Artistic Worldview Research Articles

“I desire to live and live... thousands of other lives”: multimythologism in I. A. Bunin’s onomastic code

The article considers the manifestation of multimythologism as a characteristic feature of I. A. Bunin’s artistic worldview at the level of the individual author’s poetic mythonymicon. The paper identifies lexical units referring to the characters (gods, wizards, heroes, fantastic birds and animals), places, magic objects of the mythologies of the ancient Greeks and Romans, Sumerians and Akkadians, Indians and Iranians, as well as Egyptians, Scandinavians and. It is noted that the organization of the sound system of I. A. Bunin’s poetic speech is provided by regular graphic-phonetic transformations of mythonyms, and the uniqueness of the onomastic code of his lyrical texts is created by the inclusion of special mythonyms-bilexemes, onymized appellatives and mythological names with a low level of precedent and occasional units. It is established that for explication of philosophical and symbolic subtexts, representation of key motives and binary oppositions I. A. Bunin subordinates traditional sacral genealogies to the author’s individual picture of the world, matches and simultaneously uses mythonyms belonging to different national mythological onomasticons. The author comes to the conclusion that all the lexical units of Bunin’s poetic mythonymicon are connected by a single ideological attitude, aimed, on the one hand, at overcoming the autonomy of cultural worlds, and on the other hand, at preserving cultural pluralism.

ЖАЗУШЫ А. КЕМЕЛБАЕВА ӘҢГІМЕЛЕРІНДЕГІ ТҰЛҒА КОНЦЕПЦИЯСЫ

The article discusses the concept of personality in the stories of the writer A. Kemelbaeva. The concept of personality in the work is the result of the author's worldview, position. Personality is the carrier of the author's point of view. The main goal of the scientific work is to consider the entire close unity between the author and the person on the basis of the writer's stories, analyze the features of the creation of images and the cognitive-ideological nature, the individuality of the approach. Although the images in the author's stories are simple working people of various fields, they are educated people of today's time, savvy in the phenomena of the world. Feeling the mystical power of creation and understanding it, he relies on the beliefs of the people. He believes in the truth of the creator, in his power. It is noted that freedom of belief, morality, and its significance in human life are one of the main characteristics of the writer's heroes. The main direction in his works is rooted in the best examples of World Literature; his stories are distinguished by an unexpected plot development, a rich artistic solution and content, National color. The scientific and practical significance of the work is that it contributes to literary studies in the study of the process of development of modern Kazakh prose, artistic searches and the continuation of traditions. After all, A. Kemelbaeva is a writer who does not repeat others, always brings innovations to Kazakh literature with his fresh searches and stylistic individuality. Especially in his stories, the mythical-mystical character, the detective line, ethnographic scenes, the revived use of traditional examples of oral literature express the author's stylistic individuality, the specifics of the artistic worldview. In the philological analysis of literary texts, biographical, historical-social, structural-descriptive, psychoanalytic methods were used. The results of the research work can be used in special courses of Philology of higher educational institutions, lectures on modern Kazakh literature. The theoretical and practical significance of the results of the work is characterized by the identification of the main place, historical nature and other features of the concept of personality in literary studies in the analysis of a work of art.

Representation of Russia in Autobiographical Prose about Childhood by A.N. Tolstoy and I.S. Shmelev

This study examines the uniqueness of representing the image of Russia as an integral part of the artistic worldview in the autobiographical prose about childhood by first-wave Russian emigrant writers. The research is based on A.N. Tolstoy’s novella “Nikita’s Childhood” and I.S. Shmelev’s novel “The Lord’s Summer.” Comparative-historical, historical-literary methods, as well as the principle of comprehensive analysis of the ideological and artistic content of the texts, are employed. It is established that the image of Russia encompasses representations of the Russian people, nature, history, and generations. Time takes on mythological features, with historical and epic time shaping the narrative movement. The spatial dynamics are constructed as a contrast between city and village, where nature is animated and spiritualized. The concept of home emerges as a significant spatial parameter. In the novel “The Lord’s Summer,” it is intricately linked with the image of the church and sacralized. The central spiritual component of the world is embodied in the living image of Christ. The image of Russia is intertwined with themes of loss, with Moscow symbolized as the heart of the Motherland — Holy Rus’. Childhood and Russia are idealized, imbued with idyllic characteristics, while the image of a bygone era carries a nostalgic hue.

