Ancient Genre Research Articles

MOTIVES OF “HUMILITY” AND “SPIRITUAL JOURNEY” IN THE ESSAY SERIES BY B.K. ZAITSEVA “ATHOS”

The article examines the interaction of the motives of “humility” and “spiritual journey” in the book by B.K. Zaitsev “Athos”. Their cycle-forming function is shown. The features of the artistic implementation of these motifs are revealed. The system of images used by the writer to represent the motives of “humility” and “spiritual journey” is reconstructed. It is proved that the poetics of these motifs is formed from many elements and includes impressionism in the depiction of pictures of nature, the use of symbols of Medieval literature, quoting lines from Holy Scripture and the writings of the Church Fathers. The work also traces the genetic connection of the motifs of “humility” and “spiritual journeying” with the ancient genre of walking. Particular attention is paid to identifying the value guidelines that determine the philosophical concept of the cycle. It is concluded that the motifs under consideration are further developed in the essay cycle “Valaam” and the tetralogy “Gleb’s Journey”.

The Specifics of the Study of Small Stanzas in Kazakh Poetry

The article is devoted to the study of the genesis and features of the development of “kara olen” (poem), an ancient genre of Kazakh literature. We are talking about the environment of chanting, the area of distribution of “kara olen”, which conveys the way of life, culture and literature of the Kazakh people. The opinions of scientists on the nature and definition of the genre are considered. It is known that "Kara olen" was studied by Sh. Ualikhanov, M. Auyezov, K. Zhumaliev, E. Ismailov, B. Kenzhebaev, B. Uakatov, Z. Akhmetov, G. Doskenov and other famous scientists. Examples from the statements of several of these scientists are given. It also tells about the work of the country's famous poet Orazakin Askar on the collection of quatrains “kara olen”. The poems of akyns and zhyrau were taken into account and analyzed. The nature, specificity of the content, and the theme of “kara olen” differ, which takes its place in Kazakh poetry. The specificity of the genre lies in the fact that four stanzas in it attach great philosophical importance, various phenomena of life manifest themselves. The people leading the country conveyed their wise thoughts to the general public through “kara olen”. The meaning of those stanzas that have come down to us is discussed in the article. Both the creator and the distributor of the poem are the people themselves. These stanzas were passed from mouth to mouth and even sounded in the song. At weddings, at various events, young people competed in quatrains, sang songs to the accompaniment of dombra. The article explores the type, character and specificity of the genre.

„Jeśli jeszcze tylko zabijemy starca...” Farsa kryminalna w teatrze grecko-rzymskim w Egipcie (POxy. 413 verso)


 
 
 
 This paper presents a translatory proposition of the mime preserved on POxy. 413 verso (Moicheutria) into Polish, along with a concise analysis of the theatrical and literary issues that are observed in this ancient genre.
 
 
 

Beyond triviality barriers: the transcendent poetics of play in Feng Zikai’s manhua legacy

Despite the socio-political upheavals that marked twentieth-century China, Feng Zikai (豐子愷,1898–1975), a Chinese artist and writer, invariably figures his art forms with child subjects in ways that encapsulate a childhood idyll reminiscent of the ancient genre of painting children at play. Drawing from Feng’s manhua anthology, this study delves into the multimodal representations of children’s play to uncover the intertwined social, aesthetic, and ethical discourses within the context of modern China. It posits that Feng’s manhua legacy embodies a transcendent poetics of play by integrating the elemental functions and indigenous aesthetics of play. Three aspects of transcendence arise from the paradoxical nature of play, Feng’s compassionate outlook, and the imaginative materialisation of cultural heritage along with its contemporary relevance, illuminating the interplay between Feng’s artistic journey and the constantly evolving socio-political context in which it unfolds.

