Artistic Text Research Articles

Postmodern Artistic Discourse in the Training of Students in Pedagogical Specialties

This text puts the primary emphasis on the relationship of postmodern time and artistic discourses in the context of the Higher School. It attempts to analyse the advantages and disadvantages of postmodernism in relation to artistic texts that can be used in pedagogues’ training. Postmodernism is a whole movement of ideas that changes perspectives on both learning and teaching, and it is up to us to use them successfully. Particular attention has been paid to reading as a cultural and pedagogical phenomenon, which significantly determines the direction in understanding and interpreting artistic texts for instructional purposes. The message of this study is that the artistic pedagogical discourse and texts of postmodernism have new characteristics and issues that are to be known and applied correctly by teachers in their professional thinking

ALLUSIVE FEATURES OF PRECEDENT-HISTORICAL PHENOMENA IN SLAVIC FANTASY

The article is devoted to the study of historical allusions actualized in precedent historical phenomena, in particular in precedent chronotopes, precedent situations and precedent names, as well as their text-creating functions in fantasy texts of the Slavic sector of the beginning of the 21st century. The relevance of the research lies in the fact that in modern linguistics there is a lack of research devoted to historical allusions in artistic texts, in particular, in texts belonging to fantasy discourse. The purpose of the article is to analyze universal precedent and national precedent chrononyms, chronotoponyms and chronoanthroponyms, to characterize their functions. It was determined that the main functions of historical allusions in fantasy texts are evaluative and characteristic, occasional, aesthetic, the function of figurative characterization, and the function of creating irony. The term «oneirofactonym» is proposed to denote a one-time event that occurred in a dream and affected people’s activities, as well as the term «chronoanthroponym» as an example of transonymization – metamorphosis, during which the onym moves from one category to another. The prospects of the research consist in the expansion of the actual material for analysis due to the involvement of German-language and English-language fantasy texts.

ФУНКЦІЇ ГЕТЕРОТОПІЙ В СУЧАСНІЙ УКРАЇНСЬКІЙ ДРАМАТУРГІЇ

The article reveals the specificity of the heterotopic approach in the analysis of artistic texts and characterizes the functions of heterotopias in modern Ukrainian drama. Examining artistic dramatic texts as «other space» it was found that modern Ukrainian playwrights at the liminal stage resorted to creating the image of a parental house, a village, a provincial town, which realize in the texts the heterotopia function of a prison that breaks time; the heterotopia of the Maidan, Donbass as a museum and archive that accumulates time, and interpreted the current state of the country through the function of the heterotopia of the library in intertextual images, motifs and plots. At the postliminal stage, the heterotopia of the parental house, the town, changed its function to that of a museum. By resorting to heterotopia as an artistic image in dramas, playwrights have the opportunity to highlight the collision of a private and public character, which strengthens the dramaturgical conflict, to demonstrate how the personal spaces of the characters are presented in «other spaces», which helps to realize the specificity of the character of the heroes, they have the opportunity to embody «rituals of transition» between topos and images of “ritual sacrifices” that the characters are ready for in order to go beyond heterotopia. Heterotopias of the subject of broadcasting in modern Ukrainian drama are manifested primarily by the time-spaces of captivity, prison, hospital, educational institution, train, ship. Ukrainian dramaturgy of the post-liminal period, in addition to changing the function of the heterotopia of the parental home, village, town, train, represents the heterotopia of the shelter (bomb shelter). Playwrights actively involve heterotopic images that realize the author's idea of an artistic return of a character to his own past in order to find and reflect on mistakes, to get answers to questions or strength to fight from the past. The hero's past, recorded in memories, has signs of a hermetic space with its internal laws, rituals, interrupts, stops or accumulates time.

