Ukrainian Poet Research Articles

Monument to Taras Shevchenko in Galicia: analysis of architectonics and meaning

The purpose of the article is to describe and characterize the unknown monument to Taras Shevchenko, built in the village of Budylo near Sniatyn in honor of the 100th anniversary of the great Ukrainian poet birth and has not yet been included to the history of national memorials.
 The methodology. The author used the method of frontal examination and analysis of the rural memorial in the historical aspect, synthesizing its architectural elements and religious symbolism.
 The results. The monument to Taras Shevchenko in Galicia is a typical memorial phenomenon of the early XX century as a synthesis of civil and sacred styles. It is made purely by architectural means without sculptural decoration and focuses on the importance of the historical date. That’s we can see the balanced rhythm of the entire composition. The harmony of the lines of the monument embodies a deep philosophical meaning as the ratio of genius and eternity. The memorial reminds of the connection between history and modernity, inspires to enlighten united, free and independent Ukraine. The article expands the understanding of the geography and architectural forms of the Shevchenko memorials of the XX century.
 The scientific topicality. The memorial in Galicia, dedicated to the memory of Kobzar, deserves to be studied as a rare combination of architectural and decorative elements of different cultures — Orthodox and Catholic.
 The practical significance. Monument to Taras Shevchenko, opened in the village of Budylo, will certainly attract cultural historians by its memorial obelisks, columns as an example of Western Ukraine memorial architecture, which has its own features and differences.

Professor Myron Korduba’s Contribution Into Geographical Shevchenkiana

The article deals with most essential specificities of creative approach and major results of regional geographical studies of Taras Shevchenko, an outstanding Ukrainian poet and painter, disclosed by Myron Korduba (1876 – 1947), Professor, Warsaw University, in his T. Shevchenko as Regional Ethnographer and Archaeologist. It was accentuated that, when studying nature and local people, Taras Shevchenko preferred “a good pencil-drawn sketch from nature”; focused on specific natural phenomena, characteristic for this or that locality; put people and community, their culture and everyday life into a center of his regional geographical cognition.

ACADEMICIAN VOLODYMYR VASYLYOVYCH RIZNYCHENKO — AN OUTSTANDING GEOLOGIST, ARTIST, AND POET (to the 150th Anniversary of his birth)

The article is dedicated to the scientific, scientific-organizational and social-educational activity of the talented Ukrainian geologist, artist and poet, academician of the Academy of Sciences of the UkrSSR, Volodymyr Vasyliovych Riznychenko — the second director of the Institute of Geological Sciences of Ukraine. Together with academicians V.I. Vernadsky, P.A. Tutkovsky, V.I. Luchytsky, the scientist was at the origins of the Geological Committee, the Academyof Sciences and the Institute of Geological Sciences, the oldest scientific center in the field of geology in Ukraine.

Olshany Cemetery in Prague as a place of memory of Ukrainians

The article clarifies the role of the Olshany cemetery in Prague as a location for the memory of Ukrainians and about Ukrainians. Olshany is one of the largest necropolises of prominent Ukrainians outside Ukraine. Most Ukrainians buried here became emigrants as a result of the defeat of the Ukrainian National Revolution of 1917-1921. The purpose of this article is to demonstrate the perception of this necropolis among Ukrainians, to show some aspects of mentions of Olshany in the Ukrainian information space and to find out its possible role as a place of memory. The topic of Olshany became more active in the Ukrainian media in 2017 due to the threat of losing the grave of one of the most prominent Ukrainian poets of the early twentieth century – Oleksandr Oles (Kandyba) and his wife. The periodicity of attention to Olshany is explained by the interest of Ukrainians in the subject of the Ukrainian National Revolution of 1917-1921, which also acquires a greater resonance closer to the memorable dates. Members of the Ukrainian governments buried in the cemetery, including Fedor Shvets, Stepan Siropolko, Volodymyr Leontovych, Sofia Rusova, Hryhoriy Sydorenko, Apollinarii Marshynsky, as well as scientists and artists Spiridon Cherkasenko, Mykola Andrusov, Yevhen Ivanenko and others, together with the military UGA, are very important part of the memory of Ukrainian post-revolutionary emigration, and involve people in understanding their destinies through the fields in which they were engaged before, during and after the Revolution. That is why Olshany already acts as a place of memory for Ukrainian historians, teachers, diplomats, etc. But given the professional diversity of the people buried there and the significant legacy they have left behind, this place has greater potential. And new generations of Ukrainians who work or study in the Czech Republic now can contribute even more to this.