Myths and tales about the animals of the Oirats of Xinjiang

The subject of the study is the fabulous folklore of the Oirats of Xinjiang. The object of the study is the specificity of mythological and fairy-tale texts about animals. It should be noted that the fabulous folklore of the Oirats still remains little known to domestic researchers, despite the fact that attempts to study it began in the middle of the last century. The study of Oirat folklore is especially relevant for domestic Mongolian studies, since it is historically connected with the folklore tradition of Russian Kalmyks and Altaians. The author examines in detail such aspects of the topic as the study of fairy-tale texts and the identification of common artistic means, which allows us to establish and explain the general systemic connections between these ethnolocal folklore traditions. The research methods are comparative analysis and the method of interpretation of fairy tale text. For the study of fairy tale narrative, this approach turns out to be potentially heuristic: both directions mutually determine each other, revealing multidimensional connections of the once unified folklore tradition. Myths and tales about animals represent the ancient genre of fairy tale folklore of the Oirats of Xinjiang. The main contribution of the study consist in the statement the myths and tales' content retains mythological elements associated with the archaic ideas of the ethnos about living beings of the world around them. Particular attention is paid to figurative language, rich in expressive poetic expressions, an abundance of figurative means, and a large volume of vocabulary of the original language of the Oirats. All this testifies to the preservation of the fairy-tale-mythological fund and performing tradition of the Oirats of Xinjiang. The novelty of the study lies in the fact that during the analysis of fairy tales and myths about animals as a special genre, it was established that there is no allegory in the content of the archaic animal tale of the Oirats of Xinjiang, despite the fact that its main characters are animals. According to archaic views, man believed that animals were once people. Therefore, in many ways, the animal world was perceived as a reflection of the human world, and the morals of animals were equated with the same qualities of humans.

Abel Carlevaro’s guitar works in the context of Uruguayan musical culture

The relevance of the article is to consider Uruguayan guitar music as an important component of the modern South American repertoire. On the example of the works of famous composer and performer Abel Carlevaro connections with the folklore traditions of the country, Afro-Uruguayan genres and styles have been revealed. Main objective of the study is to reveal the influence of Abel Carlevaro's guitar work on the development of national performing traditions and the repertoire of Uruguayan music. The novelty of the article lies in the introduction of materials about Uruguayan musical culture and guitar work in particular into the domestic musicological circulation. The methodology includes the methods of historical, comparative, phenomenological, structural and functional analysis for the study of factual information; highlighting the elements of folk music of Creole and Afro-Uruguayan origin; genealogy of rhythmic structures of genre sources, fixation of phenomena of guitar imitation of timbres of percussion instruments; a comparison of modern music with the decorative visual roots of an ancient ritual or with a purely European (Spanish, Italian, German) attribution of ancient genres and stylistic trends. Results and conclusions. Abel Carlevaro's work is presented as a part of the Uruguayan cultural heritage. Analogies of the processes of ethnocultural communication and the synthesis of national motifs in architectural structures and musical phenomena of the country are traced. Linguistic and genre characteristics of guitar works were investigated taking into account the positions of modern experts of local folklore, as well as the anthropological experience of Uruguayan scientists studying their musical and ritual tradition. In the process of analyzing «American Preludes» as examples of the most performed musical works by A. Carlevaro, the genre features of tango, milonga, Creole songs, genre-style allusions of baroque giga, passacaglia were determined; the signs of reproducing the timbre resources of the candombe — the titular genre of Afro-Uruguayan origin for the national culture — were revealed. The conformity of its rhythmic core to the genre canons of African music-making embodied in the tradition of Uruguayan carnivals is emphasized. Timbral imitations of percussion sounds are considered in connection with the use of specific methods of sound production on the guitar. The general stylistic and genre priorities of the Carlevaro’s guitar work are correlated with his performing and pedagogical experience, summarized in didactic, methodical, autobiographical publications and presentations in many countries of the world.

Жанр проклятия ‘қарғыс’ в казахском языке: вера в магическую силу слова сохраняется до сих пор?

The speech genre of curse analyzed in the article belongs to the most ancient genres of oral communication in Kazakh culture. It is based on belief in the magical function of the word, in the ability to bring harm and evil to the cursed with the help of magical powers. Kargys is a pattern, its stable verbal formulas are preserved in the linguistic consciousness of the modern native speakers, despite the fact that the archaic foundations of the pattern may not be fully understood by them. The aim of the article is to analyze the aspects of the propositional structure of the genre of curse in the Kazakh language, to typologize the nature of harm and evil inflicted on the addressee, to identify some cultural, linguistic and pragmatic features of the speech genre. For example, for the feasibility and strength of the influence of the kargys, the status of the one who curses and the one who is cursed is important – the age, the family, the social status. The objectification of the verbal predicate in the kargys is significant and fundamental, even the contracted forms preserve it. The actants in the structure of the proposition of curse are optional; their elimination is carried out on various semantic and pragmatic grounds. The Kazakh language provides formulas for counteracting the destructive genre of curse, including the formula for depriving the force of the curse and the formula for returning it to the one who curses.

