Ukrainian Authors Research Articles

SILHOUETTES OF ETHNIC IMAGES IN WESTERN UKRAINIAN WAR PROSE OF THE FIRST HALF OF THE 20TH CENTURY

The paper examines how the concept of Own-Other-Alien is represented in Western Ukrainian prose depicting the events of the First World War, with a particular focus on the works by Marko Cheremshyna, Vasyl Stefanyk and Tymotei Borduliak. The selection of authors and texts is determined by the objective of conducting a thorough analysis of how civilians, rather than military personnel, perceive the horrors of war. An encounter with the Other or the Alien is always a challenge to one’s identity determined by different worldviews and cultural traditions. Western Ukrainian authors do not exaggerate antagonisms and conflicts but note that the opposition among the components of the mentioned triad deepens. The Alien is portrayed as a source of constant danger. Alienation is primarily intercultural differences causing misunderstandings and challenges that cannot be eliminated or at least mitigated. The paper highlights processes of apprehending the Other, differentiating One’s Own and the Other, and recognizing One’s Own in the Other. The miseries of war can dramatically change people's behavior, especially when it comes to choosing between life and death. The war causes a change in the moral and ethical scale of values: as a result, the world that was native yesterday may also become the space of the Other or even the Alien, and it may be increasingly difficult to find One’s Own in it. As shown by Marko Cheremshyna, Vasyl Stefanyk and Tymotei Borduliak, the process of alienation from one’s native can be based either on the desire to survive, or on old and deep personal grievances. The writers avoid idealization of self-images, recognizing that lowering the moral scale can lead to alienation and pose a threat to the Own.

The Typology of Poetic Text Comprehension

The purpose of the research is to assess the relevance of the research of psychological features of understanding contemporary poetry by future philolo-gists on the basis of questionnaires; to propose the levels of understanding the text.methods of the research. The following theoretical methods of the re-search were used to solve the tasks formulated in the article: a categorical me­thod, structural and functional methods, the methods of the analysis, systemati-zation, modeling, generalization. The method of organizing empirical research was used as the experimental method.the results of the research. Future philologists of all courses show a signifi-cant level of interest (50% – 55%) according to the poetry of Ukrainian authors, prose writers through watching TV shows and reading periodicals. In the condi-tions of contemporary higher education the ability of students to acquire know­ledge independently in the connection with the introduction of the competence approach provided in education plays a special role. We proved, that 66%–70% of respondents had tried to comprehend a poetry of their own form and the form having been explicated their own impression of what they had already read; 31% of students of the 1st and the 2nd courses and 28.6% of students of the 3rd and the 4th courses had had a high level of the interpretation of the teacher’s activity. Thus, a great number of students have the awareness of the need to indepen-dently form the opinion about what they have read.conclusions. In the typology of text comprehension we have found four levels. Each previous level is an indispensable condition for the existence of the next one. At the first level only the substantive content of the text is conveyed, which does not provide the necessary understanding of it. The second level of un-derstanding is commentary one. Understanding the text at this level means not only being able to retell the first text with other language units, but also to com-ment it from the point of view of the context. The third level of understanding is the interpretation of the text (philosophical, historical­literary, psychological, etc.). This task is to master deep meanings. The fourth level of understanding is a methodological one, where the contradictions that are arisen at the previous level are resolved