ТЕМАТИЧНА ГРУПА ОКСИМОРОНІВ ІЗ СЕМАНТИЧНИМ НАПОВНЕННЯМ РАДІСТЬ / СМУТОК У ПОЕЗІЇ ВАСИЛЯ СТУСА

Vasyl Stus is a brilliant representative of Ukrainian existentialism, a person of tragic fate. Emotionalism and complexity of his poetic manner, «obscureness» of verses to his contemporaries and even the majority of readers are neither escape from reality, nor deliberate inversion of reality, of which the poet was blamed by the Soviet critics; it is more of a creation of Stus’s own reality, search of new ways for Ukrainian literature to move forward. Finding a solution to the existential problem of meaning in the person’s existence, inner world, spiritual experience in relations with the world is the object of Vasyl Stus’s creative concept. Guided by philosophical tenets of existentialism, the poet’s persona is in search of his identity within it. This search causes horror, despair, and a sense of existential tragedy. Thus, the poet’s existentialistic nature has determined the figurative method of expressing his philosophy. V. Stus’s existentialism, the depth of his philosophical thinking are brilliantly expressed in conceptual polysemantic images that fill his poetry. The main ones among them are oxymorons. The existentialistic spirit in his poetry is manifested in the form of oxymorons, which we associate with the peculiarities of the poet’s tragic worldview and great capabilities of oxymorons for its expression, as well as with the features of his poetic style that are unusual for Ukrainian literature: reach after condensed and concentrated imagery; poetical reproduction of the emotional charge of facts; search for new overtones in the words to convey new emotional and psychological connotations. Poet’s use of oxymorons represents the hard way he went from contradictory worldview, internal disharmony, complex and unconventional worldview to all these internal conflicts being reflected in his extraordinary imagery. This present article deals with the subject group of oxymoronic imagery with the joy/sadness semantic opposition in the poetry of the Ukrainian poet Vasyl Stus; analyzes the semantic connection of oxymoron with the peculiarities of the artist’s worldview. New figurative meanings acquired by the lexemes in oxymoronic expressions are the means used by the author to manifest his attitude towards reality.

АНЖАМБЕМАН У СОНЕТНОМУ ВІРШІ

This article contains a short overview of theory and practice of the poem text, dealing with the phenomenon of enjambment. It should be stressed that Ukrainian poetry (both classic and modern) widely uses the figure of enjambment. There is a number of recently published articles by Ukrainian authors offering the study of this poetic figure in different aspects of different individual styles. But for obvious reasons there are no such studies about sonnet texts in particular. Regarding the sonnet poem, since the times of the first French theorists of the 17-18 th centuries up to modern reference editions, genre definitions of its figurative structure almost always contain a number of restrictions. There should be no repeated words, the rhymes should be exact and voiced, every stanza - with the relevant rhyming system - has to be a complete syntactic entity etc. The author (using as example a number of sonnets of Ukrainian poets) tries to show that the enjambement accented word in the sonnet text is as natural as in any other poetic text. And as in any other poetic text (depending on the author’s intention) it can play an important semantic and stylistic function. The main meaning and functional shift of enjambement word on the structural level is being studied here both in the system of simple and compound sentence of the sonnet. Quite often we can observe the phrase shift from one stanza to another, from quatrain to tercet. An example of such enjambement structure of the poem where the shift is being observed in every line and every stanza is a sonnet of Dmytro Pavlychko "Слова”. Another rare phenomenon of syllable shift in the sonnet poem can be found here: Дихнуло весною, Десною... Над супер- / крутою урбанню.Над біль./У долі моєї чебрець і канупер / З чернігівських піль / (А. Мойсієнко).

