Creative Heritage Research Articles

ВКЛАД НИКАНОРА (БРОВКОВИЧА) В ФОРМИРОВАНИЕ ТРАДИЦИИ «ПРАВОСЛАВНОГО ФИЛОСОФСТВОВАНИЯ»

The article analyzes the creative heritage of the Orthodox philosopher Nikanor (Brovkovich). He sought to create a type of philosophy in which, on the basis of theocentrism, distracted-contemplative and vital-practical principles were combined, old scholastic metaphysics was overcome. Orthodox thinkers are indicated, whose views are correlated with the "positive philosophy" of Nikanor, a justification for the similarity of their theoretical provisions is given.

Отражение художественной жизни Сибири в публикациях Г. Н. Потанина по вопросам искусства

The article analyzes the literary and journalistic activities of the key pre-revolutionary period for the city of Tomsk, the ideologist of Siberian regionalism, ethnographer and public figure Grigory Nikolaevich Potanin, concerning the regional aspect of artistic life. The materials of pre-revolutionary periodicals are used as sources. The author sets himself the task of identifying the features of G. N. Potanin ideas on Siberian regionalism (a local variant of regionalism) in texts on issues of art. It is noted that in his texts Grigory Potanin is trying to systematize the artistic heritage of Siberia, singles out the names of famous painters who came from the region, analyzes the creative heritage of Vasily Surikov. Grigory Potanin insists on the need to create art galleries in the region and regularly hold exhibitions of paintings, graphics and sculpture in order to increase the level of artistic taste among the population, and as a result, general education. The author also mentions that Grigory Potanin pays attention to the work of not only professional artists, but also masters of arts and crafts, urging the motifs drawn from local flora and fauna in ornaments. Being an ethnographer, Grigory Potanin does not miss the opportunity to talk about the life of the indigenous population of Altai on the examples of a number of paintings and graphic works by local artists, such as Grigory Gurkin, Lidia Bazanova and others. Accordingly, the great importance of Grigory Potanin contributes to the development of the local intelligentsia in Tomsk, largely linking the factors influencing this process with the establishment of higher educational institutions in the city. The ideologist of regionalism considers it necessary to culturally bring the commonalty and the intelligentsia closer together and zealously experiences the outflow of the intelligentsia from the city. It can be stated that the ideas expressed by Grigory Potanin on the pages of the Tomsk press had a huge impact on his contemporaries. Perhaps, in other historical circumstances, the regional ideology could take deeper roots in Siberia. Today we can only respect the literary heritage of Grigory Potanin and keep the memory of him as a man who sincerely loved his native land and sought to enrich it culturally.

Новая книга о творческом наследии Ф. М. Достоевского в восприятии его современников

This review examines a new in-depth study of the perception by contemporaries, both literary critics and readers, of a complex and multi-colored picture of the existence of the creative heritage of F. M. Dostoevsky. The author of the review notes the source base of the study under consideration, emphasizes the breadth of views of the authors of the book, their constant desire to understand the writer in his main ideas and the smallest observations. The assessment of literary criticism in the new edition becomes the reason and basis for identifying Dostoevsky’s place in public and literary life. Presenting the book, the author of the review describes its main sections, pays special attention to the names of forgotten writers and publicists, the movement and polarization of criticism.

Пародия как способ осмысления творческих поисков Бенджамина Дизраэли

The article is devoted to the study of the experience of parodic comprehension of the artistic discoveries of Benjamin Disraeli (1804–1881), an outstanding British statesman and talented writer, one of the founders of the socio-political novel genre in world literature. In the context of intensive study of the political activity and creative heritage of Disraeli, the parodic interpretation of the artistic reality of his novels in the work of the American writer Francis Bret Harte (1836–1902) is of particular interest. The critical and cognitive potential of Bret Harte's parody “Lothaw” from the series “Condensed Novels” is explored. The main methods of this research are cultural-historical, comparative-historical and intertextual analysis methods, as well as a receptive aesthetics method and biographical commentary.