THE MNEMONIC POTENTIAL OF THE AUTHOR’S EPIGRAM (using the example of Igor Guberman’s poetry)

The article is devoted to the consideration of the author’s epigram by the poet Igor Guberman as a genre with mnemonic (memorable) potential. It is understood that inheriting an ambivalent nature borrowed from the previous ritual tradition, Igor Guberman’s epigram in its architectonic organisation simultaneously contains the ridiculous and the serious, the personal and the impersonal (‟alien”), the subjective and the objective. The latter, as deposited in the memory of the past, is used as a mnemonic demonstration of the material tested by life experience, which enters into a dialogical relationship with a subjective artistic worldview. In the course of the analysis of Igor Guberman’s author’s epigrams, called ‟gariki” by analogy with the derivative of Garik – the colloquial form of the author’s name, – it turns out that the mnemonic attribute as a permanent property of the genre, inherited from past times, is represented in it in different ways and to a large extent much wider than in the classical epigram. Thus, the mnemonic potential of the author’s epigram contains, in addition to the motifs of famous works, paraphrases and recitations of famous sayings that have become winged, allusions to general literary ‟topos” and reminiscences from the poems of poets, recognisable by the images used, rhythm and verse organisation. It is concluded that the variety of use of Igor Guberman’s rich mnemonic potential by the author’s epigram indicates the voluminous functionality of the genre, involving artistic resources not only in the direction of reproducing the invariant (‟genre memory”), but more focusing efforts on the path of renewal in line with the detached perception of tradition (‟genre memory”), which allows to appear to it in the fullness of aesthetic perfection.

Image of the Samarkand city in the artistic worldview of the historical novel by O. Yoqubov “Treasures of Ulugbek”

INTRODUCTION. The purpose of the research is to study the urban text in the reflection of the artistic worldview of the historical novel by Odil Yoqubov “Treasures of Ulugbek”, which allows to consider the work based on the analysis of the place and action of events.MATERIALS AND METHODS. The research material is the historical novel by O. Yoqubov “Treasures of Ulugbek”. The descriptive method, chronotopic, motivic and geopoetic approaches are used.RESULTS AND DISCUSSION. It is determined that the historical existence of the city of Samarkand in the work of art defined the behavior of the characters: the image of the city acts as a secondary character, becomes a direct participant in cultural and historical events.CONCLUSION. The analysis of the artistic worldview of the historical novel by O. Yoqubov “Treasures of Ulugbek” shows that the atmosphere of everyday life of Samarkand residents of the 15th century includes cultural, historical, chronological, aesthetic aspects, with the help of which the direct connection in the image of a person, his feelings, and the surrounding reality is recreated. It is proved that the toponym Samarkand is a kind of artistic chronotype that allows to represent the unity of national and regional culture, to realize through the past historical urban reality and to assert that the image of the city of Samarkand is the basis of the artistic thinking of the novel author O. Yoqubov.