Perpetuation of Taras Shevchenko's memory in the Ukrainian national movement of the Dnieper region at the beginning of the XX century

The relevance of this topic is seen in the fact that its study provides an opportunity to deepen the understanding of the underdeveloped problem of perpetuating the historical memory of Taras Shevchenko – a symbol of the Ukrainian nation's struggle for social and national freedom as an important factor in opposing the imperial regime. Tsarism by methods of ideological, gendarmerie-police, censorship pressure in every way prevented the activation of conscious Ukrainians in the early twentieth century. The aim of the study is to study the perpetuation of the memory of Taras Shevchenko in the Ukrainian national movement of the Dnieper region in the early twentieth century. The results of the article are that based on the study of archival and published documents, journalistic materials of the press and memoirs, various methods of legal and illegal activity of the Ukrainian national movement in preserving the historical memory of Taras Shevchenko were reconstructed. It is emphasized that the progressive public widely celebrated the 40th anniversary of Kobzar's death in the press. In the early twentieth century Ukrainian activists raised the issue of erecting a monument to Shevchenko, continued the tradition of visiting the tomb of the Ukrainian poet, tried to perpetuate his memory in toponymy, participated in Shevchenko's memorial services, resorted to illegal gatherings in honor of Kobzar, mentioned him during meetings and communication in among the intelligentsia. The originality and scientific novelty of the article in the production and development of insufficiently researched plot on historical Shevchenko studies, actualization and conceptualization of various concrete-historical material. Conclusions were made on various forms and methods of struggle to preserve the memory of Taras Shevchenko, which contributed to the establishment of national consciousness among Ukrainians, strengthened the political tendency in the Ukrainian national movement.

Sydir Vorobkevych on poetics: theme, idea

The purpose of the article. To analyze the scientific literature related to the study of the elements of poetics of poetic works of S. Vorobkevych. To study the author's views on the form of a poetic text. Research methods are predetermined by the purpose and tasks of the work, the object of research and are complex. The hermeneutic method and comparative and comparative historical, biographical method makes it possible to find out the dependence of S. Vorobkevych’s views on poetics on the life basis. Scientific novelty. The realization of this task is also connected with the study of the writer's views on poetics. They may not always be correct, some judgments have undergone some changes chronologically, but their value in understanding the poetics of works is unquestionable. The writer mostly used the term "style", interpreting this category as a set of artistic means that distinguish the work of one author from another. S. Vorobkevych divided literature into poetry, prose and drama. He differentiated poetry into folk (folklore) and literary. He defined a literary work as a structure consisting of content and form. In the content segment, S. Vorobkevych defined a theme and an idea. In his own work, the writer described two themes: the theme of Bukovyna in various versions and the theme of the historical past of Ukraine. The poet defined the idea of a literary work as "pearl", "grain", "fruit". Conclusions. S. Vorobkevych’s arguments about the form of the literary work were important. The results obtained are an important material for expressing our knowledge of the poetics of S. Vorobkevych's poetic works; they are the material for comparison with the similar material on the artistic nature of Y. Fedkovych’s poetic works. Researcher might receive a general picture of the poetics of national poetry works in Bukovynain the second half of the nineteenth century on the basis of revealing common features, taking into account the data of other Ukrainian poets of the region of this period.

Неологізм зорецвіт: історія і сучасність

The proposed article is dedicated to the study of the neologism zoretsvit, which, in our opinion, appeared in the second half of the 1930s. It may have been first used by Oswald- Eckhart Friedrichovych Burghardt (literary pseudonym Yuri Klen), a Ukrainian poet, translator and literary critic who fell victim to political repressions during World War II. Thirty years later, in 1965, Danylo Bakumenko’s poetry collection Zoretsvit appeared. In 1980, the Kyiv sound-recording firm Melodiya made the disk My Live Well that included a song with lyrics by Mikhail Tkach, Storks Flying in Zoretsvit. Somewhat later, in 1986, the Dnipro publishing house published the collected works by William Shakespeare in six volumes, with the sixth volume including Shakespeare’s sonnets translated by Dmytro Pavlychko. The neologism zoretsvit is used in Sonnet 21. It was not until the end of the 20th century that the neologism zoretsvit began to be increasingly used in the Ukrainian language, especially in various names. It became really widespread in the 2020s in all Ukraine’s regions. Finally, it should be noted that the word zoretsvit can be found neither in the Dictionary of the Ukrainian Language in 11 volumes, nor in the Dictionary of the Ukrainian Language in 20 volumes. It first appeared only in the latest online Free Explanatory Dictionary.