АПОФАТИКА РУССКОЙ КУЛЬТУРЫ: ТРАДИЦИИ СКОМОРОШЕСТВА В СТИХОТВОРЕНИИ С.А. ЕСЕНИНА «Я ОБМАНЫВАТЬ СЕБЯ НЕ СТАНУ…»

The object of the article is the tradition of buffoonery in Russian culture. The subject of the research is the ambivalent image of dusk, the phenomenon of twilight in Russian poetry, which is associated with inverted reality, the antithetic world. The material for this article is represented by the creative heritage of S.A. Yesenin who is rightfully considered to be one of the best folklore poets of the early 20th century. The cultural-philosophical analysis is centred on a poem from the cycle “Moskva Kabatskaya” [Moscow of Taverns], namely “I will not deceive myself...”. This poem is internally structured according to the principle of interaction between two types of reality in art – the phenomenal and the noumenal, the rational and the spontaneous. Much attention is paid to the problem of transformation of the buffoonery tradition in the poet’s works, the latter being associated with the image of murky heart, nocturnal light denoting the inverted reality, the ritual chaos. The paper explores the phenomena of gloom, of vespertinal and unfading light which are linked with the antithetic world, i.e. with inverted reality and the thanatological text of culture. The research methodology involves the holistic ontological-hermeneutic analysis of S.A. Yesenin’s poetic texts. The research results may be of interest for philologists tending to include literature in the space of a great dialogue of cultures and may also be used in courses on cultural studies and Russian philosophy.

КіноСковорода: кінематографічна актуалізація біографії

The article concerns the relevance of the issue of genre heredity between literature and cinema. The cinematography actively turned to the genre of biography even in the first decades of its development, in the era of the silents. It did not disappear from the view of cinematographers throughout the 20th century. Recently, this genre has been activated both in cinema and on television, which increased the interest of researchers. Hence, the receptive problematics of the Ukrainian philosopher, theologian, poet and teacher Hryhorii Skovoroda’s biography (1722–1794) is analysed in the cinematographic discourse. It was noticed that the figure of the outstanding philosopher did not attract the proper attention of cinematographers either in Soviet period (only one feature film and one documentary film were shot) or in the time of Ukraine’s Independence. However, even those few films only partially represent the “Ukrainian Socrates” to the viewer. It is stated that documentary production, in contrast to the feature films, is represented by a number of films about Hryhorii Skovoroda, which, of course, differ in their quality and creative potential. However, having an aesthetic and cognitive value, they all present a certain way of processing biographical material (letters, memories, stories of contemporaries), his writings and creative works (philosophical, literary, musical works) and perform an important function of popularizing this outstanding personality and his creative heritage. It is concluded that the cinematographic actualization of the philosopher’s biography and works in recent decades is due to the new historical situation, to the desire to perceive his legacy in a new light, to debunk the existing biographical myths. Skovoroda’s philosophical ideas not only remain relevant in the 21st century, but also appear as markers of Ukrainian identity in the modern reality.

Михаил Меньшиков и Яков Полонский: история взаимоотношений

Due to the close attention of many researchers to the crisis period, a turning point for the Russian society of the late 19th – early 20th centuries, at the present stage of the humanities, it has become necessary to study in detail the biography and comprehend the creative heritage of the outstanding Russian journalist and critic M.O. Menshikov (1850–1918). The author provides previously unknown insights into the life and work of the popular publicist – the relationship with Ya.P. Polonsky. Based on the extensive material of Menshikov`s articles and diary, as well as his correspondence with Ya.P. Polonsky and the works of the poet, the point that Polonsky, in 1891–1898, contributed to Menshikov's gradual shift to conservative ideas, is conceptually substantiated. The Russian poet, with his letters, remarks during communication, advice, reaction to the texts of the publicist influenced his worldview and spiritual growth, contributed to the formation of conservative ideals in his work. Menshikov defended the European liberal ideals in the rather controversial article “Two Truths” (1893) written about Polonsky’s poem “Dogs”, but in his obituary dedicated to the poet (1898) he appeared as the heir to the conservative Russian tradition.