The Evocation of P. Eluard’s Poetry in F. Poulenc’s Little Cantata “Snowy Evening”

The relevance of the research topic. The topicality of the issues of the cantata “Snowy evening” is due to the terrible events of the full-scale war that is currently going on in Ukraine. Society painfully reacts to the cruel realities of today, and art helps humanity to overcome these problems.
 The purpose of the study. To reveal the peculiarities of the composer’s reading of Paul Eluard’s poetry in the cantata “Snowy evening” by Francis Poulenc, using a complex analysis of the musical work.
 The methodology. Methodological principles are based on historicism, genre-style, intonation-dramaturgical and interpretive types of analysis; in the article we have used the hermeneutic method, which makes it possible to understand the content features of the figurative interpretation of the work.
 The scientific novelty. Cantata “Snowy evening” by F. Poulenc is analyzed for the first time in Ukrainian musicology, as well as features of the evocation of P. Eluard’s poetry in it.
 The practical significance of this study lies in the expansion and deepening of theoretical knowledge about the choral work of Francis Poulenc.
 The results. The small cantata “Snowy evening” is a psychological portrait of a man whose life was cut short by a terrible war. The first part of the work talks about the hero’s disappointment in a cruel life; in the second part, the author condemns the moral beliefs of society to destruction and war; the third part is shown as the final destruction of the inner and surrounding world; and at the end, in the fourth part, death is presented to the listeners as the only hope for salvation. The allegorical nature inherent in Eluard’s poetry provided ample opportunities for subtle interpretation of the images and symbols depicted in the work. With the methods of musical expressiveness, harmony and rhythm, Poulenc vividly depicted the psychological state of man during the war.
 The compositional unity of the literary and musical layers of the cantata is determined by the logic of the evolution of the feelings and emotions of the lyrical hero. Poulenc uses a detailed approach to the verbal text, based on the music-text principle of formography. Music expands the content of poetry, brings it to a new figurative and meaningful level. The composer subordinates the music to the free metric of the poem. The original cantata style combines the stylistic principles of different eras. The composer uses the expressive means of ancient genres and the principles of modern choral writing.
 The search for new harmonic structures and combinations allowed Poulenc to expand the timbral colors of the choir. The author uses different types of texture in the cantata. This tool helps to reveal the author’s message about the inseparability of personal and civic sense of self, the inseparability of the fate of every citizen from the fate of the nation. Despite the numerical structure, the cantata has many common intonation connections that pass through all parts of the cycle and create a unity of plot and space.

ЕщIэнокъуэ зэшхэм я циклым дызыщрихьэлIэ сюжетхэмрэ мотивхэмрэ

Songs and legends dedicated to the Eshanoko brothers are one of the most artistically perfect and popular works of oral folk art among the Circassians. Evidence of this is the high frequency of their recording in records and publications, the wide geography of their existence, the diversity and richness of their plot composition. Researchers of the Adyge folklore focused on individual motifs and plots of the cycle under consideration. However, until now there are no special works devoted to a detailed description of the entire plot-motive fund of the cycle about the Eshanoko, which is the reason for our appeal to the designated topic. This study gives, as far as possible, a complete analytical description of the plot and the main motives of the songs and legends includ-ed in the named cycle, in connection with which special attention is paid to determining the main plots and motives according to the international indicators (AT, SUS, etc.), established features of the genesis, evolution and transformation of the main plot-forming elements. Because of the study of materials, it is concluded that, as in the Nart epos, folklore universals stand out in the cycle about the Eshanoko brothers, which are the motives and plots about the marriage of the father of the heroes, about their birth, heroic childhood, obtaining a horse, deeds and death. Many of them are like objectification to the elements of a heroic fairy tale. All this allows us to conclude that the cycle about the Eshanoko brothers was formed in close connection with the more ancient genres of the Adyge folklore, in particular, with the archaic Nart epic and heroic tales.