Presentation of the artist in the regional journal periodical

The artistic component of the literary-artistic and public-political magazine Literary Ternopil» (2008–2019) was formed by publications that show the current state of painting in the region through familiarization with the personalities of artists and their creative work. The article highlights and analyzes typical textual means of presenting the artist in the specialized section «Artist of the Number». As a result of the research, it was found that the text presentation is based on the involvement of elements of drawing, which are manifested in the depiction of heroes in action, retelling of life situations, depiction of the area, interiors, etc. The plot-compositional organization of the texts includes biographical, everyday, socio-political, historical, psychological contexts, to reflect which the authors provide data on education, places of creative work, participation in exhibitions, obtaining titles, cooperation with various artists, describe external signs, worldview and inner qualities of artists. Expressions of art critics, connoisseurs of painting, and artists themselves are used compositionally. The presenters of the artists are the titles of the publications in which the starting point of the image is formed. It remains constant or changes: it can be individual / collective, synchronous / diachronic, shift in space (natural environment, premises, native land, abroad), have an emotional / intellectual dimension, focus on a situation or involve a whole range of information. An important component of the presentation is the art history characteristic in combination with evaluative and figurative expressions. For this purpose, artistic means of speech and stylistically marked vocabulary (names of subjects of professional activity, artistic directions, styles, and techniques), names of famous Ukrainian artists, names of iconic paintings, their cycles, names of exhibitions, etc., are involved. All these aspects are aimed at reflecting the spiritual, intellectual, creative development of the artist.

The lake’s image in the artistic worldview of the Northern text of Russian literature for children

INTRODUCTION. For the first time, the works of the Northern Text of Russian literature for children, in which the lake’s image arises, are systematized. The purpose of the study is to consider the artistic and semantic features of the leitmotif image of the lake in the context of the specifics of the artistic world of the North. The objectives of the research are to identify the main mythopoetic and realistic characteristics of the lake’s image in the works of the Northern text for children; to determine the motives and images with which it interacts as a structural element of the Northern text, to identify the place of the lake’s image in the artistic worldview of the North.MATERIALS AND METHODS. Using a systematic approach to the literary text, which is a set of methods (chronotopic, motivic, mythopoetic, systemic-semantic) that reveal the object as a single system, the lake’s image in the works of writers of the second half of the 20th century is considered: A. Linevsky, A. Petukhov, V. Pikul, M. Skorokhodov, A. Chlenov.RESULTS AND DISCUSSION. After analyzing the artistic material, it is concluded that there are two variants of the lake ’s image: tundra and forest lakes. The first is realized through the mythologeme of the circle and the personification method, the second through the motives of the two worlds, secrets, boundaries, changes of the hero. The lake’s image in the Northern text of Russian literature for children also approaches the images of the sea and the river and actualizes the motif of the unity of the world.CONCLUSION. This study is a particular stage in the study of the figurative-semantic structure of the Northern text of Russian literature for children as a supertext and indicates broad prospects for its further study.

Проблема памяти и специфика ее осмысления в романах А. Теппеева

The aim of the research is to identify the specificity of literary interpretation of the category of memory as a component of the ideological-artistic system in the epic prose of the Balkar writer A. Teppeev. The novels of the writer ("Heavy Millstones," "Will," "Syrat Bridge") are examined in terms of the functioning of the motif of memory in them. The scientific novelty of the work lies in the fact that through the analysis of these works, methods of embodying the stated problem are revealed: creating the images of storytellers as keepers of folk memory, representing the ethno-cultural concept of stone filled with symbolic content, incorporating folklore reminiscences into the narrative, and actualizing national origins. The research notes the significant role of ethno-cultural and oral poetic traditions in the development of spiritual continuity. It defines the conceptual significance of memory (historical, ancestral, spiritual) in shaping the artistic worldview and expressing the author's position. It is emphasized that in the context of narration, memory is interpreted as one of the key factors in preserving national identity in the history of the people.

Concept of «Mystery» and its Realization in the Works of J. Lippard and N. Buntline

