and realistic elements, and this feature is typical for European, primarily French liturgical drama and mystery of the 12-15th centuries. Kunqu differs from the magnitude of European mystery by the chamber features of music. It is also similar to the early Italian opera by J. Perry and Giulio Caccini and to such operamystery as Rappresentatione di anima et di corpo by Emilio de Cavalieri. third example of the typological isochronism of the cultural worlds under research is the artistic and semantic parallelism of Taiping and Galibaldi hymns. This example shows the specific and similar features of song genres of Chinese and European music of the 19th century. analysis of the sample hymn, created by the Taipings, has proved the idea of the imitation of aesthetic principles of ancient Chinese poetry and music, combined with the use of modern musical and poetic means of expression. examples of the Chinese genre of hymn creation of the mid-19th century correlate with European song art of the Biedermeier era and Romantic period. Comparative analysis of the Chinese hymns and European songs as for the implementation of philosophical works and national-patriotic ideas, the system of musical expression (intonation profile, rhythm, harmony, form creation) shows the similarity of the artistic ideas, which is explained by the synchrony in the development of polar cultural worlds. mentioned above genres reveal the principle of combining the political and artistic creative activities. They integrate the ideas of high moral aim achievement, patriotic inspiration, and the rejection of life realities, characterized by the romantic aesthetic features in Chinese and European art music. artistic integrity of Beijing opera Jingju, as synthesis of dramatic, timbre and imaginative principles, and its comparison with European opera of the 19th century, is based on the dramaturgy of the contrasts, timbres-positions, subordination to the rhetorical theme. It is the fourth example of the typological isochronism of cultural areas under study. analysis of the Beijing Opera samples in correlation with synchronous European opera performances lets us make conclusion that there exists principle of parallelism, in particular, between their systems of the artistic expression. vocal dramaturgy of the Beijing opera is realized through the male parts. It shows variety of registers, but it became famous because of falsetto, extremely affective and declamatory singing, which included the natural wide range male timbre. We’ve correlated this style with verism’s declamatory style of the second half of the 19th century. comparison of the Beijing Opera performances with European samples has shown that they have similar dramatic and plot lines (Du Shynyan – La Traviata J. Verdi's, The challenge of family loyalty – Taras Bulba by M. Lysenko, etc). This fact shows the need of theEuropean art works’ analysis in terms of their determination by the rhetorical theme. It is typological factor of the musical and intonation dramaturgy of the opera drama, usually ignored by the traditional intonation approach.

This paper aims to develop a methodology for forming communication skills (specifically phonetic skills) through a virtual learning environment involving online learning platforms, online tools, and mobile applications, which determines the relevance and timeliness of the study. The authors present their experience of effective use of modern online resources and mobile applications to develop phonetic and communication skills in first-year students studying German as the first and second foreign language at the Department of German Philology at Odesa I.I. Mechnikov National University, Ukraine. According to the survey, modern digital tools and applications help students reveal interest and, more importantly, increase motivation in learning a foreign language. They enable students to keep in touch with their teachers, who provide them with feedback and support, creating the effect of social presence which is so vital in a distance learning environment. The significance of the research is to establish the background for the formation of students’ self-development and self-education skills, encourage the students to take responsibility for their learning process, and motivate their learning activities with the most effective tools and technologies that do not only complement traditional teaching methods, but also contribute to the learning process improvement and enhancement. Consequently, the research findings can apply to the development of communicative competence, which is the main goal in teaching any foreign language.

Problem Statement and Purpose. Since 2015, the direction of interdisciplinary has been a special priority of the National Academy of Sciences of Ukraine, as one of the ways to integration into the European scientific space. The analysis of the problem concerns the global approach to interdisciplinary: Zagorodnyj A.G., Koval I.M., Sido­renko S.I., Yudkova K.V., Javorska V.V. The author also relies on works of Koval T.I., Kolot A.M., Maginskaya N.I., Sysoeva S.O., Ognevyuk V.O., Chernish V.V., May­er N.V. researching application of interdisciplinary оf foreign-language training. The purpose of the article is to analyze the interdisciplinary context of foreign-language training on the material of the French language participants of the educational process of the second master's degree specialty 242 Tourism, specializing in tourism service. The objectives of the article are to solve theoretical issues, that are related to the prob­lem of research: Disclosure of the essence and content оf the Curriculum and Work Programs of the course «The second foreign language (French) оf Professional focus of the second (master's) level of specialty 242 Tourism of the Geological and Geo­graphical Faculty of the Odessa I.I. Mechnikov National University", analysis of the real state of the research subject, publication of research data in a specialized scientific Edition in the specialty 242 Tourism.Date and Methods. The research material is the process оf the selection of linguistic and cultural material of the French language to ensure thе all necessary for the for­eign-language training of Communicative compétences of Masters on 242 Tourism Speciality, specialization tourism service. The methods of researching оf this article are the method of analysis, the analogy method, the method of deduction and the axiomatic method.Results. The content of the academic discipline, consists of 2 content modules: 1. Communicating in an academic and professional environment. 2. Search, process information аnd présentation of information. Additional special courses: «Tour­ist resources of France /French-speaking countries", "The tourist appeal of French cities/regions", "Tourist attraction of France /French-speaking countries", "French/ French-speaking local studies" can be useful too.International standards of Teaching foreign languages in the context of the Council of Europe's recommendations, provide for the widespread use of modern technolo­gy in the educational process: information technology, distance education, computer programs, Internet, video and multimedia, etc. that makes significant organizational changes in the educational process and prepares for lifelong education. The role of education in the future of Ukraine is a powerful investment in human capital.