ТЕОРЕТИЧНІ ПЕРЕДУМОВИ ЛІНГВІСТИЧНОГО ДОСЛІДЖЕННЯ КОМІЧНОГО В УКРАЇНСЬКІЙ ПОЕЗІЇ КІНЦЯ ХХ – ПОЧАТКУ ХХІ СТОЛІТТЯ

The article reveals and investigates the peculiarities of modern poetic language and its differential features. Attention is primarily focused on those features of the poetic language that reflect its historical dynamics and allow us to classify the poetic language as one that, while preserving its universal typological features (expressive richness, aesthetic significance, etc.), at the same time appears as a specific historical phenomenon. The article is devoted to the analysis of poetic language as a linguistic and aesthetic object that needs to be studied in all its inherent complexity, heterogeneity and contradiction, and dialectical unity of all components. The comic plays an extremely important role in philosophical, civic, and love lyrics, which is manifested in the semantic and compositional plans of the artistic text. The subject of the research is the comic in different genres of lyrics, that is, the subject itself is not limited in any way to a single variety or the work of one poet. In general, poetic language determines the means of creating the comic, its paradigm, and its scope. The development of the poetic language directly affects the peculiarities of the linguistic expression of the comic. The study of the constituent elements of poetic imagery is an important condition for the linguistic analysis of the specifics of linguistic means and techniques of comic creation, in particular with regard to emotional and expressive charge and evaluative semantics. The linguistic means of creating the comic is quite important and valuable because with its help a certain artistic effect is achieved, it is the linguistic means that activate the reader's understanding of the comic at the denotative level, where encyclopedic information, presupposition, etc., play an important role.

«ВІН ІДЕ» МИХАЙЛА КОЦЮБИНСЬКОГО ЯК ОПОВІДЬ ПРО САМОТНІСТЬ ПЕРЕД ЗЛОМ

The article deals with the analysis and interpretation of Mykhailo Kotsiubynsky`s short story «Vin ide» («He Goes»). The analysis is focused on ways in which the researched text shows human`s solitude in the face of evil, and also on related to it biblical reminiscences and allusions. The author of the article gives rich illustrative material in order to reinforce his thoughts concerning the main ideas of Mykhailo Kotsiubynsky`s short story «Vin ide» («He Goes»). Deep understanding of the main heroes of the short story, their characters, their needs, their feelings, and their experience gives possibility for the author to develop the perspectives of their inner world. The author singled out special elements of literary description in the article and the narration, which enlarges the distance through the storing antithetical images. The author pays special attention to the parodic playful elements and the expressive role of biblical allusions is highlighted on external "universality" to the world of heroes (biblical allusions are barely visible in Yosel's image and not quite bright in the image of Abrum, biblical allusions acquire full expressiveness in the character of Esther). Analyzing the development of the actions of the main characters of the novel from the perspective of antithetical symbolism, the author of the article draws attention to the conflicts between the characters, and dwells on the characteristics of Estherka's monologue. The author of the article pays special attention to the particular heterogeneity of M. Kotsyubynskyi's work, which is often "disguised" by its consistency, to the impressionistic character of the work and to its stylistic dominance. The author of the article considers using the method of description proposed by Roman Ingarden, namely the concept of two-dimensionality and four-layeredness of the artistic text as a starting point for the study rhetorical devices in the text.

WAYS OF IMPROVING THE CONTENT OF MODERN UKRAINIAN LITERATURE TEXTBOOKS CONSIDERING CONSTRUCTIVE HISTORICAL ACHIEVEMENTS

The article is devoted to finding effective ways to improve the content of modern textbooks on Ukrainian literature. The need to introduce the experience of teaching Ukrainian literature of previous historical periods, which provided for the widespread use in the educational process of the concept of the hero as an example to follow, a means of forming patriotism, moral and ethical values of the Ukrainian nation. The general didactic and specific requirements to the modern textbook on the Ukrainian literature are investigated, the most necessary conditions for creation of new textbooks are defined (high-content art texts making the real spiritual heritage of national culture, aesthetic and moral and ethical weight, because the emotional perception of the artistic image has a significant impact on the reader). The peculiarities of interpretation of images of heroes of folklore and literary works in critical and didactic articles of modern textbooks for primary school, as well as the task of external independent evaluation of Ukrainian literature in recent years to fill educational material that promotes patriotic and heroic virtues. It is established that the modern education system should promote the national ideology aimed at serving society, the formation of a citizen-democrat, humanist and patriot (one of the means of such activities is a textbook on Ukrainian literature). It is proved that the challenges of time determine the need to create textbooks on Ukrainian literature, which would: contribute to the formation of a thorough system of knowledge in student youth; presented different points of view on the evaluation of works of art and images of heroes; demonstrated the personal beliefs of literary heroes; contained brief historical references to certain events from works of art; popularized the passionary type of the hero as the embodiment of the best features of the national character of the individual.