Introduction. The article is devoted to the analysis of the linguistic means expressing the concept of «mystery» in the fictional works of J. Lippard and N. Buntline, the allocation of its socio-cultural component and the field model construction of lexical units representing this concept. The relevance of the research is due to the interest of modern linguistics in the study of the conceptual sphere of artistic works of the «urban mysteries» genre by American authors.Methodology and sources. The study was conducted within the framework of a linguistic and cultural approach using methods of description, comparison, interpretative analysis, conceptual analysis, the method of dictionary definitions analyzing, structural and semantic analysis, and the method of quantitative calculations. The illustrative material of the study consisted of more than 74 lexical units representing the «mystery» concept in the language, 45 of which were found in the analyzed works. The material was obtained by the method of directed sampling from the fictional works of American authors of the 19th century.Results and discussion. This article discusses and analyzes various interpretations of the concept of «mystery» by domestic and foreign scientists; defines the role of the concept in the work of fiction as a whole and in the analyzed novels of two authors J. lippard and N. Buntline; identifies the features of the linguistic implementation of the «mystery» concept; classifies the linguistic units of the concept according to their parts of speech, semantics and stylistic coloring; analyzes the writers’ linguistic pictures of the world and the conceptual sphere of their works, the illustrative zone of which reveals the reasons for the similarity not only of the storylines of the works, but also of their lexical content.Conclusion. The study made it possible to describe and illustrate the individual style of American authors of the 19th century through a system of expressive means that correlates the inner world of the writer with the artistic reality, the artistic world of the text created by the «poetic» language. The mental world can be interpreted in cognitive terminology as an individual poetic conceptual sphere, or the conceptual system of the author, consisting of a conceptual, objective, associative, figurative and symbolic layer of the concept. The study showed that the learning of the writer's linguistic picture of the world and the conceptual sphere of the work can be carried out using a field model, analyzing the LSF forming the «mystery» concept. The analyzed LSF is distinguished by a more specific vocabulary composition, the complication of the seme structure of words, the seme expansion and the restructuring of their hierarchy, which together form the artistic worldview of the authors.

Концепт «Traum» в немецкой художественной картине мира (на материале стихотворений И. В. Гёте)

В статье рассматриваются лингвокультурологические особенности концепта «Traum» в немецкой художественной картине мира. Анализируются произведения выдающегося немецкого поэта И. В. Гёте, определяются посредством когнитивного анализа основные черты концепта «Traum» в индивидуально-авторской картине мира И. В. Гёте и их влияние на формирование языковой картины мира в целом. Используется подход к изучению поэтических произведений И. В. Гёте через призму языкового сознания личности к общей языковой картине мира. Устанавливается, что концепт «Traum», наравне с такими концептами, как «Freiheit», «Liebe», «Schönheit», «Wahrheit», «Sicherheit», «Ordnung», «Kraft», «Wille», является базовым концептом немецкой лингвокультуры. This article reviews the linguistic and cultural features of the concept «Traum» in the German artistic worldview. The main material for the analysis is represented with the works of the outstanding German poet J.W. Goethe. The aim of the research is to determine by means of cognitive analysis the main features of the concept «Traum» in the individual worldview of J.W. Goethe and its influence on the formation of the German linguistic worldview. The scientific novelty of the work lies in the approach to the study of J. W. Goethe poems by means of the individual worldview and its contribution to the German common worldview. The results obtained allow us to conclude that the concept «Traum» along with such concepts as «Freiheit», «Liebe», «Schönheit», «Wahrheit», «Sicherheit», «Ordnung», «Kraft», «Wille», belongs to the basic concepts of the German linguoculture.

The specifics and functions of the concepts of LIFE and DEATH in V. Y. Bryusov's poetry

The object of the study are poems representing such thematic layers as love lyrics; urban lyrics, including poems dedicated to Venice; the theme of death; the theme of Vikings; great figures of the past; apocalyptic themes. The paper actualizes the importance of studying Bryusov's poetry in the aspect of cognitive linguistics, examines the essence of the concepts. The place of the concepts of LIFE and DEATH in the hierarchical structure of the conceptual sphere is analyzed, their meanings are revealed based on the lexicographic material of dictionaries, representing, along with the primary meanings, various associative lexical units, including mythologems that arose on the basis of cognitive metaphorization, which, being representatives of concepts, fill slots, form a frame structure, while the frame qualifies as the core of the concept. The analysis of poems allowing to recreate the linguistic and artistic worldview of the poet, the keys to understanding which are the basic concepts of LIFE and DEATH, and to determine their specificity and role, is carried out. The following methods were used in the research process: the method of discursive analysis, which allowed us to study the interacting denotative and conceptual structures that organize the semantic space of each lyrical work under consideration in the context of Bryusov's poetry; the cultural and historical method, which contributed to the identification of connotative meanings representing the concepts of LIFE and DEATH; the hermeneutic method, which made it possible to analyze the poetics of poems. As a result of the study, the authors came to the following conclusions. Organizing a system of poetic creativity, vividly embodying the main motive, the motive of duality, the concepts of LIFE and DEATH undergo semantic contamination based on the intersection of their frame networks and form a single bipolar concept of LIFE/DEATH. An integral phenomenon, Bryusov's concept of LIFE/DEATH is multifunctional: as a figurative means, this structural unit creates the poet's idiosyncrasy; plays a text-forming role; organizes the main motives that allow Bryusov to carry out a discourse relevant to him and his contemporaries about the problem of the meaning of life and its eternity. The scientific novelty lies in the fact that the work of V. Y. Bryusov, from the point of view of the conceptual sphere and conceptualization, has not been sufficiently studied. For the first time, the comprehension of V.Y. Bryusov's linguistic picture of the world was realized through the concepts of LIFE and DEATH, which are fundamental in his work.