Introduction. The fact that Navoi in his works promotes creative ideas that affect all mankind, the fact that the poet's ideas are more important and relevant than ever in today's era of globalization, has led to major research around the world. Know this, all humankind: The greatest curse is enmity; The greatest blessing, amity. We all know the verses by heart. That is, in order for the poet to have peace and tranquility among the people, they must renounce the path of enmity, enmity is not a deed, instead they must be friends with one another. True friendship is a real business. These verses, written before the 6th century, are a vivid proof that Alisher Navoi's poetry and philosophy have stood the test of time and apply equally to the peoples of the world. Research methods. Alisher Navoi's creative heritage has been in the hearts of many readers in different languages for centuries. As a result of many years of research and work of literary critics, poets and writers, the great poet's work is widely promoted around the world, a number of achievements have been achieved. However, we cannot ignore the mistakes and shortcomings in this regard. Results and discussions. The main problem here is that most of the specialists who know Navoi's language and creativity do not know European languages, those who know foreign languages do not know the old Uzbek language or do not feel our classical literature. Therefore, in the study of Navoi's work by foreign scholars, the importance of the poet's work for foreign literature, a serious approach to the issue of foreign translators and researchers of A. Navoi's work, we would like to draw attention to some comments on the subject. Conclusion. A. Navoi's work has a special significance in Uzbek literature, as well as in world literature. The poet’s work has been studied by various scholars for centuries. However, scientific views on A. Navoi were not always correct. In this regard, in this research work, the different opinions of world scholars about the poet, their positive and negative views on the work of the poet are cited and analyzed. The role of Russian, Ukrainian, French, English, German and American scholars in the study of Navoi's works around the world, the factors that stimulated their interest in Oriental literature, in particular, Alisher Navoi's works, works by foreign authors and works inspired by A. Navoi's work along with samples, some information about the manuscripts and lithographs of the great thinker kept in the fund of foreign libraries is the main content of the article.

In the 2011 issue of the MLA's Profession, David Porter notes that, following Goethe's call for a new age of Weltliteratur in the early nineteenth century, since the mid-1990s the notion of “world literature” has reemerged “as the most promising rubric for imagining a major paradigm shift in the study and teaching of literature and for thinking beyond the dead ends of traditional comparative study.”1While no consensus has been reached on what it might mean, this recent reemergence of the notion of world literature has become a focus for debate over new possibilities implicit in the idea of global literatures. Porter cites in particular three noteworthy avenues for critical discussion: David Damrosch's What Is World Literature?, Pascale Casanova's The World Republic of Letters, and Franco Moretti's Graphs, Maps, Trees. Like other contributors to this forum, I find these three works particularly suggestive of the current state of thinking concerning comparative literary studies.In What is World Literature?, Damrosch develops a framework for world literature that is cosmopolitan in terms of a multiplicity not of origins but of trajectories. That is, world literatures are literatures that circulate beyond their cultures of origin and in doing so have an effect on other cultures beyond the linguistic and institutional borders circumscribed by overtly national literatures.2Casanova offers in The World Republic of Letters a sociological account of the world of literature as a rule-bound, hierarchical formation. The “world republic of letters,” she argues, is not the open, liberal, democratic marketplace of ideas but a “rigidly stratified social structure where access to broad markets is tightly controlled by a powerful caste of critics, publishers, and translators, whose authority is legitimized through their association with recognized literary centers such as Paris or New York.”3 This caste of gatekeepers functions across political and linguistic lines and helps create a body of literary works that share metropolitan features, even when they come from outside French or English, the traditional sites of “world literature.”In Graphs, Maps, Trees, Moretti also takes literary circulation and transformation as his starting point but offers a set of more radical methodological alternatives—drawing as models for literary analysis “graphs from quantitative history, maps from geography, and trees from evolutionary theory”—in proposing that literary scholars rethink their dependence on close reading.4 “Distant reading,” distance being understood as “a specific form of knowledge,” reveals what close reading cannot.5 As Porter rightly notes, this attention to the macroscopic patterns and processes that shape the literary landscape works on scales beyond individual texts and authors, and its most obvious benefit is that it includes the 99 