РИТМІКА ДРУГОЇ ЧАСТИНИ КНИГИ ВАСИЛЯ БАРКИ «ОКЕАН» (РІЗНОСТОПОВИЙ ХОРЕЙ)

The article is dedicated the verse rhythm in the second part of the book “Ocean” by the Ukrainian poet Vasyl Barka (1979). The rhythm of the first part (iambic) was investigated in our previous article. The meter of the second part of the book is a mixed trochee, the scheme of which is 5454. The stresses in the poetic lines were counted and the rhythm profiles of the trochaic tetrameter and the trochaic pentameter were plotted. The rhythm diagram method developed by Taranovsky, Gasparov (for Russian verse) was used to compare Barka’s verses with Ukrainian and Russian verses. To illustrate the trends in Ukrainian verse, our calculations of the verse of Stus and Andrukhovich were also used. The results of the research showed that the character of Barka’s rhythm is unique; it has no correspondence either in Ukrainian or in Russian verses. In the rhythm of Barka’s poem, ‘the law of regressive dissimilation’, discovered by Taranovsky and extrapolated to the Ukrainian verse by Kostenko, does not work. That is, there is no alternation of strong and weak foot. Barka in trochee avoids full-accented lines, which are commonly used by Ukrainian and Russian poets. The set of rhythmic forms of verse differs from other poets. The drawing of the diagrams is also different. For a trochaic pentameter, this is a “bucket”, with strong 2nd and 5th feet and weak 3rd and 4th feet. And for a trochaic tetrameter, this is an almost equal strength of the first three feet and a strong last foot. A rhythm, approximately similar to that of Barka, was revealed only in Goethe’s verse for a trochaic pentameter and in Schiller’s verse for a trochaic tetrameter (according to Taranovsky). Given the unique nature of the iambic rhythm and rhyme in Barka’s verse, we consider it promising to search for the factors that determined Barka’s poetics.

PARADYGMAT PRYWATNOŚCI ŚWIATA W TWÓRCZOŚCI UKRAIŃSKICH POETÓW W POLSCE

Ukrainian poets living in Poland, as part of the Ukrainian national minority, had a significant impact on the development of literary awareness in the Ukrainian environment in Poland. Thanks to literary contacts, especially in Podlasie, the literary language began to be used, because here Ukrainian poets initially wrote in the Ukrainian dialect of Podlasie. They also formulated the awareness of the literary language in prose works, which united the national code of Ukrainians belonging to the same nation, beyond religious divisions, Orthodox or Greek Catholics. In a comparative aspect, they became ambassadors of the Ukrainian word in their literary circles, their works were translated into Polish and published in Kiev, Lviv, Kharkiv and other Ukrainian cities. When discussing the phenomenon of Ukrainian literature in Podlasie, it must be stated that it has undergone a major transformation of awareness from the Ukrainian-Belarusian dialect border (1970s) to its own Ukrainian literary language area, developing after 1990. This is especially true of the works of Ivan Kyryziuk, Yuri Hawryluk and Yevhenia Zhabinska. At the same time, for such writers as Sofiya Sachko or Yustyna Korolko, the reclassification to Ukrainian or Belarusian literature remains problematic. It would be optimal to say that both poets remain a part of a niche literary discourse undertaken by the Ukrainian dialect of the Bielsk Podlaski region, rooted in the issues of the borderland. In Ukrainian literature in Podlasie, an important role was played by the informal literary yearly “Nash Holos” edited in the 1980s. Its content shows the complex issues of awareness in Podlasie and the names of writers who did not go beyond the realities of the year at that time and are not widely known today. They left behind poems written in Ukrainian Podlasie dialect, valuable from the point of view of the history of literature in this area, often close to folk poetry or Ukrainian poetry from the 19th century, especially to the works of Taras Shevchenko.

