Ukrainian Poetry Research Articles

Станіслав Росовецький: мовознавчий аспект наукової спадщини Володимира Перетца

The article analyzes the linguistic aspect of Volodymyr Peretz's researches based on the observations of Stanislav Rosovetskyi. Emphasis is placed on his conclusion about the existence of a solid baggage of in-depth studies of ancient Ukrainian poetry, polemical literature, and Ukrainian folklore even before V. Peretz's arrival in Kyiv. The urgency of the justification by this energetic organizer of Ukrainian science in 1906 in the local press of the importance of establishing departments of Ukrainian studies at the university: language, literature, history, ethnography and customary law is emphasized. S. Rosovetskyi's linguistic observations on V. Peretz's detailed review of the 1928 edition of Kateryna Hrushevska's Dumas are considered. Emphasis is placed on clarifying the position of P. Zhitetskyi and V. Perets regarding the problem of the origin of opinions. The selection of Church Slavonic elements that are not inherent in the living prose and song language by V. Peretz in P. Zhitetskyi's language of Dum is highlighted. Also, S. Rosovetsky emphasized the academician's identification of falsifications among the given corpus of authentic texts of opinions. Attention is focused on the experience of Stanislav Kazimirovych regarding the study of forgeries of oral poetic texts: their differentiation into "fakelore", "folklorism", "folksiness", and attempts to understand certain linguistic aspects of their functioning in Ukraine. In addition, he noted the conclusion of the academician about the impossibility of obtaining reliable results when applying "accurate" research methods as a result of insufficient sample size. The role of V. Peretz in starting the scientific model of Shevchenko studies is outlined, on the one hand in his own studios, and on the other hand, in the training of a galaxy of future Shevchenko scholars at the Seminary. S. Rosovetskiy emphasizes meaning of the "originator of the philological method" right down to the word. Separately, the scientist emphasized the importance for a philologist to work with primary sources and introduce new texts into scientific circulation. Emphasis is placed on the possibilities opened up thanks to the "Slavic formalism" invented by V. Perets in 1905, as proved by S. Rosovetskyi. Particular attention is paid to V. Peretz's thorough observations on "The Tale of Igor's Campaign", the linguistic aspects of the scientist's studies are emphasized.

Memory of the Ongoing War in Modern Ukrainian Poetry

Memory of the Ongoing War in Modern Ukrainian Poetry

Notes on two lyrics by Lina Kostenko

Many of the lyrics of Lina Kostenko are so immediately engaging that a reader may fail to notice their great complexity and internal structure. In the present article, the author analyzes two such lyrics in some detail, using techniques that might be called structuralist. The analyses, however, begin with no pre-selected methodological framework, but simply start where the lyrics themselves seem to suggest and follow that thread of thought, examining various aspects of the poems. The interpretations built on these analyses are significantly richer than a superficial reading would allow, and therefore, the results may be of interest not only to scholars of Ukrainian poetry, but to the general reader, as well. In the first lyric examined, two lines that are almost lexically identical lead to an examination of a complex mirror-structure that reveals a picture of a continuum between the extremes of metaphor and metonym. A morphological peculiarity of the poem then reveals that it is a response and rebuke to a lyric by the Russian poet Fyodor Tyutchev. With attention paid to the poem’s intricate structure and to the work to which it is a response, the analysis reveals that Kostenko’s lyric may have an anti-imperial meaning that was invisible to the authorities at the time of its publication. In the analysis of the second lyrics, the author begins with a large and memorable rhyme-set, examination of which leads to observations that reveal the unusual self-similar structure of the poem. Further analysis reveals the poem to be a work of verbal art that functions on multiple levels of organization at the same time. After the two analyses, the author makes broader remarks about his general impression of Kostenko’s extremely masterful work, a brief suggestion about introducing this work to anglophone students of Ukrainian literature, and a suggestion for future work on Kostenko’s poetry.