ТВОРЧЕСКОЕ НАСЛЕДИЕ МОЛЛАНЕПЕСА В МУЗЫКАЛЬНОМ ПРОЧТЕНИИ ТУРКМЕНСКИХ КОМПОЗИТОРОВ

Статья посвящена проблеме претворения творческого наследия туркменского поэта-классика Молланепеса в народной музыке и в произведениях современных национальных композиторов. Музыка туркмен всегда развивалась в неразрывной связи с поэзией. Пример тому творчество Молланепеса - непревзойденного певца любви. Его литературное наследие не теряет своей ценности и в современную эпоху. This article is devoted to the problem of implementation the creative heritage of the Turkmen classic poet Mollanepes in folk music and in the contemporary national composers. The music of the Turkmen has always evolved in an inextricable connection with poetry. An example of this is the unsurpassed singer of love. His literary heritage does not lose its value in the modern era.

Hryhoriy Skovoroda and Taras Shevchenko: the problem of intellectual inheritance in modern understanding

The purpose of the article is to study the problem of the inheritance of the worldview of Hryhoriy Skovoroda and Taras Shevchenko based on the historiographical tradition and creativity of the two thinkers. The research methods are personalistic, comparative-historical and historical-typological. Sources of the article: intellectual heritage of outstanding Ukrainian thinkers and works of modern Ukrainian historiography. The main results are that the author considered the significance of the work of Hryhoriy Skovoroda on the formation of the personality of the Ukrainian poetic genius Taras Shevchenko, delved into the problem of the continuity of the Ukrainian intellectual tradition, traced the hereditary connection of the creative output of the two mentioned intellectuals, which binds the late baroque, pre-romantic, romantic and realistic heritage of Ukrainianness into a single axis. It is shown that Ukrainian national historiography of the second half of the 19th and early 20th centuries did not yet make the intellectual heritage of Hryhoriy Skovoroda and Taras Shevchenko the subject of her research, but began to understand these figures within the limits of one typological intellectual series, in the context of two different but adjacent stages of Ukrainian national and cultural revival. It is indicated that the problem of comparative analysis of two geniuses of Ukrainian culture was not considered a priority in Soviet historiography. It is proved that modern Ukrainian historiography lays the foundation for understanding the intellectual legacy of H. Skovoroda and T. Shevchenko, typologically common and distinctive features of two outstanding representatives of Ukrainian intellectual thought are shown. Concise conclusions. Based on the analysis of the works of Ukrainian authors and the work of these two great Ukrainians, there are reasons to say that the work of H. Skovoroda had a certain influence on T. Shevchenko, who at one time got acquainted with the legacy of his predecessor, although not in full. However, one should not exaggerate this influence due to the fact that two Ukrainian figures lived and worked in adjacent, but different historical periods: H. Skovoroda – a bright representative of the late Ukrainian baroque, and T. Shevchenko – an outstanding representative of Ukrainian romanticism and realism. Despite the differences in linguistic and literary aspects, peculiarities of self-awareness, these titans of Ukrainian culture formed one intellectual axis, the fundamental foundations of which were anthropology and сhristocentrism; desire for freedom (will); to the emancipation of the individual through dignity, reason, love; to the establishment of a more harmonious and fair society (for H. Skovoroda, this is the idea of the «Mountain Republic», and for T. Shevchenko – the idea of a «free, new family») based on a humanistic, philanthropic principle; awareness of one's, Ukrainian, love for one's native land and denial of the Russian, autocratic, despotic and tyrannical principles of building society. The spirit of universal human values, Ukrainian-loving and people-loving beginnings in the life and work of H. Skovoroda influenced the formation of the humanistic and national outlook of T. Shevchenko. The practical significance of the article is that this intelligence may be of interest to historians, young scientists and students in the process of studying the intellectual history of the «Ukrainian 19th century». The originality of the article lies in the understanding of insufficiently studied aspects of the intellectual heritage of H. Skovoroda and T. Shevchenko. Scientific novelty in the comparative and typological understanding of the creative heritage of the mentioned Ukrainian thinkers. Type of article: theoretical.