ДІАЛОГИ ФЕОФАНА ПРОКОПОВИЧА: ОСОБЛИВОСТІ ІДЕЙНО-ТЕМАТИЧНОГО СПРЯМУВАННЯ

Background. The article explores the specific features of the thematic spectrum in Feophan Prokopovych's dialogues, specifically "The Conversation of Tekton, or Tesla, with a Merchant" and "The Conversation of a Townsman with a Peasant and a Sexton". The actuality of this study lies in the fact that the texts of these dialogues serve as an additional and important source for studying the writer's artistic worldview and the specifics of his poetic work. The poetics of these dialogues represent the realization of classical principles in the works, synthesizing stylistic features of Antiquity, Baroque, and Enlightenment. The thematic spectrum of the works reflects the author's understanding of God, the role of education and knowledge in the life of individuals and society. The objective of the study is to analyze features of the thematic spectrum in F. Prokopovych's dialogues. Tasks involve identifying specific characteristics of author's dialogues and analyzing their realization in terms of thematic, genre, and stylistic aspects. Methods. The writer's dialogues are analyzed using historical-philological, hermeneutic, and comparative research methods. Results. In the dialogue "The Conversation of a Townsman with a Peasant and a Deaco", Feofan Prokopovych presents an artistic interpretation of religious and philosophical issues. The author focuses on the specificity of interpreting the phenomenon of simplicity, expressing his attitude toward it as a particular cultural concept. The work tends toward the sermon genre. An artistic idea of knowledge as a secular phenomenon important for further social progress is presented. The character of the Townsman embodies the idea of education and knowledge as acquisitions that are not innate but achieved through the efforts. Prokopovych advocates the thesis of the necessity of accessible and popularized education among broad segments of society. Conclusions. the thematic spectrum of F. Prokopovych's dialogues is focused on presenting the artistic interpretation of issues related to religion, the church, and education. In these dialogues, a particular societal stance of the writer is interpreted. The dialogue texts remain a prospective material for further scholarly studies. It is necessary to explore the dialogues from the perspective of the author's evolution of worldview and creative work.

Многофункциональность предметного мира романа Н. Мусина «Вечный лес»

The aim of the research is to determine the features of the material world and its functions in the novel “The Eternal Forest” by N. Musin. The poetics of the objective world is considered as an important component of artistic thinking, one of the significant cultural components in the writer’s creative work. Bashkir literary studies and literary criticism to a certain extent have already touched upon the issues related to the problems of poetics, the peculiarities of the artistic world of the prose writer. The paper is original in that it is the first to provide a holistic description of the objective world in the Bashkir writer’s prose, to reveal the artistic specifics and functions of the world of things. As a result of the research, it has been determined that the features of the artistic functioning of the material world in N. Musin’s prose are based on the artistic experience of literature in the late XX century in the depiction of the objective environment. A hero’s characterization through objective details becomes a peculiarity of N. Musin’s artistic worldview, in his writings, the world of things symbolizes both the inner world of a character and the philosophy of the author’s creative work. It is noted that in the works of the writer, the world of things is multifunctional, on the one hand, it highlights the author’s position and, on the other hand, it becomes a significant characteristic of the environment.