АСОЦІАТИВНО-ОБРАЗНИЙ ПАРАЛЕЛІЗМ В УКРАЇНСЬКОМУ СОНЕТНОМУ ТЕКСТІ

The article highlights the issues of compositional and figurative-content organization of parallel structures in the system of the sonnet text, the peculiarities of the inclusion of such structures in the overall compositional context, their dominant role in the development of the artistic whole. Despite the fact that parallelism forms of poetic texts (from folklore to texts by modern Ukrainian authors) have repeatedly attracted the research attention of both linguists and literary scholars, the sonnet poem, in fact, has not yet been studied in this aspect. At the same time, the strophic structure itself, its intracompositional organization, as it were, prompts a consistent (parallelism) understanding of the considered phenomena and events with the corresponding elements of exposition, connection, and denouement expected by the classical construction at its final point of the sonnet lock, which, after all, implies analysis in the dynamics of associative-figurative interrelationships of a complete work of art. In the proposed article, the phenomenon of parallelism is understood in the dynamic system of the sonnet text, represented by a wide range of authors of both classical and modern literature, which allows us to trace certain typological points of the functioning of parallelisms in the sonnet work. The dynamic unfolding of associative-figurative formations is described, which are characterized by parallelism at the actual content level (with correlates: nature - man, man in relationships with socio-historical, cultural events, etc.) and at the structural level find a corresponding organization in the genre-strophic structure of the sonnet text. The main syntactic constructions (parataxis, hypotaxis) are outlined, in particular, with actualization components such as, like, as... so, etc.; attention is paid to the role of individual subject components that initiate certain parallelism models, introducing them into a wider associative-figurative context of a complete text structure.

Historical Detective Story and History as a Detective Story: to the Question of Cross-genre Synthesis

The article presents an analysis of the popular historical / retro detective genre, considered in terms of semantic fields shared with other literary genres, which for their synthesis. In particular, the motive of the activity of the past in the present and the future, present in almost all literary forms, is of a formative significance in the detective story. The plot is built on a retrospective reconstruction of events leading to a particular situation, typically a crime. This motive is crucial for historical and quasi-historical genres such as alternative history and cryptohistory, in which similar “detective” work on the reproduction of real or hypothetical events, their origins and results is carried out by the author himself and to some extent by the recipient. Such artistic research holds a significant place in the “investigation novel” genre, allowing the author to present his/her own scientifically based version of ambiguous historical material.The motive of understanding the true causes and nature of events is also present in the psychological novel, where the focus is shifted from the “external” mystery of the situation to the secrets of the depths of the human psyche. The fundamental principles of the detective genre reach considerable archetypal depth, based on such mythological and philosophical themes as the essence of time and the cause-and-effect relationships of events, the meaning of being and the essence of repentance. All this creates significant opportunities for philosophy, including historiosophical artistic research, allowing a complex synthesis of genres (most often: detective story – history – science fiction and fantasy), with extensive use of the achievements of psychological and social literature. All these forms of the artistic interpretation of the “past-in-the-future” are very relevant to the culture that is seeking new understanding of its own past and the history of international relations. It explains the relative popularity of the historical and retro-detective in contemporary Ukrainian literature.For Ukrainian authors, the second half of the 19th and the first half of the 20th centuries remains the most attractive period. The strongest points of their novels are a significant amount of historical and local history information, as well as efforts to understand (and rethink) the imperial heritage in its various forms; after all, it is not only about the Russian but also about the Austro-Hungarian empire.

Determining the Authorship of a Ukrainian-Language Literary Text by Means of Artificial Intelligence from Ultra-Short Excerpts

Purpose. The intelligent search engine Bing can be used as a method and a means of determining the author of a Ukrainian-language test. Bing helps to find information about a text fragment and its author, but the search results may be inaccurate or incomplete. The main purpose of the paper is to study the effectiveness of establishing the authorship of literary texts by state-of-the-art artificial intelligence tools based on ultra-short excerpts. Methodology. Ten Ukrainian authors with a rich body of fiction reflecting various aspects of Ukrainian culture and history were selected, as well as random fragments of 3–7 words each from different works of these authors. An experiment was conducted to determine the authorship of 2,000 fragments. Findings. Using the Python programming language and the skpy package, we developed software that sends questions and receives answers from the Bing bot built into Microsoft Skype. The answers were checked for the name of the author of the phrase and the corresponding title of the work. According to the results, Ivan Franko has the highest percentage of answers where the author's name was mentioned (65%), and Oleksandr Dovzhenko has the lowest result (23%). The answers were analyzed by the length of the fragments. Of course, the longer the length of a text fragment, the greater the likelihood of accurately identifying its authorship. Features of the author's style are manifested in 20–40 % of short fragments. The remaining 60–80% may be commonly used language constructions that the author relayed from the external environment. Originality. In this work, for the first time, the method of checking the authorship of fragments of Ukrainian-language text using the Bing bot with artificial intelligence is presented. A comparative analysis was performed and experiments were given to determine the authorship of short fragments of 3–7 words. It has been established that even quite small fragments of the text have signs characteristic of the original style of the author of artistic works. Practical value. It has been determined to what extent experts in determining the authorship of natural language texts can rely on existing state-of-the-art artificial intelligence tools in combination with an extensive database of texts in the Internet space.