The role of the figure Taras Shevchenko in the cultural diplomacy of Ukraine

According to the data of Ministry of Foreign Affairs of Ukraine, there are more than 1,100 monuments to Shevchenko in the world: 99 are located in 44 countries, another 1,068 - in Ukraine. It is noted that a significant number of monuments that were constructed abroad were erected during the independence of Ukraine at the initiative of Ukrainian embassies and organizations of the Ukrainian diaspora. Therefore, it is considered useful and interesting to tell the story of the creation of these monuments by those people who contributed to this noble activity their energy, strength and patriotism. First of all, we are talking about the teams of embassies abroad and their heads - Ambassadors Extraordinary and Plenipotentiary. It is further reported about a difficult situation that appeared with the erection of the monument to Taras Shevchenko in Budapest in 2004 and 2005. Former Ambassador of Ukraine to Hungary Yuriy Mushka initiated the erection of the monument to Taras Shevchenko without the consent of the Ukrainian community. The monument was made by a Hungarian sculptor and it did not look like Shevchenko at all. The Society of Ukrainian Culture of Hungary, headed by its chairman Yaroslava Khortiani, opposed the installation of this sculpture. Eventually, they achieved their goal, and the Hungarian authorities decided not to erect the monument. But on March 15 on the square in Budapest there was a pedestal for the monument to Taras Shevchenko without a bust. The Ukrainian community appealed to the new Ambassador of Ukraine to Hungary, Dmytro Tkach, to remove the bust from the square. The solution was very simple - to install this monument in the courtyard of the embassy. And since it is the Ukrainian territory, no permits from the Hungarian authorities were required. The Hungarians gladly accepted this proposal, and the TUKU leadership supported it. It is described in details what work was carried out by the Embassy of Ukraine for the production and installation of Taras Shevchenko Memorial in Budapest. The role of the leadership of self-government body of the second district of Budapest in providing of a place for the monument, the owners of the Industrial Union of Donbass and, first of all, Sergiy Taruta in providing financial support for the creation of this complex is mentioned. The selfless work of the Ukrainian sculptor, professor of the sculpture department of Lviv National Academy of Arts Ivan Mykytyuk was especially noted. For a little more than a month, this talented artist managed to create a three-meter sculpture of Kobzar, which was then made of bronze at a leading foundry in Budapest. The Ministry of Foreign Affairs of Ukraine announced that the world record of the largest number of erected monuments to the cultural figure now belongs to the Ukrainian poet, novelist and artist Taras Shevchenko. This titanic work on creation of a memorial dedicated to Taras Shevchenko in Budapest was completed in this way. On July 11, 2007, President of Ukraine Viktor Yushchenko had an official visit to Budapest, during which he and Hungarian President Leonid Shoiom opened the monument to Taras Shevchenko, a prominent Ukrainian poet and fighter for Ukrainian independence On March 23, 2013, Taras Shevchenko Square appeared in Budapest, on the same place where the monument to Great Kobzar was erected.

I Am from Austria: Czech, Ukrainian, and Slovakian Refugee Poets in New York

I Am from Austria: Czech, Ukrainian, and Slovakian Refugee Poets in New York

Художні твори літературної групи „Ланка”-МАРС у рецепції критики української діаспори

The article notes that critics of the Ukrainian diaspora emphasized the significance of the works of the „Lanka”-MARS authors, considered the main strategies of their work, and determined the connection of the works with the world literary tradition. Lavrinenko's anthology „The Executed Renaissance” allows us to understand the specifics of the history of Ukrainian literature of the 1920s and 1930s. Yu. Lavrinenko represented articles about the works of B. Antonenko-Davydovych, G. Kosynka, T. Osmachka, E. Pluzhnyk, V. Pidmohylny, and D. Falkivsky, which testify to the specifics of Yu. Lavrinenko's reception. The critic called love the main characteristic of T. Osmachka's poems. Yu. Lavrineno emphasized that D. Falkivsky's poetry is characterized by simplicity and naturalness. The article defines that the critic, characterizing the poetic texts of E. Pluzhnyk, emphasizes the principles of his poetics that represent acmeistic traditions. Yu. Lavrinenko focuses on determining the main principles of V. Pidmohylny's works. The article states that Yu. Lavrinenko calls G. Kosynka a talented author of his time, in his skill the writer stands next to M. Khvylov and V. Pidmohylny, his epic works reveal a synthesis of lyricism and brutal metaphor. B. Antonenko-Davidovych's story „Death” is represented by the critic of the Ukrainian diaspora as a confrontation between man, personality and the Communist Party. The article considers the reception of Yu. Sherekh by V. Pidmohylny and T. Osmachka. The critic reveals the deep meaning of V. Pidmohylny's novel „City”, which allows the modern reader to read the work from a different angle, to see new aspects of the artistic world of the text. The article examines the strategies of interpretation of the works of T. Osmachka. Yu. Sherekh called the Ukrainian poet one of the best modern authors, saw his connection with the world tradition, with the works of D. Byron and O. Pushkin.