Метафоризація концепту життя в мові української поезії

Metaphorization of the concept of life in the language of Ukrainian po-etry. The article discusses the metaphor "life" in Ukrainian poetry of the 20th - early 21st century. The source of the material was the works of Ukrainian writ-ers from mainland Ukraine and the Diaspora. Using the method of metaphori-cal modeling, the key models of the metaphors of "life" in the Ukrainian poetry of the analyzed period were identified and characterized, and individual au-thor's metaphors that were based on them were analyzed. The change of meta-phors is explained, the specificity of their meanings is described. It has been established that the metaphors recorded in the Ukrainian poetry of the XX - Art. XXI Art. reveal a different understanding of life by each writer, which is due to a complex of external and internal factors.

О происхождении и природе украинских ямбов в сравнении с русским стихом

This article studies the emergence and development of the iambic tetrameter in Ukrainian poetry. Its genesis and evolution are examined against the background of Russian metrical verse. The evolution of the Ukrainian iamb’s features is traced from 1761 to Taras Shevchenko. The main hypothesis of this study is that, despite a certain dependence on Russian models, the rhythm of Ukrainian verse develops independently: while the early forms of the Ukrainian tetrameter are closely connected with the poetic work of Mikhail Lomonosov and Alexander Sumarokov, afterward the originality of the Ukrainian iamb intensifies. The Ukrainian tetrameter represents a new evolutionary stage of European metrical versification, which is drifting further away from the continental prosodic canons.

Bridging Traditions

Abstract This brief essay introduces the work of three contemporary Ukrainian writers whose poems appear here in English translation. The introduction situates their work in the context of modernist and contemporary Ukrainian poetry as well as in the context of Russian invasions of Ukraine in 2022 and 2014.

Motif of Death in Ukrainian-Canadian Poetry

Purpose of the research is to study the originality of interpretation of death in the lyrics of Ukrainian diaspora in Canada in the context of the opposition "foreign land – motherland", based on its existential development in philosophical anthropology and culture of the last two centuries. Its implementation presupposes, first of all, analysis of the forms of development and disclosure of the death motif by figurative and artistic means. Theoretical basis. The author uses the well-founded tradition of interpreting the death motif in philosophical literature of the last centuries, i.e. non-classical and modern philosophical thought. Originality. The present study is an attempt at systematization of the notions of death in Ukrainian poetry in Canada in the second half of the 20th century. It is based on the study of artistic texts and the worldview of Ukrainian emigrants. Appeal to the fiction of the Ukrainian Diaspora allows illustrating the originality of philosophical understanding of death in the context of the national culture. Conclusions. Reference to Ukrainian-Canadian poetry allows expanding the space of philosophical understanding of death in the form of figurative fiction. Concretizing the character of their interpretation of the motif of death, it is necessary to focus attention on its two basic forms of manifestation: existential, associated with living abroad, and sacrificial death for the benefit of the homeland. Thus, the motif of death occupies a significant place in the lyrics of representatives of the Ukrainian diaspora. The concept of human death is closely connected with the concept of life, which is concretized through their meaningful comprehension. This is a matter of interpretation of despair and loneliness motifs, as well as the illumination of the images of a foreign land, which is one of the features of emigrant literature in general.

MODERN GAME WITH THE NORM: LANGUAGE SPACE OF UKRAINIAN POETRY OF THE END OF THE 20TH AND THE BEGINNING OF THE 21ST CENTURY

The article tries to analyze the linguistic space of the Ukrainian poetry of the end of the 20th and the beginning of the 21st century. Its purpose is to trace tendencies in the language behavior of the Ukrainian poets of the period, especially in the treatment of the language norm. The new cultural situation caused mixing in texts of linguistic features of different social groups. Poetry, which used to be the sphere of refined language, now is filled with abnormal and deviant units. Kitsch, chaos, and destruction, which guided the poets of this period, are manifested in the destruction of the norms of literary language. Language deviation is the organic part of the poetic space of the period, one of the means of realizing its multilevel nature. On the one hand, it serves to homogenize, reconcile, and address the mass reader in their language, while on the other hand it is an instrument of irony and additional expression for the intellectual reader. The combination of high and mass cultures leads to the penetration of vernacular, surzhyk, obscene, and slang vocabulary in poetry, to the deconstruction of basic linguistic units. The research proves: the destruction of the generally accepted literary standard, the diffusion of language codes, the collage of stylistically heterogeneous language signs, the deconstruction of words have become part of the language game, an an organic component of the poets’ language behaviour, in which deviation becomes the new norm.