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.

FEDOSIA KOSHYTS AND TARAS SHEVCHENKO’S FIRST MATCHMAKING (BASED ON LITERARY WORKS)

The paper was written on the basis of a systematic research project “Intimate and love discourses in Ukrainian literary works about Shevchenko”. The story of Shevchenko’s first matchmaking in its representation within the works of various genres had not been the subject of an in-depth study before. The paper analyzes the documentary sources and document-based literary works, which focus on the poet’s relationship with Fedosia Koshyts, and notes limited cases of the relevant facts. This situation apparently led to the expansion of conjecture operations, strengthening their role and literary functions in the works of Ukrainian authors. While analyzing the sources, it was noted that not all researchers who wrote on the topic “Taras Shevchenko and women”, in particular Yu. Kovtun in the work “Shevchenko’s Beloved Women” (2004), commented on the history of the poet’s relationship with Fedosia Koshyts. Attention has been also paid to the well-grounded paper “Love that Disappeared in a Dream” by V. Shevchuk, in which the author substantiates the opinion that the analyzed love drama left a painful mark on the poet’s entire subsequent life. This thesis of a well-known researcher is considered one of the debatable hypotheses. The stories and novels of the 1960s—2010s show a certain evolution of interpretations dealing with the intimate relations of Taras and Fedosia and reveal the role of a writer’s creative freedom. Being perfectly shaped in terms of fiction, some interpretations of the analyzed theme in the novels from diff erenttimes (the worksby L. Smilianskyi, Vasyl Shevchuk, V. Darda, Z. Lehkyi) create a vivid and psychologically convincing image of Shevchenko. The writers’ interpretation of fate and the character of Fedosia after the poet’s unfortunate matchmaking has been highlighted as well. The study also gives information about the structural features of biographical works, such as genre, chronotopic, and documentary phenomena.

THE MOTIVES OF COSMOPOLITANISM IN THE LYRICAL COLLECTION “POET, OKEAN I RYBA” AND IN THE COLLECTION OF ESSAYS “UZDOVZH OKEANU NA ROVERI” BY VASYL MAKHNO

In the article the attempt of comprehension the motives of cosmopolitanism in Vasyl Makhno`s work based on the material of the lyrical collection "Poet, okean i ryba" and the collection of essays "Uzdovzh okeanu na roveri" is made. On the basis of the texts of the collections the principles of author’s identification in the artistic world of lyrical works and essayistic texts are analyzed, based on the ideas of cosmopolitanism as universal human values that prevail over ethnic problems in the artist`s worldview. Furthermore, the origins of the idea of cosmopolitanism in Vasyl Makhno`s work are also substantiated, representing the formation and transformation of the author`s worldview as the Ukrainian author who lives on the American continent. Due to the categories of "presence" and "belonging" in place, the methods of reconstruction and reproduction of the author`s search for own identity are analyzed. In the article the topoi are examined through the category of “journey”, which are common and different in the artistic worlds of the lyric collection and the collection of essays, representing the author`s reflection through the category of "location". It is concluded that, while acting in various guises, among which the guise of "foreigner" is important, the author appears to the recipient as a cosmopolitan striving for harmony and the search for own "self". In the analyzed collections of lyric poems "Poet, okean i ryba" and the essays "Uzdovzh okeanu na roveri" by V. Makhno common and distinctive features of the reconstruction of space as a place for author`s and reader`s reflection are revealed.