“Madrigāls” by Peteris Vasks: ways to renew the genre tradition

The relevance of the study lies in highlighting the main principles of updating the ancient genre tradition with modern means in «Madrigāls» for mixed choir a сappella by the Latvian composer Peteris Vasks.
 The main objective of the article is to reveal the ways of updating the genre tradition and expressive means of music in «Madrigals» by Peteris Vasks for the a cappella choir.
 The methodology includes methods of historical, comparative, structural and functional analysis for: tracing the history of the emergence and development of the madrigal genre and identifying the peculiarities of its existence in different historical periods; establishing the constructive features of the music fabric and its interaction with the poetic foundation; tracing the vectors of renewal of genre traditions in this work.
 Results and conclusions. In the studied choral work of P. Vasks, the lines of continuity of the leading genre of the Renaissance era are determined and the ways of renewing the genre tradition are established. In «Madrigāls» the composer uniquely implements the main principle of the genre: the direction of the entire set of expressive means towards the display of the verbal text. Using modern techniques of composer writing, he emphasizes as the main artistic image of the miniature the main symbol — «time», it is this that is revealed both at the poetic and music levels. The music embodiment is based on the interaction of various techniques of composition: aleatory moving voices and effectively formed sonoric bunches. In connection with the word and the poetic primary source, a musical-symbolic sound picture is formed, the content of which unfolds in time, gradually and steadily rushing to the main final thought in the code of the work.
 Thus, working with a genre that has a centuries-old history, Peteris Vasks does not seek to preserve its usual outlines. The composer does not reproduce the established model of the genre, but interprets it, offers an updated version of the prototype of a certain genre, the primary invariant of which he sometimes deeply hides, and sometimes brings to the surface. This gives rise to many associations and at the same time surprises in how the modern arsenal of sound organization of huge choral arrays is organically combined with the «genre memory» of music art, and also opens up a wide perspective of research into other genres with their stable components and author’s innovations.

Ecopoetics and Aranya in the Graphic Novel Aranyaka: Book of the Forest

The crucial nexus between ecology, forest, forest dwellers, and their position in the ancient genres of literature and art is a significant area of aesthetic contemplation. Ancient Indian literary traditions have remarkable eco-sensitivity and display their own style of ecopoetics (signified by genres such as the Aranyakas). This study presents a critical analysis of the graphic novel Aranyaka: Book of the Forest (2019) — an artistic retelling based on Puranic tales, the Upanishads, and a special literary genre called the Aranyakas (because these texts were composed in the forests). This graphic novel is the culmination of an artistic collaboration between the graphic artist Amruta Patil and the Indian mythologist Devdutt Pattanaik. The novel has complex visual metaphors that are based on the intimate stories of the well-known Indian sage Y?jñavalkya, his wives Katyayani and Maitreyi, and a dialogue with his disciple Gargi. The graphic novel presents fragments of stories based on the concealed wisdom of the Brihadaranyaka Upanishad. The novel is a “play” on the perceived dualisms of Nature and Culture, Savage and Civilised. The text is dialogic in its structure. There is an interplay of visual art with verbal metaphors from ancient Indian tales.