The Written Text in Conceptual Art (An Analytical Study)

The tagged research problem (the outputs of the written text in conceptual art) dealt with a comparative analytical study in the concept of conceptual art trends (land art - body art - art - language). The study consisted of four chapters. The first chapter dealt with the theoretical framework, which was represented in presenting (the research problem), which raised the following question: What is the role of the written text in the transformations of the conceptual arts? The first chapter included (the importance of research) and (research objectives) seeking to conduct comparative research in the written text within the trends of conceptual art as a moving phenomenon in art, and to reveal the variable written text in the trends of conceptual art. As for the limits of the research, it focused on studying the concept of the written text in the works of conceptual art trends and their outputs, by analyzing their illustrated works from the period 2002-2013 in Europe and America. The chapter also included (defining terms) The second chapter: which is represented by the theoretical framework, contains two topics: The second chapter: which is represented by the theoretical framework, contains two topics: The first topic: an introduction to the concept of writing in the visual field. Conceptual art also dealt with the cognitive and artistic root. As for the second topic, it included: the written text in conceptual art The third chapter (procedural framework): is concerned with research procedures, defining the research community and selecting the research sample from it, the number of which is (5) models, from the directions of conceptual art, then the research tool and sample analysis.The fourth chapter: includes the results of the analysis of samples for each direction, then the results of the comparative analysis, conclusions, recommendations and proposals, and a list of sources and translation of the research summary in English.

The ethno-historiographical Value of Ovid's "Sorrows" and "Pontics"

The text of Ovid's Tomitian elegies for centuries served as not only historiographical but also ethnographical source for scientific research and will continue to be used in investigations related to antiquity. In this research, attention is drawn to the fact that since the last decades of the last century, for the first time in world historiography, in prestigious works, researchers question the historical authenticity of many facts, transmitted by Ovid in "Tristi" and "Pontic". Demonstrating the historiographical character of the rendering of local realities and eliminating the poetic framework that concerns not only the climatic image and the way of life of the inhabitants of Tomis and its surroundings, but also the ethnolinguistic situation in the country of exile, the authors try to deny the documentary and, implicitly, ethnographic value of the work Ovidian. The article refers only to information about the ethno-glottic situation in the West Pontic lands. The uncertain state of the historiography of the time with regard to the problem posed, the predominantly non-critical use of historical information from Ovid's Tomitan work, the imprecise character of the development of methods for determining the degree of reliability and informativeness of the Ovidian artistic text conditioned the servile use of historiographical sources . The problem related to understanding the interpretation and poetic specificity of Ovidiu's creation from exile defined the purpose of interpreting the artistic text as a historiographical source, in general, and the civilizational one of Ovidiu, in particular. Based on the historical-philological study of the text, the possibility of using information from Ovid's text as trustworthy in historical research is elucidated.

INTERTEXTEMES SOURCES OF THE UKRAINIAN INTERNET SEGMENT

This work aims to analyze the intertextemes sources of the Ukrainian segment of the Internet. The article examines approaches to the concepts of citation thesaurus and intertextual thesaurus. The functioning of intertextemes of biblical and folklore origin, units that go back to artistic texts of different periods, journalism, advertising, and spoken discourse in Internet texts is studied. During the formation of the factual base of the research, the method of entire selection from texts posted on the Internet was applied. The origin of the units was analyzed, as well as the relevant phraseographic sources, collections of aphorisms, etc. The elements of etymological analysis turned out to be valuable for the analysis of the national and cultural specificity of the intertextual thesaurus. English- and Russian-speaking cultures were significant factors changing the composition of the Ukrainian intertextual thesaurus, particularly in the pre-war period. It has been observed that quotations originating from German, Polish, and French linguistic cultures occur much less often. Given the informality of Internet communication, speakers often attribute the authorship of an expression to a certain person. The work analyzes and singles out some intertextemes- «bastard».