Russophone literature of Ukraine: self-decolonization, deterritorialization, reclamation

ABSTRACT This article discusses sociolinguistic aspects of belonging through the phenomenon of Russophone Ukrainian authors who have either switched to Ukrainian or continued using Russian during the Russo-Ukrainian War. It draws on a survey that the author has conducted over the past several months of 30 such authors. Fifteen respondents, who during the war have opted to withdraw from their main language of creativity in favour of another, are compared to a second group of 15 respondents, who continue using Russian as their language of creativity. The article engages with these authors’ reflections and reasoning as to why they have given up (or not given up) the Russian language in favour of Ukrainian, and it offers some considerations on the sociopolitical implications of making (or declining to make) such a switch, as well as questions of self-decolonization, linguistic affiliation, and sociocultural peripheries and marginality.

ОСОБЛИВОСТІ ОРГАНІЗАЦІЇ САМОСТІЙНОЇ РОБОТИ СТУДЕНТІВ ПІД ЧАС ВИВЧЕННЯ ГУМАНІТАРНИХ ДИСЦИПЛІН В УМОВАХ ДИСТАНЦІЙНОЇ ФОРМИ НАВЧАННЯ

The article is devoted to the problem of organizing students' independent work during the study of humanitarian disciplines in the conditions of distance education. The main factors that led to the active implementation of distance education in Ukrainian higher education institutions and an increase in the share of independent work of education seekers during the study of various disciplines are characterized. The approaches of Ukrainian author to the definition of the essence of the concept of «distance learning» were analyzed, and on their basis, the author's understanding of this definition was formulated (a form of organization of the educational process, which is implemented with the help of various information technologies and involves increasing the share of independent work of education seekers during the study of program material). The essence of the concept of independent work of students as an important form of organization of the educational process in higher education institutions is clarified. The focus is on what, at the current stage, it is the main type of educational activity of students, for which no less than 1/3 and no more than 2/3 of the total amount of study time of a student allocated to the study of a specific discipline is allocated. The peculiarities of the organization of independent work by the teachers of the department of Psychology, Pedagogy and Language Training O. M. Beketov National University of Urban Economy in Kharkiv within such humanitarian disciplines as «Language training (for foreign students)», «Ukrainian language for professional direction», «Modern Ukrainian literary language», «Business Ukrainian language», «Professional rhetoric», «Scientific style language training». The main activities that are implemented in O. M. Beketov University in order to facilitate the process of independent work of students: creation of video and audio lectures, as well as slide presentations on topics studied within the disciplines, electronic correspondence, communication in Telegram, Viber, Skype applications, open access for of each student to the digital repository, which contains electronic resources, lecture notes, methodological instructions, study guides and textbooks, abstracts, dissertations, articles, etc. It has been proven that the effectiveness of the educational process in higher education depends to a large extent on the quality organization of independent work in the conditions of distance education.

The Degree of Ukrainianization and Social Relevance of the Top Youtube, Instagram and TikTok Accounts

The purpose of the article is a definition of the degree of Ukrainianization and social relevance of the TOP-10 by the number of subscribers of Ukrainian authors accounts in the most popular social platforms: YouTube, Instagram, TikTok at the end of 2022 — at the beginning of 2023 in the conditions of a full-scale war.
 The methodology. A quantitative-qualitative approach had combined the cultural interpretation of the obtained results with a qualitative content-analysis for establishing markers of “pro-Ukrainity” for TOP-10 accounts of these social platforms that included both linguistic and visual (screensaver/slogan/story), and meaningful indicators (video content). The statistical analysist had determined the percentage of compliance of the top Ukrainian profiles to these markers in November 2022 and February 2023.
 The results. It had been established that under the condition of minimum criteria (one indicator out of 3–4), the integral level of “pro-Ukrainity” of the leading profiles of social platforms popular in Ukraine was satisfactory (YouTube — 50%, Instagram — 80%, TikTok — 30%). Under the condition of a stricter approach (compliance with at least two criteria), the results were unsatisfactory. It had been determined that the dynamics of “pro-Ukrainity” in the top YouTube and TikTok profiles had not accelerated during the last three months. In Instagram, it is still remaining unchanged. The high level of Ukrainianization and social relevance of Instagram accounts had been explained by the fact that they were run by celebrities who had been long and closely associated with activities in the Ukrainian culture.
 The scientific novelty. The author’s analysis had made possible to move away from a simplified, exclusively language-related point of view on the issues under consideration.
 The practical significance. The materials of this article can be used in the scientific and public discussions.