Institute of Joint Committing of a Crime in the Creative Heritage of Forensic Scientists of Pre-Revolutionary Russia (the Last Quarter of the XVIII — the First Half of the XIX Century)

The article considers the genesis and formation of the institution of joint committing of a crime in the works of domestic scientists in the field of criminal material law in the last quarter of the 18th – first half of the 19th centuries. Based on the analysis carried out using specific historical and comparative research methods, similarities and differences in the researchers’ views on the basic provisions of the confluence of several persons when committing the same crime are revealed. The formation of the terminological apparatus, scientific approaches to the identification of types of participants, the differentiation of their functions are made. Researchers’ attempts to distinguish also forms of joint participation in the committing a crime along with the types of participants are obvious. In addition, a tendency to formalize, in addition to complicity, other forms of joint criminal activity is revealed. The authors conclude that all the constituent elements of the institution of joint committing a crime initially receive different terminology. The approach of Russian criminologists to determine the essence of the confluence of several persons in the committing a crime is ambiguous. According to the point of view of some scientists, this is a special type of crime (criminal activity), according to others, it is a special kind of interaction of several persons in the committing a crime. However, there are also unifying moments in the studies of Russian scientists: almost all of them explore the issues of the grounds for punishment for the joint committing a crime by different participants. In addition to complicity, other forms of joint committing a crime are identified, for example, such as involvement. Although, the figures of involved are not clearly separated from the accomplices of the crime.

History “for the People”: M.Kostomarov’s Creative Heritage in the Context of Cultural and Enlightened Reading Proposals in the Second Half of the Nineteenth - the Beginning of the Twentieth Century

History “for the People”: M.Kostomarov’s Creative Heritage in the Context of Cultural and Enlightened Reading Proposals in the Second Half of the Nineteenth - the Beginning of the Twentieth Century

The Authentic D. N. Mamin-Sibiryak: Publication Principles and the Reception of the Writer’s Oeuvre

The editions of D. N. Mamin-Sibiryak’s works published so far, including the most representative 12‑volume collections, do not give a complete idea of the creative heritage of the writer. The article focuses on the problems of publishing the Complete Works of Mamin-Sibiryak in 20 volumes conceived based on the Bank Kulturnoy Informatsii publishing house in Yekaterinburg and carried out by the efforts of the research team of the Department of Russian and Foreign Literature of Ural Federal University in collaboration with the Centre of Russian Literature of the Institute of History and Archaeology of the Ural Branch of the Russian Academy of Sciences. The author of the article considers three large sets of problems in the realisation of the project. Firstly, they concern the principles of arranging works in separate volumes. As is customary with complete collections of works, the chronological principle functions as the dominating one but with indispensable consideration of the genre-generic specifics and Mamin’s characteristic tendency to cyclising minor prose genres. The author examines issues related to the typology of documentary and journalistic works and their differences from purely fiction texts and topical issues behind the representation of the writer’s epistolary heritage in the planned edition. Secondly, the author singles out the complexities of the textological order in a separate group examining problems of attribution of unknown texts by Mamin-Sibiryak. He also considers the problems of working with the literary texts published in the writer’s lifetime under different names and in different versions and editions. Special attention is paid to the problem of the author’s punctuation, which is significant in terms of editorial practice. Thirdly, the article considers problems of commenting and reception of Mamin-Sibiryak’s oeuvre. The author provides a typology of comments to the planned scholarly and critical publication highlighting textual, historical, literary, and linguo-culturological comments. It is noted that the issues of reception of works of art – primarily in terms of their problems and poetics – should take their rightful place in summary articles for each volume. Finally, the article provides a list of a few promising projects, for example, the Reference Dictionary (a preliminary work for the future Mamin Encyclopaedia), the virtual scholarly laboratory Mamin-Sibiryak: Materials and Research which should be considered a necessary incentive and a logical consequence of work on the complete works of the writer.