Mono-no-aware aesthetics in Japanese art texts (Draft 3)

The concept of mono-no-aware aesthetics was first introduced by the Japanese literary scholar Motoori Norinaga inhis commentary book げんじものがたりたまのおぐし . As the first of the three central Japanese aesthetic ideas,Mono no aware has profoundly influenced the expression of Japanese artistic texts. In this paper, we will look at severalJapanese fiction and film texts to explore the emotional pursuits and philosophies of life expressed by the authors andfelt by the readers and the cultural connotations behind them.

Mono-no-aware aesthetics in Japanese art texts (Draft 3)

The concept of mono-no-aware aesthetics was first introduced by the Japanese literary scholar Motoori Norinaga inhis commentary book げんじものがたりたまのおぐし . As the first of the three central Japanese aesthetic ideas,Mono no aware has profoundly influenced the expression of Japanese artistic texts. In this paper, we will look at severalJapanese fiction and film texts to explore the emotional pursuits and philosophies of life expressed by the authors andfelt by the readers and the cultural connotations behind them.

Lexical indicators of exaggeration and understatement of the time of the English language (based on the material of literary texts)

The subject of the study is the exaggeration and understatement of the phenomenon in the modern English art text. The object of the study are nouns that act as a means of depicting an exaggerated and understated time continuum. The author examines in detail the semantics of such lexemes as second, minute, moment, year, hour, day, age and their changes within the framework of combinations with other lexical units, during which time intervals are stretched or narrowed. Special attention is paid to the presence of dictionary and author's phrases in the fiction text of the fiction genre, their quantitative calculation and analysis of the frequency of use. The novelty of the research lies in the search for new non-dictionary and author's phrases that are able to reflect time in terms of its exaggeration and understatement. Such an image of time affects the description of the hero, their actions, the characteristics of not only places, but also specific characters. A special flow of time in the context of a fiction genre literary text is caused by a different flow of the time continuum. The main conclusions of the study are the identification of a high frequency of the use of non-dictionary phrases for exaggeration and understatement of time, as well as a change in the meaning of dictionary phrases that are enclosed in the context of a dicteme that allows to expand the semantics of the proposed vocabulary combination of lexemes.

Genius of Uzbek Art

This article ("The Genius of Uzbek Art") provides information about the rich literary heritage of nations on Earth, the novel, which is considered a subgenre in literature, and six national schools of novel writing (English, French, German, Indian, Arabic, Russian, and Uzbek). It was also said that until the 20th century, the fields of language and literature were studied separately in scientific researches in the world, and this situation caused serious damage to the art of text. In order to eliminate this defect in science, the field of linguopoetics was formed, and linguopoetics studies the issue of creating an aesthetic effect of stylistically colored linguistic units in the artistic text. It is also explained that the main goal of the field of linguopoetics is to describe the artistic expression and aesthetic effect of stylistically colored lexical units in the text, and it is explained that linguopoetics works with artistic texts that are considered national spiritual wealth.
 In order to achieve this status, the artist must be able to feel the spirit of his nation, to be well aware of the folk art, to have a deep knowledge of the vocabulary of his mother tongue, to be able to understand and use the means of artistic representation at a high level, and only then the scope of expression of the national language and the level of incomparable image is emphasized. As a basis, the sound doubling, sound exchange, morphological forms, vocabulary units (synonyms, antonyms, pure Uzbek words, dialectal words, phraseology) used in the novel "Mehrobdan Chayan" by the great Uzbek writer Abdulla Qadiri, artistic arts (irony, simile, exaggeration, saj), lygvopoetic tools such as proverbs, portraits, replica-repetition were analyzed.

Interpretation of a Literary Text in Cinema: V.O. Bogomolov's Novel “Ivan” and A.A. Tarkovsky's Film “Ivanovo Childhood”