Nonselection and Constellation: the Principles of Acentricism in Prose by Dubravka Ugrešić, Olga Tokarchuk, and Oksana Zabuzhko (in the novels «Museum of Unconditional Surrender» by Dubravka Ugrešić, «Flights» by Olga Tokarchuk, and «Museum of Abandoned Secrets» by Oksana Zabuzhko

The subject of the article is the artistic embodiment of the postmodern principles of constellation (Walter Benjamin, Theodor Adorno) and nonselection (Douwe Fokkema) in the works of prose by Slavic writers. The novels by Croatian, Polish, and Ukrainian authors — Dubravka Ugrešić’s “Museum of Unconditional Surrender”, Olga Tokarchuk’s “Flights”, and Oksana Zabuzhko’s “Museum of Abandoned Secrets” — are analyzed within comparative approach. The novelty of the study is determined by the fact that it is the first attempt to compare samples of Ukrainian, Polish, and Croatian literature in the light of the embodiment of postmodern principles of constellation and nonselection in them. The study revealed a number of formal features inherent in all three novels selected for the analysis, i.e. fragmented composition, narrative heterogeneity, multiple plotlines, and intertwining of chronotopes. At the level of content, acentric tendencies define the common for all three works emphasis on the search for meaning-making connections between random elements, attention to trifles and details as elements of the constellation structure. The motif of crossing and disappearing borders, which is realized in a specific way in the novels by Olga Tokarchuk and Dubravka Ugrešić, is eloquently acentric. The motif of crossing and disappearing borders, which is expressed in particular ways in the novels by Olga Tokarchuk and Dubravka Ugrešić, is eloquently centric. All of the works selected for analysis are distinguished by their thematic inclusiveness, which manifests itself in the actualization of the marginal, imperfect, and irrelevant: rubbish, garbage, trifles, “mistakes and dead ends of creation,” “things no one needs.” A striking manifestation of nonselection is the philosophical interpretation of rubbish presented in a postmodernist tone in the novels “Museum of Abandoned Secrets” by Oksana Zabuzhko and “Museum of Unconditional Surrender” by Dubravka Ugrešić. While Oksana Zabuzhko perceives rubbish as a trace of a person’s private life, Dubravka Ugrešić sees it as a symbol of a bygone era and a vanished country, Yugoslavia. Highlighting specific features in the realization of the universal principles of postmodernism in the works of related literatures emphasizes the peculiarity and historical background of each of them. The evidence of common philosophical tendencies and similar motifs in the analysed novels gives grounds to speak of the existence of structural and typological ties between Ukrainian, Polish and Croatian literature.

Digital poetics of contemporary Ukrainian literature: specifics of the QR code

In recent years, due to the constant need for quick access to virtual reality, the QR code has become one of the most important digital technologies. Today, it is actively used in various spheres of human activity, for example, the distribution of advertising or the creation of artistic works, including fiction books by Ukrainian authors. As a result, we can observe changes in the structure of classical literary genres and in the text itself. Thus, the relevance of the study lies in the need to comprehend the QR code as a new phenomenon in contemporary Ukrainian literature in the context of digimodernist poetics. This study aims to analyze the possibilities of using QR codes in contemporary Ukrainian literature and determine what materials they are used to access in prose and poetry. The object of the study is the collection of poems “Artery” by Dmytro Lazutkin, the novels “Radio Night” by Yuri Andrukhovych, “Footprints on the Road” by Valerii Markus (Ananiev), and “Mozart 2.0” by Dorje Batuu. The subject of the study is QR codes placed in these works. The study uses comparative, intermedial, and structuralist methods of analysis. The results of the study show that the validity of using a QR code depends on its location in the printed text, as well as on what information can be obtained by scanning it. A QR code can be printed on the front cover of a book (“Mozart 2.0” by D. Batuu), on the back cover of a book (“Radio Night” by Yu. Andrukhovych) or inside the book next to the text fragment to which it refers (“Mozart 2.0” by D. Batuu), on a page with an illustration next to a poem (“Artery” by D. Lazutkin), or as a link at the bottom of the page (“Footprints on the Road” by V. Markus). Usually, the information encoded in a QR code contains a link to a page on the Internet with additional visual, audio, or textual materials posted on it. The novelty of the research results lies in the identification of the main functions of additional materials that can be accessed after scanning a QR code in a literary work: interactive, illustrative, informative and plot-forming. Further research prospects may be related, in particular, to the analysis of the QR code as a new phenomenon in printed dramatic works, since this article has considered only prose and poetry.