The Oxford Handbook of Heracles ed. by Daniel Ogden

Reviewed by: The Oxford Handbook of Heracles ed. by Daniel Ogden Thomas J. Sienkewicz The Oxford Handbook of Heracles. Edited by Daniel Ogden. Oxford Handbooks, New York: Oxford University Press, 2021. Pp. xxxi + 571. Hardback, $150.00. ISBN: 978-0-19-065098-8. The Oxford Handbook of Heracles (henceforth Heracles) is a significant addition to Oxford’s invaluable series of handbooks. Heracles is the first of the more than forty Oxford handbooks on Classical topics to focus not only on a mythological subject but also on a single mythological figure. Other handbooks have focused on single authors like Hesiod or Thucydides or on topical subjects like warfare and sports. The scale of Heracles’ importance in antiquity more than justifies the existence of this handbook, which is the first wide-scale treatment of the hero in English. The 39 contributors to this volume have undertaken a truly herculean task, namely, to survey the ancient literary and iconographic references to Heracles and to examine the hero’s treatment in various ancient genres and media and from a number of thematic perspectives. The result is a handbook which promises to become a standard resource for anyone interested in Heracles, from the novice undergraduate to the advanced scholar. In his introduction, editor Daniel Ogden explains the need for, and structure of, this handbook, provides an overview of previous scholarship on Heracles and also offers three valuable chronological lists related to the hero’s labors: 1) ancient literary and iconographic references in the archaic and classical periods to various sets of labors (not necessarily twelve in number); 2) examples from the Hellenistic and Roman periods illustrating a more canonical list of twelve labors; and 3) a table which outlines the earliest references to each of the twelve labors and their geographic distribution, while emphasizing the Peloponnesian primacy of the labors. [End Page 113] The handbook proper has 38 essays written by an impressive group of international scholars. These essays are grouped in five parts, with each essay accompanied by an extensive bibliography. Part I, entitled “Before the Labors,” offers two essays dealing with the hero’s birth, childhood and his madness. There are twelve essays in Part II, one on each of the canonical labors. The hero’s parerga or side-labors are the subject of Part III, with seven essays on the following topics: brigands and cruel kings like Saurus, Cacus, Antaeus and Busiris; Heracles’ role in the Argonautic Expedition; the hero’s dealings with Troy (Laomedon, Hesione and the sea-monster); Auge and Telephus; the Gigantomachy; Oechalia, Delphi and Omphale; and Deianira, the hero’s death and his apotheosis. In Part IV the hero’s appearances in ancient epic, tragedy, comedy, the philosophical tradition and classical art are discussed in individual essays. More than one-third of Heracles is devoted to the twelve essays in Part V, entitled “Themes.” Here Heracles is discussed, in succession, as: quest hero; triangulated with Hera and Athena; rationalized and allegorized; master of geographic space; ancestor; connected with Macedonia and Alexander the Great; Greek cult figure; parallel to the Phoenician deity Melqart; Roman cult figure; tied with Caesar and the Roman Emperors; and referenced in early Christian literature and art. All these themes, it should be emphasized, deal with the hero’s appearance and interpretation in antiquity. Discussion of Heracles in terms of various modern theories of myth is not within the defined scope of this handbook. The final essay in Part V is a sweeping survey of Heracles’ reception from the end of antiquity to the 21st century. The wide range of topics covered in Heracles illustrates the many roles played by this hero, the diverse ways his myth was interpreted and used and his prominence across the entire Greco-Roman world throughout antiquity and beyond. While Heracles generally focuses on both the literary and the iconographic representations of the hero, the essays are accompanied by only 46 black-and-white figures. Most of the iconographic material is referenced via the Lexicon Iconographicum Mythologiae Classicae (Kahil, L. et al., eds. 1981–1999, Zurich and Munich: Artemis; henceforth LIMC). Although the standard scholarly reference for mythological iconography, the print version of the LIMC is...