percent of literary production typically excluded by any canon from visibility and relevance.6Porter concludes from his survey of the return of “world literature” that what Damrosch, Casanova, and Moretti share is a concept of world literature that “stresses the mobility of texts and the permeability of traditions.”7 Each makes clear that world literature is not the sum of national literatures “but rather a dynamic model of … a constantly shifting field of circulation, transmutation, and contestation.”8 This conclusion is of central concern: what might a field of comparative studies that was not based on national literatures, or even singular canonic examples, look like? How would such a field be organized? And is the MLA structure, indeed any institutional structure, adequate to the study of transnational literary formations?As a scholar who has learned from and adapted these observations to my own main area of comparative study, the hemispheric Americas, I think that the work of this group of literary historians helps us reconsider what Porter identifies as the “relation between the processes of differentiation and diffusion that govern the spread and regeneration of literary forms in a global literary space.”9 In that context, probably the first observation worth making is that a new vocabulary for naming, studying, and comparing the hemispheric Americas and their literatures has emerged over the past twenty years, representing a battery of interesting alternatives to be considered. With the emergence of other approaches, such as diasporic studies, comparative studies in race and ethnicity, studies in globalization and the global South, and the transnational turn in cultural studies, coupled with the resurgence of the very idea of world literature itself, the fundamental terms of analysis and description in the context of contemporary comparative literary study deserve highlighting.Globalization and the vision of the globe implied by that contemporary term of everyday discourse do not just belong to the neocons, neoliberals, or end-of-history triumphalists. The “world” of “world literature” and of diverse cultural studies and changing disciplinary practices is also becoming globalized and “worlded” in a Heideggerian sense that denotes how things become intelligible to human beings by virtue of being part of an interpreted and structured context of meaning.10 This “worlding” of world literature produces alternative expressions of what can count and mean as “literature” that are every bit as powerful as critical terms as the former vocabularies of ideological analysis. These terms emphasize the public impact of the emergence of global systems from disparate critical angles of vision, multiple frameworks, social situations, and knowledge/power field practices that are, as yet, emerging, fluid, and undertheorized. The point of these critical angles of vision is not simply hermeneutical. More powerfully, they carry out social analyses of contemporary ruling structures with the end of formulating the possibility of social justice.The transdisciplinary practices, transnational literacies, and multisited interventions that globalization and the idea of world literature projects require help us envision and shape keener expressions of what contemporary differential, transnational, and borderlands projects can and must do now, moving beyond the postmodern/postcolonial formulations of “comparative world literatures.” What is crucial in all of these formulations is the sense that no process of worlding or globalization is anywhere near over and done with as a historical process of world formation. So how are we going to talk about it even as it continues to change before our very eyes? The goal of programs of study based in attempts to reformulate the goals of comparative literature and comparative cultural studies generally is one of turning emergent forms of theorizing and cultural activist writing into new cultural poetics adequate to dealing with new world realities. I take this project to coincide with the one that Gayatri Spivak described recently as one of “translation”—that is, as a process of poiesis that is not mere imitation of an original but an imaginative creation in another mode, situated in the very differential between copy and original.11Current debates on the meaning of citizenship have refocused attention away from notions of civil rights that depend on the existence of a social contract within the framework of the nation-state and toward ways in which the processes of decolonization and migration, as well as social identities based on ethnicity, race, and sexuality, point to the existence of identities other than national ones for defining citizenship. They offer a direct challenge to the traditional language of citizenship and liberal democratic notions that tie citizenship and liberal democratic rights indissolubly to state affiliation.So, what happens when we move the discussion of citizenship and “rights” away from the idea of the nation state, not toward a mythic postnational state but instead to the realm of the transnation? The fictive entities with subject status that we call corporations have worked imaginatively precisely to create a sense of those transnational rights. One powerful function of aesthetic education in the age of globalization might be then to teach us how to conceive of transnational rights for individual and