ORIGINALITY AND DISTINCTNESS OF THE PHILOSOPHY OF HRIHORIY SKOVORODA

The article analyzes the assessment of the philosophy of Hrihoriy Skovoroda, which does not fit into the traditional historical and philosophical image, based on the method of philosophizing of the Western European philosophy of the New Age. The reasons for different, often mutually exclusive, versions of the interpretation of the Ukrainian thinker's philosophy are determined. It is proved that the philosophy of H. Skovoroda is a unique example of syncretism of the original philosophical system and his own life position in. At the core of H. Skovoroda’s of world understanding is "eternal philosophy" as wisdom. The aspiration of G. Skovoroda was not the discovery of some new principles or the creation of an original and in some ways significantly different from all other philosophical system, but familiarization with the higher truths of being for their practical implementation in everyday lifeIt is shown that the philosophy of H. Skovoroda opens before us a holistic vision and perception of everything that exists, which is lacking not only for modern people, but also for modern "professional philosophy". The power and significance of the original creative heritage of the thinker for Ukrainian philosophy is revealed in the context of the ideas of antheism, cordocentrism and deep existential motives.

Socio-Cultural Aspects of Representing M. P. Hlushchenko`s Cultural Heritage

The purpose of the article is to reveal the regularities of socio-cultural and art history activity formation in the context of researches and representations of M. Hlushchenko`s tangible cultural heritage. The research methodology is based on cultural-historical, analytical, synthetic, and comparative methods to outline similarities and highlight differences in processes of socio-cultural activity related to M. Hlushchenko’s figure, artistic work, and personal archive. The scientific novelty. Based on the analysis, synthesis, and comparison of the main exhibitions, publishing projects, and journalistic activities dedicated to the 120th anniversary of Mykola Hlushchenko, the priority vectors of specialists’ activities in socio-cultural sphere have been identified. Dependency of socio-cultural activities in process of representing the M. Hlushchenko`s cultural heritage has been detected through the cultural-historical method in accordance with public needs. Conclusions. For 30 years since Ukraine regained its independence, the tradition of presenting socio-cultural projects for artist's anniversaries, probably borrowed from the Soviet times, has been established. In other words, the actualisation of M. Hlushchenko’s cultural heritage takes place cyclically, every five years. Today, the number of open, but still unexamined archival documents is growing every year, and mostly they are included in the scientific circulation without proper systematisation and processing. Traditionally, exhibition activity, namely the demonstration of some individual pieces of M. Hlushchenko's creative achievements, occurs at regional level. The main scientific investigations of M. Hlushchenko’s heritage has been carried out in related scientific fields, such as history, cultural studies, and archival work. Research activities are held by scientists insufficiently, accordingly, M. Hlushchenko’s cultural heritage still remains understudied, although it occupies an exceptional place in the history of Ukrainian art of the 20th century and deserves special attention and more detailed modern art research. Currently, we consider that the most significant contribution to research and representation of M. Hlushchenko’s cultural heritage in the field of socio-cultural projecting is publication of information with limited access, in particular archival documents and artistic works. Key words: Mykola Hlushchenko, Nicolas Gloutchenko, socio-cultural projecting in art, tangible cultural heritage, creative heritage, artistic work, 20th Century Modern Ukrainian Art, Dnipropetrovsk Art Museum, Dnipro Art Museum.

ЕErnest Chausson: periodization of artistic path in the context of the style formation