Polemical Literature and Carnival Culture: Aspects of (not) an Intersection

Elements of culture of popular laughter (Mikhail Bakhtin) in the “Knyzhka” of the Ukrainian polemicist were the object of study in the works of Ivan Franko and Mykhailo Hrushevsky. Researchers have not yet distinguished between the concepts of humorous, ironic, and satirical. The third chapter of the “Knyzhka” is called by the Ukrainian historian the forerunner of Ukrainian comedy due to its humorous elements and simple language. However, Hrushevsky calls the descriptions of the image of a layman either ridicule or humor.Carnival elements are closely related to the nature of the genre. Polemical literature is mainly a synthesis of genres. Vyshensky’s texts were called syncretism (Igor Eremin) and the synthesis of genres (Petro Bilous). Bilous attributed most of the chapters of the “Knyzhka” to the genre of invective due to the dialogism and excessive expressiveness. According to Mikhail Bakhtin’s definition, a genre is representative of creative memory. Serio-comic genres, elements of which we explore in the “Knyzhka”, contain elements of carnival culture.In our opinion, such traces of carnival culture in the polemist’s texts include heterogeneous dialogic structures – “Socratic dialogue” and dialogue constructed on the type of catechism. And also these are methods of familiar everyday speech and vulgar common parlance (swearing, quarreling), active word-formation, considerable attention to the body, “grotesque realism” (according to Bakhtin’s definition). We trace in the “Knyzhka” the features of the ancient genres of diatribe (the genre of moral preaching) and mennipea. Similar techniques were used in medieval literature, for example in the works of Francois Rabelais.However, it is worth noting the complete difference between the goals set by the French writer and the Ukrainian polemicist. In Rabelais, artistic methods were aimed at restructuring the picture of the world, the liberation of the body. Instead, Vyshensky’s image of the body is no longer ambivalent, it belongs to a new canon, where the body has an individual character and is subject to church dogmas, and the connection with the universe is lost.Laughter’s elements in Vyshensky’s texts also lose its ambivalent character and become aspects of condemnation. Therefore, the archaic of seriously funny genres is preserved at the formal level, not at the semantic level.

Fairy tales of Indonesia and their formulas

This article dwells upon the study of the ethics and style of a fairy tale based on the material of Malay-Indonesian folklore. The purpose of our study is to analyze the poetic system of the Indonesian magic tale as a functionally organized unity of its components. In this article we considered the medial formulas of the fairy tale, which we subdivided into "external" and "internal", that is, formulas designed to arouse listeners' interest, and transitional (internal) formulas. These stable poetic structures (formulas) play a significant role in the compositional structure of a fairy tale, as well as in the characterization of fairy tale characters. The most important functions (actions) of the characters are marked with formulas. The scientific novelty of our study is that the work attempted to interpret the methodical methods of analysis developed by the outstanding folklorist V.Ya. Propp on the material of Russian folk tales, in the context of Indonesian magic tales. The folklore of the ethnic groups of Nusantara is characterized by a variety of ancient genres and types; it is a complex system of constantly interacting genres that has been formed over the centuries. It is composed of a kind of mythological and ritual poetry, monumental heroic epic, historical and heroic legends, folk lyrics and drama, various paremiological genres. In Uzbekistan, a special study of the elements of the poetics of the Indonesian fairy tale has not been carried out yet, as well as there is no methodology for conducting analysis. The question of the autochthonous nature of the plots of a fairy tale does not raise doubts among the majority of researchers of Indonesian and Malay folklore. The originally Indonesian character of the described geographical setting and the details of their life, ethnographic realities, the names of the characters - all this testifies to the fact that fairy tales are the fruit of the national culture of the peoples of the archipelago (Nusantra). When writing the work, the tales of the peoples of Nusantara in Indonesian, Malay and Russian, published throughout the XX century, were involved. Thus, this study is based on materials from the fairytale tradition of the peoples of Nusantara, as it appears to us throughout the past XX century. The completeness of such material and the legitimacy of its use for research does not have to be indicated - after all, at this stage, the Nusantar fairy tale retained the traditional plot composition, images of poetics.

Choral Music by Samuel Barber: Genre and Style Aspects

"The article is devoted to the research of choral music by Samuel Barber who was a 20th-century American composer. The research is carried out in terms of its genre and style diversity. It represents the historical stages of turning to choral art. The compositions are differentiated by voice composition into a cappella choirs and choirs with instrumental accompaniment. The orchestral scores are analyzed through the interaction of the poetic text and musical intonation taken into consideration. The figurative and semantic shades of religious and secular origin poems are discovered, the relationship between the music and ancient genres is revealed: Gregorian monodies, antiphons, plain chants, motets, madrigals, Easter hymns. The substantive music aspects are researched as projected on the historical genesis and synthesis of stylistic phenomena of different nature. It is researched how much the elements of medieval, renaissance, baroque, romantic and modern musical vocabulary influence the integral system of choral composition artistic means. Keywords: choral music, Samuel Barber, genre traditions, style aspects, chants, motets, madrigals. "