STYLISTIC ANALYSIS AND WAYS OF REPRODUCING EMOTIVE EXPRESSION IN TRANSLATIONS OF UKRAINIAN LYRICS: INTERPRETATION OF THE IMAGE OF UKRAINE

The article reflects the results of scientific and philological research, which made it possible to analyze the ways of translating the image of Ukraine in English translations of Ukrainian poetry. Based on the generalization of the research results of scientific sources, the concept of literary translation as a linguistic problem is revealed. A special connection between the artistic image and the linguistic category on the basis of which it is formed is noted. The main requirements for the translation of works of art are highlighted, among them: accuracy, conciseness, clarity and literacy. It has been established that the main difficulty of literary translation is the accurate understanding of lexical units and the relationship between what the author wanted to convey to the reader and what the translator translated. Two aspects of the Ukrainian poetry translation are highlighted: linguocognitive and linguocultural. It is determined that the linguistic and cultural aspect of translation analysis allows to identify the features of reflection in the English poetic translation of the value dominants of Ukrainian ethnoculture based on the comparison of the cultural concept name, symbols of culture and emotional expression, and linguocognitive allows to highlight the features of the concepts system reflection of the Ukrainian author in the figurative system of English translations of his lyrics. The concept and role of the cultural concept UKRAINE in English translations, which is expressed by lexical means of a particular language, are studied. There are four components of the cultural concept: conceptual, value, symbolic and figurative. It is revealed that the elements of imagery and symbolism are structural parts of the cultural concept. It has been found that the translator’s understanding of the author’s system of concepts is a condition for reproducing the image of his country in translation. The symbols of Ukrainian culture in poetic works are analyzed, which are multi-valued subject images that express values and worldviews. The artistic symbol is considered to be one of the types of figurative concept with a multilevel structure of reference and the main aspects of its analysis should include determining the depth of the original symbol and its culturological components. Analysis of the translation of symbols showed that the most commonly used way of reproducing Ukrainian poetic symbolism is tracing, less commonly used methods of transcription, transliteration and equivalent translation. It is determined that the symbolism reproduced in the translation cannot convey all the cultural components and semiological depth, because the associative connections with the place of its origin are interrupted. It causes a symbolic appropriation of the image of Ukraine in the target culture, and at the same time conveys its ethnic uniqueness. The main ways of conveying the image of Ukraine in translations of Ukrainian lyrics are revealed, as a result of which literary translation adapts to the norms of the language of translation and becomes accurate and clear. The following lexical transformations in translation have been singled out: transcription, transliteration, equivalent translation, tracing and contextual substitution method. A comparative analysis of the translation of symbols and images of Ukraine in translations of Ukrainian poetry. Comprehensive research has shown that the most prevalent methods of translation are contextual substitution, equivalent translation and tracing. Thus, the article fulfills all the tasks are fulfilled in the work and it is also determined that the components of symbolism and imagery are a structural part of the concept of UKRAINE in general.

Poezja Józefa Łobodowskiego w tłumaczeniach i krytyce Światosława Hordyńskiego

This paper attempts to interpret and evaluate Ukrainian translations of Józef Łobodowski’s poetry. Already in the 1930s, he was known to the Ukrainian reader primarily as a translator of Ukrainian poetry. His original work was also particularly appreciated by the Ukrainian émigré, mainly due to its pro-Ukrainian character. One of the precursors of the translations of Łobodowski’s poetry in the Ukraine was Sviatoslav Hordynsky. In the early 1950s, he translated, inter alia, the following works: Praise of Ukraine, Horse of Ataman Łobody and October Elegy. Hordyński was also a critic of Łobodowski’s works. His critical studies: Łobodowski’s poetry and its Ukrainian motifs and Józef Łobodowski and his poetry were published in Ukrainian periodicals. These essays discuss problems concerning Polish and Ukrainian poetry from the perspective of a contemporary observer, expert, and critic of Łobodowski’s work.