Трансформація сучасної української літературної мови в аспекті прийменникової системи

The article investigates the peculiarities of the prepositions use in the works of Ukrainian poets in the 20-60s of the XIX century. The language of works of different periods has its peculiarities, which are objectively due to various factors, including historical events, the influence of foreign culture, the state of the literary process in the country, literature traditions and so on. Literature texts provide an opportunity to trace how prepositions functioned in the poetry of the XIX century and compare with modern trends, to identify similarities and differences of grammatical and semantic meanings. The texts by Levko Borovikovsky, Opanas Shpyhovsky, Ambrose Metlynsky, Mykola Kostomarov, Oleksandr Afanasyev-Chuzhbynsky, Viktor Zabila, Mykhailo Petrenko, and Oleksandr Korsun were selected for analysis. The purpose of the research is to identify the peculiarities of the use of prepositions in the poetic language of this period. A selection of examples of the prepositions use from the works of Ukrainian poets allows us to trace the dynamics of their use. The study identified the most commonly used prepositions and traced the functions and features of grammatical connections on the example of individual units. The use of archaic prepositions (к, об, од) is recorded. The construction of the dative case of a noun with the preposition “к” was widely used in ancient Ukrainian dialects. In modern literary language, this preposition is preserved in phraseology. Instead, the construction with the preposition “до” and the noun in the genitive case is actively used. Differences in the use of prepositions in the analyzed texts and modern language are revealed. The preposition “об” is now more actively used to denote temporal relations rather than object relations, although in the past it represented object relations quite widely. The use of parallel constructions (к – до, край – під – у, поміж – помеж), phonetic variants of prepositions (з – із – зо – ізо), prepositions that are stylistic synonyms (повз, поуз, проз) is traced. The revealed changes of grammatical and semantic meanings of prepositions, displacement of archaic constructions testify to the processes of language transformation and its constant development.

КОНЦЕПТ “АНТИЧНІСТЬ” У ДРАМАТИЧНИХ ТВОРАХ ЛЕСІ УКРАЇНКИ

The article is devoted to the study of the conceptualization of their own and general nominations with the value of antiquity in Lesia Ukrainka drama “Iphigenium in Tavrid” and “Orgy”. Scientific results complement the linguistic categories of linguosophical categories “Concept”, “Conceptual Picture of the World” and “Language Picture of the World”. The linguistic picture of the world is seen as a formal means of expression of a specific ethnos. The concept is understood as a system of concepts, united by a general integrated seven, which is a complex of semi-seven and books and their relationships. The article is studied by anthroponyms, toponyms, ethnons with antiquity value through the prism of the author’s style of Ukrainian poets Lesia Ukrainka. It has been established that the set of nominations for the designation of antiquity recorded in Lesia Ukrainka’s drama “Iphigenya in Tavriya” and “Orgy”, forms a conceptual system of antiquity, which has a clear paradigmatic structure, namely: 1) Lexical and grammatical discharge → 2) Lexical -mantic group → 3) Lexical-semantic subgroup. The concept of “antiquity” is formed from its own and common nominations. General names presented by ethnons, ons are represented by anthroponyms and toponyms. Receiving inventory allowed to allocate 38 nominations with the integral seven “antique”. The conducted research indicates a significant advantage of ancient Greek nominations over Latin (only 6 nominations of Latin origin and significance – in contrast to 32 Greek nominations). The concept of “antiquity” as a set of nominations with the value of antiquity recorded in Lesia Ukrainka drama “Iphigenium in Tavriya” and “Orgy”, expresses the language picture of Ukrainians leading the motive of Byzantine on the territorial, political and similar “ego”.