Statement of the problem. In the history of French music the work of Ernest Chausson (1855–1899) played a connecting role between the late romanticism of S. Franck and the early impressionism of C. Debussy. The personality and work of the French composer are sufficiently deeply studied in European and American musicology; it is natural for Ukrainian researchers to join the process of this study. Despite the outstanding importance of the composer’s work in both French and world music, there are no problematic studies devoted to the study of his legacy in domestic science. The music of the French master, in particular, vocal music, remains little-known in Ukraine. One of the debatable issues of studying the work of E. Chausson is the periodization of his legacy, since the discrepancies existing in the works of researchers hinder the understanding of his creative evolution. After all, the chronological distribution of the artist’s work takes into account complex historical, socio-psychological and artistic processes, as well as the specificity of his creative method and related stylistic changes. The purpose of the article is to summarize the known periodizations of E. Chausson’s work and to develop synthesized one in order to remove existing disagreements. Solving this innovative task required the study of a number of works of foreign scientists using historical, historiographical, comparative approaches, as well as genre and style analysis when referring to the creative work of E. Chausson.Information on the periodization of E. Chausson’s creative heritage is provided both by encyclopedic publications (Warszawski, 2005; Latham, 2009, etc.), and by some scholars who refer to the music of E. Chausson (Chiang, 2006; Moroncini, [2022]; Hanon, 2022). At the same time, certain chronological differences can be traced in the information provided by scientists. Results and conclusions. The application of the basic position of domestic musicology regarding the change of the “intonational image of the world” as a criterion for distinguishing historical periods (Chekan, 1997) and the experience of foreign scientists made it possible, as a result, to prove the feasibility of dividing E. Chausson’s work into three periods: early (1877–1886), where tangible lateromantic influences of J. Massenet, S. Frank and R. Wagner, middle, mixed, (1886–1889), marked by the interaction of late-romantic and impressionistic traits, and the final (1889–1899) stage of formation of the composer’s individual style. Such a periodization, without excluding existing ones, will contribute to a clearer understanding of E. Chausson’s creative evolution, which should facilitate the work of a musician-performer.

Panteleimon Kulish’s Scientific and Creative Heritage in Digital Funds of Ukrainian Libraries and Archives

The purpose of the study is to examine the activity of libraries and archives as social memory institutions in digitising process of the scientific, creative, and epistolary heritage of the Ukrainian culture outstanding figures, in particular Panteleimon Kulish, who was the most prominent representative of the "new Ukrainian intelligentsia" of the 19th century, which stood at the origins of the Ukrainian cultural regeneration. The research methodology has been based on the information-analytical method, objectivity principle, informational and complex approaches. Scientific novelty. The dissemination of biographical knowledge about P. Kulish in modern biographistical and biobibliographical studies through creating online exhibitions based on digitised information sources about the life and work of P. Kulish is available in scientific practice and posted on the websites of archives and libraries of Ukraine. These include the books published within the writer’s lifetime, publications that have long been considered as bibliographic rarities, copies of the “Osnova” (“The Foundation” journal)) recognised as national cultural property, as well as P. Kulish's correspondence with contemporaries have been impartially explored from the scientific objectivity and Panteleimon Kulish digital personal funds popularisation points of view. Conclusions. Modern perspective directions of Ukrainian libraries and archives practice related to the reproduction of information sources about P. Kulish in digital formats with the help of informational and communicational technologies in online exhibitions enable the implementation of the created integrated information resource into the global humanitarian practice space; as well as the captivation of users wide range and their involvement into the social memory institutions. Key words: Panteleimon Kulish, P. Kulish’s scientific and creative heritage, P. Kulish’s epistolary heritage, National Archival Fund, Ukraine. digitalisation, Internet.

The Mirror of Science

Turn to the life and work of outstanding scientists and citizens of our country – academicians P. L. Kapitsa, V. A. Koptyug, N. L. Dobretsov – allows the authors of the article to identify the prominent role of the leaders of national science against the backdrop of crises, including era of fundamental changes in the country and society. What ideas regarding the organization of scientific research were put forward by them and were implemented, what is the role of the state in the life of the scientific community? The authors of the article reflect on this and other issues of national science, relying on the creative heritage of its leaders.