METAPHYSICAL FOUNDATIONS IN THE POLEMICAL VERSE COMPLEX OF THE 1580—90S

The aim of the paper is to justify the correlation between polemical motifs in verses and the metaphysical principle of causation. It is possible due to revealing that the mainstay of polemical discourse lies in the images by which God, as the Cause of all things, manifests His presence in the world, according to the teachings of medieval metaphysics. This gives grounds for interpreting the emotional tension of polemical discourse and its inherent figures of reduction or simplification not as an alternative to the inner metaphysical sense but only as a kind of decentralizing and translating it into the language of other circumstances or the language of personal spiritual experience. The metaphysical dimension of polemical poems correlates with the prospect of restoring their broader literary context and broader reception.
 The paper is to investigate the extent to which the structure as a choice, focused on the publication and perception of texts in certain historical circumstances, makes it possible to manifest certain metaphysical factors by causing a special nonlinear nature of interrelationship, the reverberation of individual motifs and voices between the texts, which are quite different from each other. This historical-literary and hermeneutic approaches let us observe the manifestation forms of metaphysical sense not only in relation to the literary subtext but also in terms of the development and functioning of sovereign metaphysical motifs. Interpretation of the praxis of religious life and the nature of church confrontations and heresies discloses the ‘inner’ image of the individual in the light of Christology and the Christian concept of the Word. The study of the metaphysical foundation of polemical verse complex determines general tendencies in Ukrainian poetry and their transformation in certain milieus. At the same time, it testifies to the changes and development of poetic discourse, the awareness of God’s Word, and human responsibility for the said and written.

EMMA ANDIIEVSKA’S (UN)REPEATABLE POETRY, OR TWO COMPARATIVE SKETCHES

Emma Andiievska’s poetic manner is quite experimental in modern literary milieu due to dense metaphoric imagology, daring alliteration, specific subject’s representation, cosmogonic transformation motive, etc., so it hardly correlates with European art styles (modernism and postmodernism in particular), albeit her early oeuvre (1950—1960) is being consequently considered as surrealistic one. It is also hard to outline stylistic and mental links between Emma Andiievska’s poetry and Ukrainian or European one since she has been moving in her art creativity strictly towards poetic originality. At the same time, the poetess’ works can’t be excluded from the world literary process — that is the reason for a comparative search. Some literary parallels have been found in Ukrainian (Bohdan Ihor Antonych) and American (Emily Dickinson) poetry. Both authors could influence Emma Andiievska’s poetic manner. There is a similar attitude to reality and own creativity in Emma’s Andiievska’s poetic oeuvre and Emily Dickinson’s one, caused by a desire for solitude and priority of the author’s subjectivity in the lyrical view. There are also some similar syntactic means in the poetics of both female authors. The poetic manner of Emma Andiievska’s works written in the 1950s—1960s also resembles Bohdan Ihor Antonych’s poetical style, represented in his collections “Salute to Life”, “Three Rings” and “The Green Gospel”. The two authors have a similar phenomenological focus of lyrical reflection, surrealistic metaphors, and acoustic mode of connecting words in an utterance. The childlike features of a worldview and oneiric elements of narrative in the literary works realize the surrealistic mode of writing attributable both to Bohdan Ihor Antonych and Emma Andiievska.

Poetry of War: Ukrainian-Turkish Manifestations

The main focus of the article is on Ukrainian poetry written since February 24, 2022, as well as Turkish poetry about the war in Ukraine. The study explores the figurative palette of Ukrainian and Turkish poems, pays particular attention to the multi-vector perception of the war situation through the eyes of Ukrainians and Turkish neighbours, and also to children's poetry (poems written by Ukrainian and Turkish children). Using the comparative method and the method of microanalysis, we discovered common and different images and themes in Turkish and Ukrainian poetry, namely, the image of Europe and America, cruel Russia, the image of a bear, the president of Russia, the image of a stolen spring, the theme of courage, the theme of a crippled childhood. Human values were common to Ukrainian and Turkish poets: human life, peace on the planet, family grief, and historical memory is also similar: in both Ukrainian and Turkish poems, the theme of the aggressive character of Russia from ancient times to the present day echoes. Prayer poems deserve special attention; faith in God unites the poetic world of the Muslim and Christian worlds. Children's poetry is the most painful element of war poetry, but even here the voices of little Ukrainians sound patriotic, with a dream for a bright future, and Turkish voices – with pleas to return childhood to Ukrainian children. The presented works must necessarily have their continuation – namely, translations into different languages, in particular Turkish, for spreading part of the strong-willed spirit of Ukrainians and intercultural communication.