«ПЕРЕЛИЦЬОВАНА ЕНЕЇДА» ІВАНА КОТЛЯРЕВСЬКОГО В ІНТЕРПРЕТАЦІЇ ШВЕДСЬКОГО ВЧЕНОГО АЛЬФРЕДА ЄНСЕНА

We analyze the work “The travesty Eneida” by Kotlyarevskyi by Alfred Jensen, the reknown Swedish Historian, Slavist and translator. This work was first published in German, within the scientific collection “Greetings to Ivan Franko in occasion of 40th anniversary of his writing activity, 1874–1914” (Lviv, 1916). The translation of this work into Ukrainian by Pavlo Volyanskyi was published in Peremyshl in 1921. The Scholar highly acclaims the poem “Eneida” by I. Kotlyarevskyi and that fact promoted an interest to the Ukrainian literature in the German-speaking cultural circles. The analysis of this work is made in the context of Alfred Jensen’s interest in Ukraine during prolonged time. In the first place, we emphasize the role of his first trip to Ukraine in the mid-1890s, when he visited Kyiv, made a cruise along Dnipro river, visit ethnography exhibition in Lviv and travelled throughout Halychyna. The results of this trip formed the bulk of his edition “Slavia. Cultural sketches from Volga to Danube (1896–1897)”, in Swedish. We cover the letter exchange between Alfred Jensen and Mykhailo Hrushevskyi and Mykhailo Kotsyubynskyi, his personal contacts with them, as well as with Ivan Franko and Vasyl Shchurat during his scientific trip to Ukraine, aimed on collecting material for his book about Hetman Ivan Mazepa, in 1909. This book was published in Stockholm in Swedish (1912), and then translated into Ukrainian by Natalia Ivanychuk, the translation being published twice (1993 and 2020). We mark also his book “Taras Shevchenko. The life of Ukrainian poet” in German (1910), translations of two stories by M. Kotsjubynskyi into Swedish and publishing them. We also emphasize his collabo-ration with M. Hrushevskyi in the “Notes of the Taras Shevchenko Scientific Society”, in particular his publications of archive materials about Ukrainian immigration in Sweden (Pylyp Orlyk and Voynaroskyi family). The works of A. Jensen about Ukraine keep their scientific value until now. Keywords: Alfred Jensen, “Eneida”, Ivan Kotlyarevskyi, Ivan Franko, Mykhaylo Kotsyubynskyi, Mykhaylo Hrushevskyi, Hetman Ivan Mazepa, Hetman Pylyp Orlyk, Voynaroskyi family.

БОРИС ОЛЕКСАНДРІВ: МОРАЛЬНА ТРАВМА ЗА РАДЯНСЬКИХ ЧАСІВ ТА ЇЇ ПОДОЛАННЯ У КАНАДІ

The purpose of the article to draw the attention of scientists and the public to an extremely relevant modern social and scientific problem that requires a monographic study, in-depth historical, political and philosophical analysis, development of theoretical foundations to the problem of moral trauma caused by forced emigration. It examines the problem of moral trauma of Ukrainians who were forced to emigrate to Canada after World War II, highlights the conflict between the individual and the inhumane ethics of the Soviet regime, between the morals of its social system and man; who found herself in a situation of cardinal moral choice life and play, life and exile in concentration camps, but rather physical abuse, even death. The price of moral choice, which led to intrapersonal conflict, is analyzed. An attempt is made to explore the essence of the above problem; to reconstruct the conflict of opposing social morals, different points of view on determining the value of each individual's life and understanding this value on the example of his destiny, to analyze its sociologization, adaptation in a new foreign language environment, in Canada, a country with tolerant ideology; rethinking of moral and psychological guidelines by the settler. It is noted that the problem of moral trauma of emigrants, even in emigrant studies, an interdisciplinary science in its concept, the object of study of which is emigration, "homo emigrans – one of the anthropological types (human aspects), such as homo socialis, homo oeconomicus, homo religiosus, homo politicus" remains so far out of the attention of scientists. Given that the problem of moral trauma of emigrants is open in science and the fact that emigrant studies is an interdisciplinary science, it is proposed to allocate an independent scientific field ¬ moral emigrant studies. The moral trauma caused by forced emigration from the homeland is presented in the article on the example of the fate of the famous Ukrainian poet, translator, scientist, editor Borys Oleksandrov (real name Borys Oleksandrovych Hrybinsky (July 21, 1921, Ruzhyn, Zhytomyr region, December 21, 1979, Toronto, the author of five poetry collections, humorous and satirical works, signed under the pseudonym Svirid Lomachka, articles scattered in various Canadian Ukrainian-language periodicals, and together with Yu. Slovo was the head of its Toronto branch, a member of the presidium of the New York Writers' Organization, and for almost twenty years the director of five Toronto libraries.