collective bodies of subjects, represented most saliently by the participants in the massive labor diasporas from south to north in the last decades of the twentieth century. This is the actively creative act of poiesis in translation that Spivak refers to in regard to a rethinking of comparativism, a process that she describes as “an active practice.”12This concern for the active practice of translation as an act of re-creation is acutely visible in the area of comparative work, which is my own—the transnational literatures of the Americas. These literatures, represented most powerfully by such works as Junot Díaz's The Brief Wondrous Life of Oscar Wao and Salvador Plascencia's The People of Paper, typically draw not only from the grand traditions of the various American national literatures but also from the traditions of vernacular narrative, popular culture, and the literary avant-garde.13 They do so for several reasons, one of which is to show the constant and complete dissonance between the redemptive course of the history of the Americas with its origins in conquest and the psychic façades that bar the way to memories of the traumatic past of the Americas.These are issues I have elaborated more fully in other work.14 In this context, it is worth noting that in Plascencia's and Díaz's writings, as in those of a whole generational cohort of contemporary writers from the transnational American global South, neither literary realism, nor modernist estrangement, nor postmodern play, nor magical realist wonder alone can suffice as formal stand-ins for the concrete content of justice. The representation of social justice is not and should not be taken to be the same thing as its felicitous performance. How, then, can one possibly conceive of a narrativity to still the chaos unleashed by modern political terror? How to create ethnic romance from consciousness colonized by self-hate and self-doubt? What would a literature of political and racial romance, sensation, gothic, marvels, fantasy, and absolute otherness appropriate to transporting us to the margins of the imaginary and the symbolic accomplish that earlier forms of U.S. ethnic literature have not? What would its referential world look like? And most significantly, what could it accomplish as a symbolic representation of real history? In the works of transnational American writers, the representation of social justice requires a new and different formal medium incorporating states of fantasy that occupy and override previous attempts to represent the real. To show how this is accomplished is the task of contemporary comparative literary study.As we move firmly into the second decade of the twenty-first century, what is clear is the need for a new paradigm for broadly global as well as for more local ways of studying culture and literature. This new poiesis of comparative study ought to be based on a new sense of the dynamics of how knowledge is generated and how human resources are used and should recognize the rich reservoir of knowledge that exists in languages and cultures that have in the past not been deemed worthy of study or comparison. The aim of critical work undertaken by comparative studies and comparing literatures worldwide might well be to ensure that the variety of regions that we can for convenience's sake call the global South receive their due on the basis of their own rich heritage in a world of equals that are not classed in the static categories that Casanova decries or the exclusive formulations of cultural political practice to which Moretti's method of “distant reading” offers such a powerful rejoinder. We have an incalculable stake in ensuring the success of the comparative critical projects that points us toward a new, global, sense of world literature.

The author of the article aims to systematize theoretical ideas about the synthesis of art in the works of Russian symbolists and early avant-garde artists. The main purpose is to describe intermediality as a means of overcoming the crisis of language in literary works. The article analyzes various views on the problem of art synthesis, from the theoretical works of artists and writers of the early twentieth century to studies interpreting their creative heritage. Thus, the reader is informed about the correlations of artistic forms in the aesthetics of the studied artistic movements and their role in achieving contact with reality. The research is based on theoretical, literary, and artistic works by V. Solovyov, D. Burlyuk, A. Kruchenykh, and others, as well as studies by N. Rymar, O. Hansen-Löve, I. Sakhno, E. Potapova, I. Azizyan, and others. Combining the comparative method with an intermedial approach, the author of the article comes to significant results, such as the systematization of views on the problem under study and the description of the role of correlations of artistic forms in achieving the authenticity of artistic utterance. Special attention is paid to the choice of creative strategy depending on the philosophical basis of each artistic trend: the symbolists choose a strategy of feeling, striving to convey the movements of the soul and recreate the fullness of being. Avant-gardists, on the other hand, seek contact with the world through the removal of art from iconic reality, applying an abstraction strategy and relying more on the interaction and complementarity between the arts than on their synthesis.