ПОЕТИЧНІ Й ПРОЗОВІ ТВОРИ МИКОЛИ ВІНГРАНОВСЬКОГО В АНГЛОМОВНИХ ПЕРЕКЛАДАХ

The article examines the poetry and fiction by Mykola Vingranovskyj in English translations. Attention is paid to the chronological sequence of translations, the figures of translators and the works selected for translation, their equivalence to the original. The first translation of M. Vingranovskyj's fiction (the short story "White Flowers") appeared with the assistance of Yu. Lutsky in Canada and aimed at popularizing Ukrainian literature among students. The short story opens the extremely lyrical world of Mykola Vingranovskyj, where the story revolves not around the event, but around the feelings, which brings the short story closer to poetry. The novella was included to the anthology (Modern Ukrainian Short Stories, 1973) as the example of the prose of the sixties (shistdesyatnyky), which departed from socialist-realist ideological canons and turned to the emotional and expressive potential of artistic language. The translation of Yuri and Moira Lutsky is marked by the desire to convey as fully as possible the author's individual style, including figurative metaphor, to create a text equivalent to the original in communicative orientation. The collection Summer Evening (1987), translated by Anatoliy Bilenko, was published after M. Vingranovskyj was awarded the Taras Shevchenko National Prize of Ukraine (1984). The collection includes stories for children's audiences, conveying children's perception of the world: Chest, Shaggi, The Gosling, Good Night, What Makes the World Spin, Summer Evening. A. Bilenko's translations are notable for the adequacy of the reproduction of artistic and stylistic features of the original, semantic equivalence. Some translated poems, which emphasize the civic component (Sistine Madonna, To My Sea, On the Golden Table, The First Lullaby, Star Prelude) were included to the anthology of Ukrainian poetry (Anthology of Soviet Ukrainian Poetry, 1982), and Russian translators were involved in translating the poems (Dorian Rottenberg, Michael McGreg), which significantly reduced the artistic value of poetry. During the times of independent Ukraine, competitions for translations to the writer's anniversaries were initiated. However, translated works have not been published in collections and anthologies. Active work on translations of M. Vingranovskyj's works is still ahead.

Figurative projections of the memory of the Chornobyl disaster in the Ukrainian literature discourse

The article highlights the types of textual-figurative projections of the memory of the man-made disaster at the Chornobyl AES in the language of Ukrainian poetry and literary-journalistic prose, which recorded moral conditions and the social-ecological situation in various verbal formats. The lexical content of these works is a dictionary of the national socio-historical and emotional memory of the tragedy of the Ukrainian people. The core components of the lexical-semantic field «memory» include the nominations memories, remembrance, mention, predicative constructions will not forget, not to forget, moral imperative must not be forgotten. It has been established that the first evaluative association that accompanies the national-historical and literary memory of the Chornobyl disaster recorded in the texts is a tragedy. As a component of the post-Chоrnobyl linguistic picture of the world, this nomination is characterized by semantic ambiguity and multiple interpretations. Its most frequent expressive and evaluative specifiers (trouble, calamity, grief, drama, misfortune, pain) are consistently actualized in compounds with the adjective Chоrnobyl and genitive metaphors with the proper name Chоrnobyl (the trouble of Chоrnobyl, the tragedy of Chоrnobyl). In the thematic area «memory of the Chоrnobyl tragedy», we distinguish such dominant segments as «responsibility», «gratitude», «heroism», «boldness», «bravery», «courage», «deed», «memory of the dead». An important component of the lexical-semantic field «memory» in post-Chоrnobyl literature is the image lessons of Chоrnobyl. Due to the presence of the meaningful words «conclusions» and «responsibility», it becomes an occasional synonym of the tragic collective national experience. Various genres of literary and literary-journalistic texts on the subject of Chоrnobyl testify to the stable two-vector associative-semantic connections of the lexeme memory with concepts, on the one hand, history, past, ancestors, and on the other hand, the future, future generations, descendants. Verbalization of the memory of the Chоrnobyl events is characterized by the use of time circumstances such as forever, always, for life, etc. The language of Ukrainian post-Chоrnobyl poetry and literary-journalistic prose (in particular, the documentary novels of A. Mykhaylenko, L. Dayen, Yu. Shcherbak, V. Yavorivskyi, I. Malyshevskyi, V. Tregubov) about Chornobyl demonstrably reflects the peculiarities of the textual linguistic-figurative projecting of the memory of the man-made disaster at the Chornobyl AES and testifies dense lexical content of the lexical-semantic field «memory».