The article explores film screening as a special form of literary text. Within the framework of the study, the concept of cinema screening, its classification and features of types, strengths and weaknesses of this format are considered. The problems arising during the transfer of literary works of art to the cinema screen are also characterized, around which discussions do not stop to this day. The study of these issues is carried out not only in theory, but also in practice, which is presented in the form of a comparison of V.O. Bogomolov's novel "Ivan" (1957) and the film A.A. Tarkovsky's Ivanovo Childhood (1962). In addition to identifying the differences between the original literary work and its transfer to the language of cinema, expressed in deviation from following the literary artistic text, changing individual scenes, added episodes and expanding some storylines of the original literary work, the creative task set by the director is determined, and how exactly it was achieved. The main research methods are the analysis of scientific literature on the research topic (used for a detailed examination of cinema screening as a special form of literary text) and comparative analysis (used when comparing the original literary text (V.O. Bogomolov's novel Ivan) and its film adaptation (A.A. Tarkovsky's film Ivanovo Childhood)). Because of the comparative analysis, a conclusion is drawn that contains answers to the questions: which of the types of film adaptations does this film belong to, as it is expressed in the film, and the reasons that led to this result are revealed.

СТИЛІСТИЧНА РОЛЬ ДЕТЕРМІНОЛОГІЗМІВ У СКЛАДІ ПОРІВНЯНЬ (на матеріалі повісті Богдана Лепкого «Мотря»)

The article analyzes the use of determinologisms in the comparisons composition as a feature of the writer`s creative manner based on Bohdan Lepky`s story “Motrya”. In order to find out the stylistic role and methods of achieving an artistic effect with the help of this trope, we have implemented several tasks: to carry out a continuous selection of comparisons using determinologisms from B. Lepky`s historical story “Motrya”; to analyze the selected comparisons concerning the formal way of achieving comparability and identify which of them are typical for the writer`s style; to outline the thematic categories of determinologisms used in comparisons; to find out the stylistic possibilities of comparisons with the use of determinologisms in an artistic work; to describe the characteristic features of B. Lepky`s creative style related to the use of comparisons. In our research, we have used the following methodology: the method of continuous selection was used to select quotes from the novel`s text in which the author used comparisons of different types, including determinologisms, also with the help of structural-thematic and semantic analysis, the selected comparisons were classified according to the formal ways of achieving comparability. Statistical methods made it possible to identify the quantitative parameters of the studied material. Descriptive, comparative, component, and deductive research methods were also used to realize the set goal. Based on the analysis of 167 quotes selected from the text of B. Lepky`s story “Motrya”, the author used a comparison with the involvement of determinologisms, direct comparison (comparative phrase, subordinate comparative clause), indirect comparison, and logical comparison. There is a significant quantitative advantage of direct comparisons (63 %). To create direct comparisons, the writer uses more often the conjunction “як” (70,2 %), less often “ніби” (16.7 %), and other comparative conjunctions occur sporadically. An essential feature of the writer`s creative manner is the predominance of complex abstract concepts comparisons with simple, understandable determinologisms of several thematic groups for every reader. The largest groups are zoological and technical determinologisms relating to various craft professions, military, artistic, geographical, climatic, astronomical determinologisms, and others. We observe that determinologisms are not perceived in the artistic text as something foreign. They reflect the peculiarities of the modern author`s communicative space, testify to his high intellectual level, and are directed to the same educated readers. A comparison is a vivid means of expressing the author`s attitude towards a particular person or phenomenon since there is no real connection between the compared and the comparative object, and the writer chooses the object of comparison with his creative imagination and determines the comparative feature. That all contributes to the emergence of a particular expression. In B. Lepky`s story “Motrya”, the stylistic role of comparisons manifests itself: it focuses attention on some feature of an object or phenomenon by comparing it with another object or phenomenon where this feature stands out very clearly. The analyzed material found comparisons based on attributive, adjectival, or predicative features. We have established that the comparison through the juxtaposition of language units from different thematic fields emphasizes the content and creates a unique artistic effect: significant semantic features are actualized, additional connotations are superimposed, and an original image appears, which makes a particular expressive impression on the readers. The following characteristic features of B. Lepky`s creative manner, related to the use of comparisons, which include determinism, have been identified: the dominance of the conjunction as in direct comparisons; the prevalence in comparisons of well-known zoological and technical determinologisms, which expand their semantic field and contribute to the emotionality of the expression; the highly specialized determinologisms revealed in the analyzed material are organically included in the artistic context and become an essential component of the writer`s individual authorial style; logical comparisons are usually accompanied by the author`s reasons explanation for the comparison, thus creating a kind of author`s extended allegory combined with the comparison; comparisons are often combined with other stylistic devices (rhetorical appeal, allegory, irony, metaphor, parallelism, etc.); the writer demonstrates his commitment to folk Ukrainian traditions, the use of comparisons involve folk proverbs, sayings, unfavorable comparisons, etc.