Сонети Р. М. Рільке у рецепції українських поетів

The article deals with the receptions and translation interpretations of R. M. Rilke's poetry by famous Ukrainian poets (M. Bazhan, M. Lukash and V. Stus), which allow us to understand the originality and uniqueness of the art universes of Austrian and Ukrainian artists. Important scientific tasks include comparative analysis of translations, which creates the foundations for translation theory. The purpose of the article is to study the ideological and thematic originality of R. M. Rilke's sonnet “A tree climbed there” and a comparative analysis of its translations into Ukrainian. The purpose is realized in the following tasks: to investigate the artistic paradigm of the work, to identify key concepts, to carry out a comparative analysis of literary translations by M. Bazhan, M. Lukash and V. Stus. The study is relevant in light of the development of comparative literature, theory and practice of literary translation. The analysis of the translations of Rilke's sonnet by three famous poets and translators leads to the conclusion that the adequacy and expressiveness of the translation adheres to three principles: understanding the author's intention, understanding the stylistic features of the original text and impeccable mastery of artistic language. Rilke's basic concept of “silence” is preserved in all three translation versions. However, the rest of the textual details are different. The accumulation of functional words in the translations of M. Lukash and V. Stus transforms Rilke's “metal” poem, musical and singing, into something difficult to pronounce. Instead, M. Bazhan's version is clear and transparent. The ambiguity and versatility of lexical components included in the semantic constants of concealment (“silence”) and songs (“melody”) give rise to a plurality of translations of one concept, while the maximum approximation to the original text in M. Bazhan's translation becomes possible not so much due to the author's stylistic principles, as much as due to the reproduction of the general sound, tonality, semantic paradigm and appeal to the “artistic experience” of the entire Orphic discourse. In M. Bazhan's version, a very successful game with rhyming homonyms attracts attention. In general, the translator has an impeccable sonnet technique, understands well what Rilke wanted to say and has an unsurpassed sense of the native language.

Olexa Kovalenko and Maxim Rylsky

The purpose of this article is to highlight the relationship between Oleksa Kovalenko, a well-known in the Dnipro Ukraine writer, translator, cultural and public figure, and doctor, and a outstanding Ukrainian poet and translator, M. T. Rylsky, in the historical context of the 1940s – 1960s. Research methods. The basis of the research methodology is historical-biographical, problem-chronological, and рrosopographical. The main results. On the basis of the epistolary heritage the relationship between the well-known in the Dnipro Ukraine writer, translator, cultural and public figure, doctor by profession Oleksiy Kovalenko with the prominent Ukrainian poet, publicist, linguist, literary critic, director of the Institute of Art Studies, folklore and ethnology M.T. Rylsky is highlighted in the historical context of 1940s – 1960s. It is established that since 1944, for many years, there were constant contacts between O. Kovalenko and M. Rylsky. These contacts were based on a mutual interest in translating “The Tale of Igor’s Campaign”. It is proved that the duration of their communication was based on the similarity of life experience, the circle of common acquaintances and interests. The practical significance. Research results can be used in the development of special courses and in local history educational projects. Scientific novelty. The source base of the theme is expanded by the involvement of O. Kovalenko’s and M.T. Rylsky’s epistolary heritage. Type of article: analytical.