Investigation on author’s concept in the Russian National Corpus

The data analysis of the Russian National Corpus (RNC) is being carried out by an increasing number of researchers, since the choice of lexical units and their description are now radically facilitated by corpus linguistics, which compiled all available texts in a particular database language based on a computer analysis and presented on the open Internet. The purpose of the study is to identify and describe the conceptual cognitive features and structural modeling of the CIVIC CONSCIOUSNESS concept in the works of Ye.A. Yevtushenko, i.e.: (1) based on the RNC data, to determine the place of the CIVIC CONSCIOUSNESS concept in the Russian social and artistic worldviews; (2) based on Yevtushenko’s works, to identify the features of the artistic CIVIC CONSCIOUSNESS concept in the individual author’s worldview; and (3) to characterize the interaction of the national and individual author’s worldviews in Yevtushenko’s works. To this end, the research involved general scientific methods of observation, description, and generalization as well as the method of conceptual analysis. The analysis of the RNC material shows that the structure of the CIVIC CONSCIOUSNESS concept is represented by five classes of features: (1) etymological and denotative motivating signs of the word representative of the concept; (2) conceptual attributes objectified as semantic word components; (3) figurative features; (4) categorical features; and (5) values (examples were taken from the main corpus of the Russian language as well as from the newspaper and poetic corpora). The analysis of the CIVIC CONSCIOUSNESS concept in Yevtushenko’s works suggests the anthropocentricity of its figurative component. Its content is revealed in terms of the Russian national worldview and, at the same time, the individual author’s worldview of Ye.A. Yevtushenko. As the analysis of ways of conceptualizing the CIVIC CONSCIOUSNESS concept has shown, the most actual characteristics in Yevtushenko’s worldview are conceptual figurative features, including: anthropomorphic, animate and inanimate ones. In addition, categorical (dimensional, qualitative, etc.) and value attributes of the CIVIC CONSCIOUSNESS concept were identified. The analysis of Yevtushenko’s literary texts made it possible to identify some occasional signs of the CIVIC CONSCIOUSNESS concept, in particular, a figurative sign of inanimate nature and a temporal attribute related to categorical features.

"ANOTHER WORLD": PROSE BY NATALENA KOROLEVA

The paper is devoted to the main ideological-aesthetic, genre-style, historical and cultural features of Natalena Koroleva’s fiction. Historicism and Catholicism, noticeable in the writer’s prosaic works of different genres and styles, are considered the dominant elements of her artistic worldview and thinking. The analysis focuses on the writer’s three key interwar novels: "An Ancestor", "A Shadow’s Dream", "1313" and examines several aspects of their poetics. Koroleva’s historicism is noted for combining scientific (in particular, archeological) knowledge, religious and philosophical experience and an artistic intuition of the writer. The author’s relationship with Catholicism are defined by complexity and ambiguity – from absolutization to undermining of the Christian dogmas and appeal to the history of religious heresies (like the Cathars, Albigensians). Koroleva organically connected Christian mythology with the European cultural tradition as its integral part and understood Christianity as a fundamental basis for the European spiritual and cultural values. The writer’s beliefs in the interaction of history, religion, culture and literature affected a number of her literary texts, many of which are based on gospel stories, medieval mysteries and folk legends. Each of the mentioned works of Koroleva is perceived as a holistic artistic phenomenon linked to her other works and created on the basis of her research into ancient, medieval, and early modern history. The novel «An Ancestor» is viewed as the author’s individual-mythological vision of the family history and the work that, having absorbed various genre varieties (family chronicle, travel novel, historical novel), testified to the author’s attention to the social-cultural, historical, and religious-spiritual characteristics of a person of the early modern era. Koroleva’s novel "A Shadow’s Dream" is regarded as having a connection with the genre of an "archeological novel" ("The Emperor" by Georg Ebers is a particular example of the latter). The novel "1313" is perceived as the author’s attempt to artistically depict the motif of a man’s encounter with the devil in the moral, psychological, cultural, philosophical, and mythological contexts of medieval Europe. The historical and cultural content of Koroleva’s prose, its artistic, aesthetic and ideological potentials are additionally emphasized.