VOLODYMYR VINNICHENKO’S NOVEL “THE NEW COMMANDMENT”: POETICS AND FORMS OF EXISTENTIAL SELF-REFLECTION

The article considers the second edition of Volodymyr Vynnychenko’s novel “The New Commandment” (1947), written for the first time in 1932. The author of the book translated it into French together with his wife after the end of World War II. The purpose of the work and the tasks dictated by it are to analyse the “French” novel “The New Commandment” by Volodymyr Vynnychenko in the paradigm of modernist aesthetics, to reveal the main philosophical ideas and aesthetic functions of the novel, to identify elements of intertextual memory, and to understand the influence of the book by Ukrainian dissident Viktor Kravchenko “I Chose Freedom” (1946). The set of goals determines the need to use hermeneutical (analysis of artistic text), comparative-typological (comparison of philosophical novel various functions), historical-literary (solution of a number of literary problems in the context of various national literatures) research methods. Vynnychenko’s work is analysed in the paradigm of the “Transcendent Homelessness” philosophical concept, introduced into scientific discourse by the Hungarian philosopher and literary theorist D. Lukach in his Hegelian-Weber essay “The Theory of the Novel” (1916), where he quotes the German romantic, a representative of the Jena school, Novalis: “Philosophy is homesickness – the desire to be at home everywhere”. In the study of Volodymyr Vynnychenko’s contribution to European modernism in the interwar era, the author pays attention to the key thesis of the trans-cultural theory, which touches such disciplines as anthropology, sociology and political science. Particular attention is paid to the genesis and specificity of the philosophical and figurative system of one of the key “French” texts by Volodymyr Vynnychenko. The leading aesthetic components and means of forming philosophical and ideologicalpolitical paradigms of the work are also determined. The French aristocracy had a great debate on “The New Commandment”. In April 1949, the translation was published in one of the Paris publishing houses (Nouveau Commandemant. Paris: Editions des Presses du Temps Present). The French literary critics of the time responded favourably to the publication of the Ukrainian author’s book, and the literary and artistic society “Club de Faubourg” already on 10th May 1949, arranged a massive discussion of “The New Commandment”, which testified to the approving attitude towards the author. At the same time, another well-known French artist club “Arts-Sciences-Lettres”, awarded Volodymyr Vynnychenko with an honorary diploma and a silver medal. On 21st July 1949, the prestigious Parisian weekly bulletin “Le Nuvelle Litterere” responded to this fact where noticed that after Shevchenko and Marko Vovchok, Volodymyr Vynnychenko is the first Ukrainian writer whose novels have been responded to by French audience. In this regard, it is noted that the philosophical foundations of Vynnychenko’s novel organically fit into the “spiritual crisis” European discussions of those times. We have studied philosophical character manifestation peculiarities in the genre of novel-dialogue, novel-polemic, which are widely represented in the “French” prose of the Ukrainian artist and are closely connected with the French literary tradition. It is proved that, having spent almost the last thirty years of his life in France, the Ukrainian writer seems to aim at identifying common thematic, aesthetic, philosophical and ideological paradigms that go beyond mononational boundaries, and demonstrates that Ukrainian emigrant artists were participants in pan-European literary modernism, although for the most part it concerns Volodymyr Vynnychenko himself, as well as Yu. Kosach, I. Kostetskyi, A. Arkhipenko, A. Ekster, A. Manevich, I. Pune, A. Boguslavskaya, M. Glushchenko. Particular attention is paid to the genre experiment of Vynnychenko, in particular, the philosophical and political novel with such poetic features as the presentation and discussion of concordist theory, the use of such a modernist technique as “a novel within a novel”, the constant inclusion of various discursive forms of concordism discussion. The critical optics of the study combines the historical and philosophical specificity of the era of the interwar twenties, on which the novels of Volodymyr Vynnychenko are based, as well as the national identity of the Ukrainian writer and his biographical individuality.