Мотив свободи в інтертекстуальному вимірі української поезії: діалог поетів-«xатян» з Г. С. Сковородою

The article examines the motif of freedom in the poetry of the "Ukrainska Khata" journal in the intertextual space with "The Garden of Divine Songs" by H. S. Skovoroda. Having selected the poetic works published in the "Ukrainska Khata" journal, it was found that the motif of freedom appears in its polysemantic expression in the poetry of the following authors: Maksym Rylskyi, Pavlo Tychyna, Oleksandr Neprytskyi-Hranovskyi, M. Dontsiv, O. Nedolia, Yakiv Mamontov, Sydir Tverdokhlib, Mykola Voronnyi, Oleksandr Oles, Khrystyna Alchevska, Hryhorii Chuprynka, Mykola Filianskyi. The following thematic vectors of the intertextual motif of freedom in the "Khachyan" poetry were identified: individual freedom, freedom of creation, freedom of spirit, and the motif of a struggle for the freedom of the people. It was explained that the interweaving of motifs of freedom and nature in the works of "Khatyan" poets has a genetic relationship with the "Garden of Divine Songs". The intertextual parallels of artistic originality of the freedom motif in the poets of "Ukrainska Khata" and songs 2 and 14 of the collection of H.S. Skovoroda. In the artistic imagery of the «Khatyan" poets, as in Skovoroda's poetry, freedom is connected with highness and is included in the game of opposites. The combination of poetic works of different poets in the «Ukrainska Khata» journal allows you to read their works in an intertextual dialogue. For example, the elevated mood of Mykola Filianskyi's poetry is balanced by Maksym Rylskyi's poem. In such circumstances, a new dimension of freedom for a lyrical hero opens up: a poet who does not run away from people is aware of his responsibility for the people’l fate. The crowd may not understand the poet with his ideals of freedom, but there is no romantic conflict on the pages of the «Ukrainska Khata» journal. A poet’s image in the poems of the authors of the beginning of the 20th century is deeply socially involved. A poet believes that his word always serves the freedom ideal of Ukrainians: it returns the reader to the memory of the historical past, and calls for the fight for freedom in the present. Reading the poetic works of the journal in an intertextual dialogue (according to a conditional analogy to the unity of songs in Skovoroda's collection) made it possible to explain the unity of individual freedom and national freedom according to the principle of the unity of visible and invisible nature in Skovoroda's philosophy. The conducted research proves that the "Khatyan" poets followed the path of development marked out by Skovoroda, for them his work became a path to the truth. The motif of freedom as a signpost on this path guides the movement of Ukrainian poetry through the centuries. The experience of the poets of the "Ukrainska Khata" should not be forgotten, because just as the "Khatyans" drew from the tradition of Ukrainian poetry, modern art, thanks to the turn to the poetry of the beginning of the 20th century, has the opportunity to take a constructive path. It is possible to take a constructive path in the early twentieth century. The research presented in this article opens the horizon for further studies on the intertextual motif of freedom in modern poetry.