ТВОРЧІСТЬ СТАНІСЛАВА ВІНЦЕНЗА В КОНТЕКСТІ УКРАЇНСЬКОЇ ПРОЗИ ПРО ГУЦУЛЬЩИНУ: ТИПОЛОГІЯ ФОЛЬКЛОРНО-МІФОЛОГІЧНОГО МИСЛЕННЯ

The purpose of the article: to research through the prism of comparative-typological characteristics the features of folklore and mythological thinking in the tetralogy novel “On High Uplands” by the Polish writer Stanisław Vincenz and Ukrainian novelists Mykhailo Kotsiubynskyi, Hnat Hotkevich, Rostyslav Yendyk and Mykhailo Lomatskyi in their works about the Hutsul Region. At the center of the study of this comparativist problem is Stanisław Vincenz’s trilogy, its content and form-creating content, its external and internal structure with a completely original author’s ideological and aesthetic consciousness. In order to analyze this work, the prose of both well-known Ukrainian writers («Shadows of Forgotten Ancestors» by Mykhailo Kotsiubynskyi and «Mountain Watercolors» by Hnat Khotkevych) and lesser-known writers («Aridnyk’s Laugh» by Rostyslav Yendyk and «Verkhovyna, you are our light...» by Mykhailo Lomatskyi) were selected. Other prose collections of Polish and Ukrainian authors are also contextually involved. Research methodology: comparative-typological, cultural-historical, biographical and hermeneutic study methods were used. Such a methodological synthesis contributes to the identification of similarities and differences in the clarification of the specifics of the folklore-mythological thinking of Polish and Ukrainian novelists in their works about the Hutsul region. The scientific novelty of the article lies in the fact that it is almost the first time that the peculiarities of the artistic thinking of Stanislav Vincenz, Mykhailo Kotsiubynskyi, Hnat Khotkevych, Rostyslav Yendyk and Mykhailo Lomatsky, connected with their use of the folklore and mythological wealth of the Hutsul Region and the Hutsuls, have been clarified. The organic fit of their prose about the Hutsul region into the all-Polish and all-Ukrainian literary process, not only of the past, but of the present, has also been proven: their folklore and mythological thinking, enriched by the literary traditions of neighboring Slavic peoples, has been projected to our days, to the creativity of modern writers. The practical significance of the research is its results, revealed on the basis of rich artistic and literary analysis, can be used both by researchers of Polish and Ukrainian literature, literary experts who study the problems of artistic thinking in the work of each of the named novelists separately.

Evolution of the concept of "cultural heritage": theoretical and methodological aspect

The article provides a historical overview of the emergence, improvement and development of the concept of "cultural heritage", and reveals the problem of its explanation. The evolution of the term and phenomenon in history and in the regulatory and legal sphere is traced. The approaches of foreign and Ukrainian authors are illustrated. The relationship between this definition and the concepts of "cultural values" and "digital cultural heritage" is determined. The dynamics in the field of cultural heritage preservation have been studied. The opinion that the modern concept of "cultural heritage" is represented by material and immaterial values, and dynamically develops in accordance with global trends, constantly absorbing new aspects is substantiated. It was noted that together with the development of "digital culture" on the technological platform, the concept of "cultural heritage" is also transformed, the vectors of transmission, means and methods of preservation, interpretation and classification of cultural heritage objects are changing.