On Valerii Antoniuk’s "Testament" Choir based on Taras Shevchenko’s Poem

The purpose of the article consists in the study of modern Ukrainian composer V. Antoniuk’s reading of T. Shevchenko's program poem “Testament” using the means of musical expressiveness inherent in his individual manner with the use of the arsenal of artistic and technical tools of choral writing. Research methodology comprises a cultural approach, structural-systemic, complex and musicological analysis with generalisation of the results. Scientific novelty. Valerii Antoniuk's choral writing has been explored for the first time through the prism of the thesaurus of musical symbols and the concept of neo-romanticism (symbolism) in the context of the Ukrainian musical tradition. Conclusions. The genre of this work has been determined as “choir fresco”. The authors have found that neo-romanticism is an important component in V. Antoniuk's artistic worldview and philosophical paradigm, so the influence of romanticism poetics can be traced in the work. The archetypal images of Ukrainian artistic culture embedded in the work are analysed, which are simultaneously identified with reality, but also remain certain generalising symbols of the musical thesaurus of the author's style. The mood of the lyrical hero of the work is represented – the narrator-protagonist with the entire spectrum of his feelings, philosophical perception of the depths of the life fullness, merging with the surrounding world, feeling a part of it. The personal feelings and moods of the Ukrainian composer of the beginning of the 21st century are outlined and characterised. V. Antoniuk's understanding of the artistic and aesthetic idea, time-space, height and power accentuation of traditional singing of his native Shevchenko region by birth and origin, conglomerated with the means of modern compositional technique, revealed a deep level of the artist's individual mentality, which vividly certifies the ontological genesis of his creative identity.
 Key words: mentality, image, symbolism, thesaurus, choir fresco, shevchenkiana.

Synthesis of Development of Book Graphics and Design in Ukraine

The purpose of the study is to systematise and generalise information on the synthesis of the development of book graphics and design in Ukraine. Research methodology. The study used a comprehensive approach due to the need to use the comparative historical method, which records the similarities between cultural phenomena as evidence of their common origin. It became necessary to apply a cultural methodology that includes a socio-cultural approach, is important for our research because it focuses on the unity of culture and sociality, taking into account the scientific achievements of the complex of design sciences, cultural studies, ethnography, psychology, and history. Scientific novelty. The publication examines the design of the Ukrainian book, which as an artistic phenomenon has been studied by researchers rather cursorily. Conclusions. A technologically advanced product of the bookmaking industry of Ukraine, which is characterised by high-quality book and graphic illustration, is the result of a complex interaction of excellent factors, which are artistic and socio-cultural. At the beginning of the twenty-first century, there was a transition from classical forms of book and graphic illustration to electronic design and dynamic computerisation of all operations in the design and printing of books of various forms and genres. The transition of industrial society to the information society, accompanied by widespread Internet globalisation, has been directly reflected in the worldview and techniques of graphic artists and book designers. In view of the above, these circumstances have led to the reformatting of the book design industry, strengthening the importance of the designer in the status of co-author of the book, which has ensured that printing has reached new standards and will further contribute to the development of book publishing in our country. Combining the achievements of book graphics and design allows us to create a professional and unique artistic product (with the active use of technological achievements in computer processing and high-quality typography). Drawing on archaic and innovative forms of Ukrainian book graphics, contemporary designers create artistically perfect and highly functional designs. Key words: graphics, graphic art, book graphics, graphic design, designer, project graphics, design, artistic and decorative means, publishing, synthesis.