Времена года в русской поэзии удмуртского поэта В. Ар-Серги

The article is devoted to the study of the semantics of the seasons in the Russian-language poetry of the Udmurt poet and prose writer V. Ar-Sergi. The relevance of this work is caused by the fact that today artistic texts of national authors require a holistic conceptual analysis, since they are strongly influenced by Russian literature, which in turn affects their ethnocultural identity. The issue of preserving, strengthening and developing national language in the multilingual space of the Russian Federation is acute. The author undertook an analytical review of the problem on the material of the Ar-Sergi Russian-language poetry. During the study, traditional methods of literary research (quantitative, structural-semiotic, comparison and collation, method of holistic text analysis) were used. Both traditionally mythological and individual authorial realia associated with the perception of calendar natural changes are reflected in the poetic texts of Ar-Sergi. The degree of their semantic connectedness with traditional canons of Udmurt culture is determined. Comprehension of the natural passage of time is closely intertwined with the emotional and psychological plan of the works. The natural landscape axiologically becomes a theme for constant artistic reflection in the poetry of Ar-Sergi. The lexical units from the lexico-semantic group “seasons” have not only a certain temporal semantic load but also denote the internal emotional state of the lyric subject in the poetic texts of the Udmurt poet. The attention of the author is turned not only on his own worldview but also folk-mythological contexts of the whole ethnic group.

For the issue of teaching literature at the basic ans secondary levels of the modern school

Tha basic and secondary levels of the school are the most important in terms of teaching literature. The basic level deepens the knowledge-habits acquired in elementary school. At these stahes, emphasis is placed on problems and different points of view, which requires the search for alternative ways to solve them, reconciliation and expression of one’s attitude. All this depends on the professionalism of the teacher, on how he will be able to accustom his pupils to independent thinking, to develop tjeir own opinion on life, to stimulate thinking accordng to articles and abstracts, journalistic letters. After completing the basic level, the pupils should be able to undersdtand, analyze and evaluate information; understand and use communicative aspects, get to know the artistic text and express himself. After completing the secondary level, the pupils can master variouis proffessions, avtively participate in public life, analyze and evaluate information, understand and use the communicative aspects of the language.

Theatrical historical performances as a form of cultural solidarity in the space of a provincial town (early 1920-s)

The article studies historical theatre performances on the territory of Kazan in the early 20s of the XX century on the basis of available historical sources and scientific literature. The political and cultural elite of the new state was faced with the task of attracting the attention of Soviet citizens to new, revolutionary symbols and values, since a significant part of the population, especially in the provinces, was still «eyeing» the Soviet order. After October 1917 the most common form of Soviet political celebration in the country was not only rallies and solemn meetings but plays on historical and revolutionary themes. Within the framework of the historical and cultural context, the connection of theatrical productions with innovative methods of influencing to the viewer is revealed. All the participants of the performances in Kazan were involved in the plot outline of the reproduced dramatic events of the recent past with their amateur, involved presence. On the streets and squares of Kazan, as well as many other Russian cities, a collective creation unprecedented in the history of world culture arose, where the natural experience of the dramatic moment of the past became a mysterious process and, at the same time, an original artistic text. During the theater, this was achieved in the most spectacular way, which was facilitated by both symbolic entourage and imitation of collective actions in which «random» meetings with participants in real events could take place. All this had a strong impact on the perception of the historical plot as the only possible scenario of historical reality and inspired a sense of deep involvement in the memorable event. Living the past as real created a new space of unprecedented ecstatic solidarity, where collective action became not just a political act of the revolutionary mass, strengthening the individual’s sense of belonging, belonging to the whole, it manifested the energy of the present moment, returning to disequilibrium and uncertainty, emotionally plunging into a situation of choice. The nascent unity of personalities was at the same time the foundation of a new social identity and at the same time the hope of restoring personality and society, unconscious cleansing from the hardships of reality, getting rid of ignorance, selfishness and inhumanity.

THE ART OF PRECEDENT UNITS IN E. SHUKUR’S POEMS

This article discusses the art of precedent units in E. Shukur’s poems. For lingupoetic analysis, the artistic-aesthetic function of the precedent units used in the artistic text is important. In the composition of the artistic text, phrases and sentences as precedent units are not used for nothing, they are, without a word, introduced into the text based on the purpose of creating art.