Європейські вчені-гуманітарії у Науковому товаристві імені Шевченка: українознавчий дискурс

The article analyzes the participation of European humanitarian scientists in the scientific activities of the Shevchenko Scientific Society in Lviv (NTSh) in 1873–1939. With no independent Ukrainian state, this scientific organization was perceived in the scientific world as a substitute for the National academy of Sciences and the only all-Ukrainian center of Ukrainian studies, due to the ban to print in Ukrainian at the East of Dnipro river imposed by the Russian Empire. NTSh considered its task to declare the national self-sufficiency of Ukrainians, their history, language and culture in the world public space, to affirm the conciliarism of the Ukrainian lands, divided at that time by the border between two empires. These tasks were promoted by acquaintance with the achievements of European science and culture, establishing contacts with foreign scientists, and publishing their studies in the main serial journal “Notes of Shevchenko Scientific Society” (1892–1937), awarding the title of permanent members of NTSh to the foreign scientists with the research related to the Ukrainian question (68 members in total). The participation of European scientists in the activities of the Society is considered here, based on the materials of the “Records of Shevchenko Scientific Society” (Vol. 1–155). The articles authored by them that were published in “Notes”, as well as the reviews by Ukrainian authors on the studies of foreign scientist published in European publications, are analyzed. In discussions with foreign scientists, Ukrainian scientists defended the principal concepts of NTSh: interpreting Uk­rainians as a state nation, highlighting the history of Ukraine on the basis of archival documents, refuting the anti-scientific ideas of Russian historians who denied the autochthonousness of Ukrainians, establishing the Ukrainian language as an independent language among other Slavic languages. Correspondence of outstanding figures of NTSh, Mykhailo Hrushevskyi, Ivan Franko, Vo­lodymyr Hnatyuk with European scientists Vatroslav Yagich, Lubor Niederle, Alfred Jensen, Baudouin de Courtenay, Raymond Kindl, Volodymyr Peretz, Oleksiy Shakhmatov is interpreted as an important factor in the Society’s coo­peration with the European scientific world. Keywords: Notes of the Shevchenko Scientific Society (Notes of NTSh), European humanitarian scientists, autochthonousness of Ukrainians, conciliarism, na­tional language, M. Hrushevskyi, I. Franko, V. Hnatiuk, M. Korduba, Z. Kuzelia, V. Yagich, L. Niederle, R. Kaindl, Baudouin de Courtenay, A. Jensen, O. Brickner.

Сонет як текст

In the proposed article, the sonnet is considered as a linguistic and literary phenomenon that manifests a certain textual continuum, regardless of its presentation in written or oral form. The multidimensional nature of the text has largely influenced different approaches to understanding and analysing its phenomenon, and hence numerous definitions and categorical characteristics. The problem of textual categories, or categorical features, is the subject of considerable philological literature, but due to the synthetic-analytical status of the text with its hierarchy of categorical features, researchers have not yet been able to determine a proper differential description of the latter. Although almost everyone considers coherence and integrity to be the dominant categorical features. The understanding of the sonnet as a textual structure based on such features led to the description of the means of expressing coherence and integrity against the broad background of the works of Ukrainian authors of the 19th – 21st centuries. The different types of figurative and semantic parallelism are described, particularly in its dynamic development based on syntactic parallelism. The means of coherence based on syntactic figures of the period are analysed, which are distinguished by the expressiveness of the theme and the ability to convey different modalities in the organisation of the integral textual structure of the sonnet poem. It is noted that lexical, lexical-grammatical, in particular, root repetitions (even though the repeated word is traditionally tabooed by the canon) are widely cultivated in the studied sonnet texts, act as important factors of semantic and structural coherence, provide step-by-step development of the theme in its dynamic, aesthetic expression, and determine the integrity of artistic perception. Thus, coherence and integrity as the main categorical representatives of any text in their hierarchy are indispensable categorical features of the sonnet text.