The article attempts to analyze the specifics of character creation in the collection «Secrets of Amorous Stories» (2020) by Vasyl Poltavchuk. The significance of the study lies in the fact that the image of a person in a work of art is always central. The study of artistic techniques of character modeling allows us to learn about the artist’s creative laboratory. The artistic heritage of V. Poltavchuk has been little characterized to date, despite the fact that it represents the development of contemporary short fiction in Ukrainian literature, and the writer worked for more than twenty years at the Faculty of Philology of the Odesa I. I. Mechnikov National University. The aim of the article is to study the traditions and innovations in the creation of character images in the stories of the collection «Secrets of Amorous Stories». In order to understand the origins of the poetics of V. Poltavchuk’s works, a brief overview of the author’s scientific and artistic interests is made. The author traces the points of view of literary critics on the features of the short story genre, the distinction between a short story and a novella. It is shown that the writer focuses primarily on the images of women, which appear through their psychologization, individual strokes of portraits, actions, and comparisons with birds. Ornithological motifs also help to emphasize the central images of men. In particular, the stories contain references to the images of a dove, swallow, seagull, lark, and snowbird. The writer resorts to various means of outlining the ornithological features of the characters in the fictional text: intertextuality, onyric space, sound, and movement aspects. The author’s techniques include the poetics of the title («Holubka»), the symbolism of the characters’ names (Snihur, Kazhan), and the concept of the «nest» in V. Poltavchuk’s stories. We believe that this approach to the study of images is promising for further study of contemporary works of Ukrainian literature.

Comparing the Literatures: Literary Studies in a Global Age

Introduction. In today's new Uzbekistan, the vast opportunities created in all areas of science are making an invaluable contribution to their development. In particular, recent research in the field of literature has helped students who have read the new Uzbek literature and its theoretical updates to understand their ideological content through the analysis of poetic genres. The main part of the theory of Uzbek literature consists of lyrical, epic and dramatic works of modern modern Uzbek literature, the main theme of which is the idea of analyzing the work of art in terms of form and content. This article is devoted to the interpretation of works with the content of role-playing lyrics, introduced as a novelty in the new Uzbek literature. The essence of the concept of role-playing lyrics in the article is to study and resolve the contradictions arising from the approach to the concept of role-playing lyrics according to the content of works in the new Uzbek literature, as well as the emergence of various studies of role-playing lyrics. An attempt was made to unravel the mystery. It helps to understand the ideas and philosophical ideas put forward in the examples of role-playing lyrics in the new Uzbek literature. It clarifies the reader's perception of the content of Osman Azim's works and helps to fully, accurately and easily understand them. Research method. In the new Uzbek literature, in particular, samples of role-playing lyrics in the works of the poet Usmon Azim have been identified and analyzed. Poems depicting the role of the lyrical hero, his image of time and space, the content and essence of the role play, the lyrical image of the heroes of myths and legends in the work of the poet It is recommended to introduce the concept of role-playing lyrics in Uzbek literature. Research results and discussion. In secondary schools, lyceums and universities, it serves as a material for the analysis and reading of works of art in terms of theory and content. The lyrical works available in the new Uzbek literature are divided into genres according to their form and content. In the 60's in the Uzbek literature there were poems (in the textbook of the literary scholar D. Kuronov - role-playing lyrics (in Russian literature "rolevaya lyrica"), which clearly showed the incompatibility of the poet's personality with the lyrical hero. The reason why such poems are called role-playing lyrics is that in them the poet enters into the psyche of another person, as if he plays his role and depicts his heart in the play. One of the most important issues today is whether current lyric samples are accepted as a genre, what their characteristics are as a genre, and how existing lyrical samples are expressed in world and Uzbek literature. Opinions in this area require a clear scientific conclusion. In this research, we aim to explore and explore the content of examples of role-playing lyrics available in the new Uzbek literature. To this end, our research has the following objectives: - Comparative and analytical study of approaches to the concept of role-playing lyrics; - explain the differences between role-playing lyricism and monologue speech on a scientific basis, study the views of scholars on the theory of role-playing lyricism; - To study the skill of the poet Usmon Azim to create a sample of performing lyrics and to study the content of such poems; - to think about the art and ideas of poems, which express the harmony of folklore and role-playing lyricism; - Comparative and analytical study of examples of role-playing lyrics in world and Uzbek literature; - Comparative analysis of samples of role-playing lyrics according to their content. Conclusion. The types of lyricism in the new Uzbek literature, in particular, the concept of role-playing lyricism, have been scientifically studied through the opinions of scholars. The diversity of ideas in the samples of performing lyrics in world and Uzbek literature was examined in the example of creative work. In terms of content analysis, it has been scientifically proven that role-playing lyricism is a genre, which in turn serves to reveal the poet's personality. In this type of lyric poetry, the poet's poetic conclusion is explained through the work of Osman Azim. The content of the samples of performing lyrics was analyzed for the first time through the work of representatives of the new Uzbek literature. The lyrical protagonist and the performing lyrical image have been studied on a scientific basis. A new method was used to explain ideas such as the poet's personality and his ability to convey his thoughts in the image of another person. Samples of role-playing lyrics in Uzbek and world literature were compared.