Pavlo Movchan as an art researcher: word, image, sign

The subject of the research in the article is the peculiarities of theoretical-literary and art-scientific publications of the outstanding Ukrainian poet Pavlo Movchan, as well as his historical-literary and historical-artistic works. The main problem of the article was the need to reduce these features into a single concept, to determine the scientific basis of this concept. To do this, a large array of (more than fifty) articles, reviews, and essays of the research poet for the period from the mid-1970s to the second decade of the XXI century was collected from various sources and processed. The poet’s work has not been properly studied by scholars, and his theoretical-literary and historical-literary works have gone out of their attention if we do not take into account the cursory observations of O. Khomenko in one of the studies of poetry by P. Movchan. The aim of the article is to highlight the systemic nature of Pavlo Movchan’s literary views and apply them to the analysis of the works of classics and contemporary Ukrainian and foreign artists. To do this, we used the psychological method in determining the verbal and figurative essence of Movchan’s theoretical concept, historical and literary — in the analysis of his reviews and “portrait” publications, mythopoetic — in conceptualizing the oral and written word, the artistic word as a link between generations, author and recipients. The results of the research are 1. Conditionally literary and literary-critical research of Pavlo Movchan can be divided into several blocks: the theory of words, images, art; specifics of lyrics, literary translation; development of Ukrainian poetry in the second half of the XX–XXI centuries; analysis of works of Ukrainian classics (“A Word about Igor’s Regiment”, works by T. Shevchenko, M. Gogol, romantic poets, etc.), contemporary poets; evaluation of the works of foreign writers of the West and the East; reception of paintings and cinematographic works of Ukrainian contemporary artists. 2. The basis of the theoretical and literary concept of P. Movchan was the theory of O. Potebnja about the external and internal form of the word and its content, the constant need to restore or create specific sensory meaning of the word-image in art. The wide range of meanings of the word, accumulated over the centuries, is the basis of dialogue between the author and the recipients, the link between them. The artist’s skill level is interrelated with the ability to find and revive this wide range of meaning. 3. Pavlo Movchan considers the main task of literary translation to not just be an adequate mechanical transmission of words, but a reproduction of the spirit of words, works, and uniqueness of idiosyncrasies related to the creative intentions of authors, for which the translator must thoroughly study the biography and works of the original, literary and social context, the history of writing the work, the meaning and nuances of each word, excellent command of the native language and the specifics of the original language, the mentality of the people to which the author belongs and much more, up to flora and fauna, their symbols and more. 4. Pavlo Movchan sets the same principles and requirements as a literary critic in the study of specific works or works of certain authors. This gives him the opportunity not only to comprehensively and deeply characterize the creative work of various authors but also to dominant features, to make their own original and reasoned discoveries. 5. Pavlo Movchan’s art views in the field of visual arts are organically correlated with his literary concept, testify to a deep knowledge of this field and a subtle aesthetic sense in the evaluation of works of painting and cinema. The practical significance of the article lies in the possibility of its application in the study and teaching of literary theory and art theory, the basics of Potebnja theory, history of classical and modern Ukrainian and foreign literature, history of Ukrainian painting, and cinema of XX–XXI centuries, the uniqueness of Pavlo Movchan.