Theoreticalunderstandingof «choregraphicculture» conceptinscientificdiscourse

The purpose of the article is the theoretical understanding of the «choreographic culture» concept in scientific discourse. Research methodology. The method of system analysis has been applied to study choreographic culture and its understanding as a unique cultural phenomenon; the method of terminological analysis of concepts has contributed to the understanding and comprehension of the content essence of the definition of the concept of «choreographic culture». Scientific novelty. A conceptual understanding of the author's definitions of the concept of «choreographic culture» presented in the scientific works of leading foreign researchers has been carried out; essential features of the concept of «dance», starting from antiquity to the 17th century; its transformation has been analysed in the context of the development of folk choreographic culture of Ukraine in the 20th-early 21st centuries. Conclusions. The analysis of research on the problems of choreographic culture proves that it is characterised as a complex concept with the inclusion of scientific records of dances, creative personalities (directors, artists, teachers, art critics, musicologists, and theatre critics) inherent in the art of choreography. The study has revealed that in the scientific dimension of the XX–XXI centuries. most of the works are devoted to the stages of the formation and development of Ukrainian choreographic culture, its role in the preservation of national cultural values, the generalisation of the creative heritage of outstanding ballet masters, the regional specificity of Ukrainian folk dance, and an attempt to introduce the concept of «choreographic culture» into the scientific discourse. It can be noted that the development of choreographic culture invariably involves constant updating of theoretical analysis and the establishment of new aspects of understanding its specificity at the request of modern cultural processes.
 Key words: culture, choreographic culture, choreographic art, theory of choreography, history of choreographic culture, outstanding representatives of choreographic culture and art, dance.

Псалтирь царя Давида Симеона Полоцкого в контексте паралитургической и парафрастической традиции XVI–XVII вв.

The collection of poetic translations of King David’s Psalms, compiled by Symeon of Polatsk, is usually used in the scientific discourse under the descriptive title Psaltir’ rifmotvornaya. In this article, King David’s Psalter (1680) of Symeon is considered not in the context of the poet’s entire creative heritage, but in terms of the evolution of the European book tradition of paraliturgical discursive psalmic practices and the poetic paraphrase of the psalms, beginning with the German poets of the Renaissance Helius Eobanus Hessus and Ioannes Mylius Libenrodensis. Not only the artistic experience of Western and Central Europe but also of the Grand Duchy of Lithuania is taken into account. Addressing the broader historical context allows us to move away from traditional scientific discussions about the degree of influence of Jan Kochanowski’s poetic paraphrases of psalms (Psałterz Dawidów, 1578) and to more adequately appreciate Symeon’s merits in the field of cultural transfer. The King David’s Psalter of Symeon is evaluated as a result of the interaction of the European book tradition of creating poetic paraphrases of biblical texts and the East Slavic singing culture. The functioning of this culture from the end of the 16th century and especially in the 17th century was greatly influenced by Polish spiritual songs (first of all, the poetic paraphrases of the psalms of Jan Kochanowski), as well as by the increased interest in polyphonic singing thanks to Nikolai Diletsky.

ВЕРСАТИЛЬНІСТЬ ТВОРЧОСТІ ДЖ. ВІНДЕМА

The article deals with polyvalent nature of artistic narrative of a famous English science fiction writer John Wyndham. This research pursues the goal of providing a systematic and analytical overview of the creative heritage of the author, which involves an emphasis on the periodization of his writing activity. The last decades are marked by isolated, but important scientific and popular scientific works, which were written both by compatriots of the writer and by foreign researchers and highlight various literary aspects of Windham's literary activity. At the same time, the analysis of Wyndham's work is practically not implemented in modern Ukrainian English studies. Moreover, one of the artist's main novels appeared in a Ukrainian translation only a few years ago, without a foreword or an afterword. In this study, an attempt was made to create a holistic view of the evolution of Wyndham's work, which reached its peak in the 1950s − a period that can be called "golden" in connection with the extraordinary productivity and, which does not happen so often, the synchronous popularity of Wells’s disciple. J. Wyndham's novels continue to attract attention of both readers and critics, both filmmakers and viewers, both voiceover artists and audiobook listeners, both translators and publishers. Such long-lasting interest is explained by the multimodality of the narrative, the originality of the plot, the versatility of the thematic complexes, as well as the writer's empathy for people and being burdened by the permanent dynamics of transformative social processes. The problem-thematic clusters represented in Windham's work are consistent with the modern age, which is filled with controversial phenomena, trends and alarming eschatological predictions. The apocalyptic spirit is as relevant to the modern world as it is to other eras whose apparent integration suffers from the threat of destabilization. Despite its immanent macabreness, Wyndham's apocalyptic-dystopian discourse is imbued with faith, hope and love – eternal values that fill existence with meaning and inspire achievement.