"Ten solosingings to poems by Japanese poets…" by Valeriy Antonyuk in the context of ethno-cultural dialog

The aim is to clarify the specifics of the synthesis of music and words in Valeriy Antonyuk’s vocal cycle "Ten solosingings to poems by Japanese poets of the XVI-XVII centuries translated by Mykola Lukash" for soprano and piano. Addressing this issue involves accomplishing the following tasks: researching this vocal cycle in the light of ethnocultural dialogue; to carry out an analysis of the structure and figurative content of the poetic texts of Japanese classical poets translated into Ukrainian by M. Lukash; to reveal the features of the composer's handwriting, which determine the peculiarities of the creation of images through the synthesis of music and words. Methodology. To achieve the goal and solve the tasks, we apply a cultural approach and use structural-systemic, musicological, complex methods and generalization of results. Conclusions. We made an attempt to research the vocal cycle "Ten solosingings to poems by Japanese poets of the XVI-XVII centuries translated by Mykola Lukash" for soprano and piano in the light of ethnocultural dialogue. Joint efforts were aimed at identifying common emotional and figurative vibrations and creating a musical work that, using modern musical means, illuminates the aesthetic, philosophical and artistic worldview of haiku poems with their reinterpretation, touching on the Ukrainian mentality.

ABOUT THE PORTRAIT OF V. V. STASOV BY I. YU. REPIN FROM THE COLLECTION OF THE KHARKIV ART MUSEUM

TIn 1907, the collection of the Kharkiv Art and Industrial Museum received a portrait of V. V. Stasov from the author. The portrait was written by I. Repin in 1905 in Penaty. This was the last portrait of Stasov, created by Repin from life. A portrait from Kharkiv collection completes the series, which includes several pictorial images. These are portraits of 1873; 1883, created in Dresden during a joint trip of the artist and critic to Europe; 1889–1890 – in a red shirt; 1900 – in a fur coat. It is worth noting that out of five picturesque portraits, three are costumed, specially conceived as “portraits with disguises”. Why did the artist need this masquerade? What does this portrait say about Repin’s personality and Repin’s work? The history of the creation of this portrait is considered in two contexts: firstly, those artistic tasks that the artist solved in the whole series of the mentioned images of the critic; secondly, in the biographical context of the relationship between the artist and the critic for more than thirty years. It is shown how, from the first to the last portrait, the trajectory of the artist’s exit from the influence of the critic’s ideas and his acquisition of his own views on art is outlined. In accordance with this, the composition of the work changed from portrait to portrait, in which the artist’s arbitrariness in solving the image of the critic is increasingly manifested. Deciding on the composition of each of the portraits, Repin at least demonstrates how in his work there was a transition from complete immersion in the content of the critic’s monologue to their dialogic relationship and departure from Stasov’s postulates as his own artistic worldview was formed. The authors defend the point of view on the portrait of Stasov from the collection of Kharkiv Art Museum as an outstanding work of the late period of I. Yu. Repin, who still needs to be deeply researched.

Prose of Russian Emigration Writers (V. A. Nikiforov-Volgin, I. A. Bunin, B. K. Zaitsev) in Context of Ivan Ilyin’s Religious-Philosophical Thought

The authors of this article aim to contextualize the religious-philosophical ideas of the prominent philosopher of Russian emigration, Ivan Ilyin, with the prose of Ivan Bunin, Boris Zaitsev, and Vladimir Nikiforov-Volgin. The novelty of the research lies in identifying the typological correlation between Ilyin’s ideas about the essential characteristics of national character, manifested in the pursuit of perfection, and the artistic worldview of Russian writers who interpreted life in Russia during periods of social upheaval. The introduction of the insufficiently studied phenomenon of Vladimir Nikiforov-Volgin’s creative work into the field of prose by well-known authors is also an aspect of the novelty of this work. The analysis confirms that the writers perceptively revealed, through various life circumstances, often critical, the ability of people, regardless of their social status or age, to exhibit traits of Christian mercy and selflessness. Equally significant is the ability of individuals to live with a sense of light from Christian faith, despite external circumstances, and to transmit this feeling to others. Actions based on “virtues of the heart and conscience” — these most valuable principles of life according to Ilyin’s thought — are multifacetedly reflected on the pages of the works presented here.