МІФОЛОГІЧНІ ОБРАЗИ В ЛАТИНСЬКОМОВНІЙ ПОЕЗІЇ УКРАЇНСЬКОГО БАРОКО

The article examines the peculiarities of mythological characters in the Latin poetry of the baroque period in Ukraine. This period contributed a lot to intercultural relations between Ukraine and Western Europe and gave a birth to the phenomenon of the baroque Ukrainian poetry, written in Latin language. In the present paper much research has been devoted to the poetic works of Theophan Prokopovych, Grygoriy Vyshnevsky and Ilarion Yaroshevytsky; their poetic texts are found in printed editions ("Elegia paraenetica", "Epinikion", "Elegia Alexii", "Comparatio vitae monasticae", "Descriptiuncula Kijowiae", "Possesoris horum librorum luctuosum vale") and manuscripts ("Iter laureatum", "Cupido seu amor alatus"). The study analyzes the poetry in various genres, such as panegyric, elegy, epigram, lyrical poem. Addressing to the ancient legacy was defined as the sufficient and necessary feature of the baroque style. The article suggests the idea that a poet gives a preference to one or another mythological character in his individual author's interpretation. The analysis of the poetic texts reveals the most productive mythological characters, which can be classified into the following categories: 1) art (Apollo with the Muses, the winged horse Pegasus); 2) martial arts (Mars); 3) celebrations (Bacchus, Hymenaeus); 4) love (Venus, Cupid, Cypride ); 5) natural phenomena (Aurora, Lucifer, Phosphorus, Titan, Zephyrus, Thetis). The research has demonstrated that contamination of the two worldviews was natural for the baroque poet. This contamination was embodied in the bizarre combination of Christian and ancient elements in their literary works. It was traced that Latin poets of the Ukrainian baroque completely followed the literary traditions of the classical theory of poetry, what was marked in the form of the poetic work and its content.

CONCEPTS OF CHRISTIAN CULTURE IN RECENT UKRAINIAN POETRY

During its long existence, Christianity had a powerful influence on the development of world culture in general and Ukrainian culture in particular. The Bible and other Christian texts determined the formation of the aesthetic foundations of ancient Ukrainian literature and became an inexhaustible source for the creativity of Ukrainian writers of the new era. Today's tragic events actualized in the country’s cultural space religious texts of various genres and themes, which in the literary and artistic sphere became a powerful source of language and expressive means, as well as new contents and ideas. The modern poetic reception of Christian texts preserves the durability of the national literary tradition and at the same time is characterized by numerous different types of innovations. Through the concepts of Christian culture, their reinterpretation, the authors convey the tragedy of the events, the difficult trials that once again befell the fate of the Ukrainian people, and at the same time support and inspire people. The recorded units are divided into groups (1) concepts of God, the Holy Spirit, Jesus Christ, the Virgin Mary and biblical figures (Simon, Pilate, Judas, St. Peter), (2) biblical toponymic concepts, (3) concepts of mythical creatures (angels, beast; animals), (4) object concepts (cross, thirty pieces of silver, cup). It is natural that the concepts of the first and second groups are the most used in modern Ukrainian poetry, and the concepts of the third and fourth groups are less used. The artistic reception of Christian concepts in war poetry is diverse in terms of form and method of use, realized content and functional significance, and frequency of actualizations. Despite the differences in the stylistic and worldview-aesthetic direction of the artists’ creativity, they have in common an appeal to Christianity as the spiritual core of national culture. Concepts of Christian culture are emotional and meaningful clots of collective memory, spiritual culture, which deepen the content of poetic texts, appealing to universal values, evoking a wide range of associations. The actualization and reinterpretation of these concepts helps convey the tragedy of the events, the difficult trials that befell the Ukrainian people, and at the same time support and inspire people. Their use in poetic texts testifies to the bibliocentricity of the linguistic thinking of Ukrainian authors.

ЖАНРОВО-ІДЕОГРАФІЧНІ ТЕНДЕНЦІЇ У ПОЕТИЦІ СУЧАСНОЇ ДИТЯЧОЇ ЛІТЕРАТУРИ

The article attempts to explore the features of early 21st century Ukrainian poetry for children. The purpose of exploration is to identify the genre and ideographic features of poetry: innovation and traditionalism. Tracing the genre modifications of poetry and their common and distinctive features, the author addresses the key features of poetry for children in general: artistic and literary discourse, the functions of poetry, thematic direction, strophic structure of the poem, the existence of images, characters and others. The article proves that the basis for the renewal of poetic genres is traditional genres of folklore and poetry. There are organically updated folk genres in modern poetry for children (praise, scarecrows, fables, nonsense, counters, patter, games) and newly created genres (poetry-pictures, tricks, coloring books, checks, stumbling blocks, therapeutic poems). The search for new forms of expression of idiosyncrasies of artists leads to the emergence of original genres. These have appeared as an original phenomenon in the Ukrainian literature of the early 21st century and offer a wide scope for further research.