Linguistic and aesthetic representation of the image of the sunin the poetry of Yevhen Malaniuk

Introduction. The research deals with the functional and semantic analysis of figurative structures with the name of the celestial body the sun, which are recorded in the poetic texts of Yevhen Malaniuk and are components of his individual picture of the world. The purpose of the article is to trace the peculiarities of linguistic and aesthetic representation of images of celestial bodies in the language of Yevhen Malaniuk. The article uses the methods of lexical-semantic, component and contextual analysis, the method of of textual identification, as well as functional-stylistic and interpretive-textual analysis. Results. The associative and figurative connections of the nomination, which are relevant for the author's idiostyle, are identified and characterized, the mechanisms of its linguistic aestheticization in tropic structures – epithetical, metaphorical, comparative – are traced. These structures are differentiated according to their content and expressive and expressive parameters. The active individual-authorial renewal of the associative-figurative relations of the analyzed nomination sun in the poetic texts of Yevhen Malaniuk is noted. Conclusions of the study and prospects for further research in this area. The recorded and analyzed figurative structures with the name of the celestial body sun confirm the stylistic status of this nomination as an important component of Yevhen Malaniuk's individual linguistic and poetic picture of the world. The analysis of the tropic development of the image of the sun gives grounds to assert the tangible influence of European modernism (in particular, expressionism) on the formation of the author's figurative and aesthetic system, as well as the continuity of the traditions of national literature. It is important that the reliance on semantic and structural prototypes established in the national literature in the poetry of Yevhen Malaniuk is organically combined with the search for innovative, individually authorial means of verbalizing thought. It is indicated that the prospect of the study is connected with the need for an in-depth study of the semantic and associative potential of the sun nomination and, more broadly, the names of celestial bodies in poetic texts and the establishment of regularities of their contextual figurative, aesthetic and expressive development in the idiostyles of Ukrainian authors. It is indicated that the prospect of the study is connected with the need for an in-depth study of the semantic and associative potential of the sun nomination and, more broadly, the names of celestial bodies in poetic texts and the establishment of regularities of their contextual figurative, aesthetic and expressive development in the idiostyles of Ukrainian authors.

ВИДАННЯ НАУКОВО-ДОСЛІДНОГО ІНСТИТУТУ ПРЕСОЗНАВСТВА ЯК ДЖЕРЕЛО ДО СЛОВНИКА ПСЕВДОНІМІВ УКРАЇНСЬКИХ АВТОРІВ ХІХ–ХХІ ст.

The publications of the Research Institute for Press Studies were examined for the presence in them of information about the pseudonyms of Ukrainian journalists, editors, publishers, publicists and biographical information about the creators and authors of Ukrainian periodicals; the quantitative parameters of these data are established. It is emphasized that the largest array of biographical information, as well as data on the used pseudonyms, is contained in the materials for the encyclopedic dictionary «Ukrainska zhurnalistyka v imenakh». It is noted that the professional yearbook is also an extremely important source of pseudonymous signatures «Zbirnyk prats Naukovo-doslidnoho instytutu presoznavstva», reports and announcements of twelve scientific and practical conferences «Ukrainska periodyka: istoriia i suchasnist», historical and bibliographic studies «Ukrainska presa v Ukraini ta sviti XIX–XX st.» and «Ukrainski chasopysy Lvova 1848–1939», materials for the bibliography of «Periodyka Zakhidnoi Ukrainy 20–30-kh rr. XX st.», as well as numerous monographs and press research works carried out at the Research Institute for Press Studies. It was established that, in general, biographical information about more than 5,500 people involved in the creation of Ukrainian periodicals of the 19th–21st centuries, and about 9,000 of their pseudonyms, is recorded on the pages of these press studies publications. It is emphasized that this significant array of data, systematized and analyzed, served as the basis for the creation of the «Slovnyk psevdonimiv ukrainskykh avtoriv XIX – XXI st.», which is extremely important not only for the history of Ukrainian periodicals and press studies in general, but also for literary studies, history, biography and prosopography. Keywords: publications of the Research Institute for Press Studies, pseudonyms of Ukrainian authors, biographical materials, historical and bibliographical research, Ukrainian periodicals, dictionary of pseudonyms.

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.