Rowing in the Breca Episode from a Narrative Perspective

Rowing in the Breca Episode from a Narrative Perspective

Continuation of traditions in modern Kazakh children's poetry

Famous representatives of modern Kazakh children's poetry A.Estenov, B.Koshim-Nogai, B.Alimzhanov, B.Usenbaev, A.Kairbekov, E.Ashikbaev, A.Kairan, Sh.Zhubatova, A.Zhakiyanova, K.Kunipiyaevich, K. Elemes, A. Karipzhan, N. Kalka, Zh. E. Tastybayevich, M. Asan, S. Khasan, O. Kasym, M. Kart, A. Tlegen, E. Dusen. The fact that many poets use ancient genres of folklore, such as misleading, mysterious, enumerative, blessing, aitys, in accordance with the life of modern society, is a continuation of the tradition of modern Kazakh children's poetry. Lullabies for children are a traditional continuation of the genre of counting rhymes by K. Adis, the presentation of N. Kalka, Sh. Zhubatova, K. Kunypiyauly, Zh. Aitys was formulated by a connoisseur, the unmistakable K. Yelemes, thanks to B. .Alimzhanov, aitys S. Kaliev "Aitys of fruits" , A. Tlegen "Instagram-Tik-Tok". The novelty of content and form in modern children's poetry is explained by plays-poems, dialogue-poems, ethnographic verses, metagrams by A.Kairan, M.Asan, S.Hasan, O.Kasym, M.Kart.

Vitaliy Kyreyko’s Ukrainian Passacaglia: Actualization of the Ancient Genre as a Feature of Composer’s Piano Style

The paper examines the genre and expressive-stylistic concept of Vitaliy Kyreyko’s piano works on the example of his Ukrainian passacaglia, as well as its role and place in the history of Ukrainian culture of the twentieth and early twenty-first centuries. Vitaly Kyreyko’s piano music is an extensive sphere of the artist’sfruitful creative work. It is an invaluable asset for Ukrainian culture that opens a separate page in the history of the national school of composition. The aim of the study is to analyze the genre-style and formative features of Ukrainian Passacaglia for piano as a significant work of Vitaly Kyreyko’s mature period, to characterize the actualization of the ancient genre of passacaglia as one of the trademark features of his piano style. The methodology of work is based on the complex application of scientific methods: source study deals with historical archival sources on selected topics; cross-cultural method clarifies the context of the cultural environment of the artist; informative and communicative methods allow to obtain documentary materials, information, and facts through communication with the composer; analytical method was useful for the analysis of the musical material of Ukrainian Passacaglia; system-structural method was applied to summarize the acquired information.

Luke/Acts and the End of History

Luke/Acts and the End of History

Xenia by A. Dragomoshchenko and Ja. Iwaszkiewicz: The Typological Similarity of Genre Innovation

One of the fruitful ways of the genre repertoire renewal of contemporary Russian poetry is its appeal to genres with traditional origins. In doing so, the poet uses a certain aura associated with the name, or the “core”, i.e. a set of stable features which forms the essence of a particular genre. The genre nature of the contemporary poem in this case is often determined by discovering these attributes or denoting their absence. A special case is the poet’s appeal to rare or ancient genres that do not have certain steadily reproducible “core” features. One such case is xenia by A. Dragomoshchenko (1946–2012). The genre of the xenium has ancient origins, and its history can be traced back to Martial. In Goethe’s poetry, xenia acquired a number of new features that distinguished them from ancient samples. Thus, this genre already existed in several varieties in the nineteenth century. In order to establish which genre features A. Dragomoshchenko used, the author turns to the history of the genre undertaking a keyword analysis, as well as a comparative study involving the xenia of the Polish writer Ja. Iwaszkiewicz (1894–1980). A comparison of the two variants of xenia demonstrates that the two poets belonging to different national-historical traditions can find very close solutions when there is a typological similarity in their poetics, namely, questioning as an attribute of philosophicity, a close understanding of poetry as unstoppable cognition and thinking, and attention to nature and natural images. The genetic similarity is determined by common sources, i.e. ancient culture and genres and Goethe’s poetry. The poets created different but at the same time close xenia following different patterns. Ja. Iwaszkiewicz’s xenia are closer to those written by Goethe, while Dragomoshchenko’s ones are closer to those by Martial.