Shevchenko Institute of Literature

This article discusses the characteristics of various reference digital resources of the modern humanities. We have identified three main digital resources: a digital library resource, a multimedia digital system, and a multimedia encyclopedic database. These important resources are involved in creating a modern information society. In this context, the Ukrainian Literary Encyclopedia of the Shevchenko Institute of Literature of the National Academy of Sciences of Ukraine and the crea­tion of an independent multimedia encyclopedic database are considered.

Diary literature was of interest to Ukrainian literary critics and literary critics from other countries in different years, but still most scientific studies occur in the mid-20th century. In Ukraine, the diary has been on the side-lines of the literary process for the past two decades. And only the turning points of historical events – the Revolution of Dignity and the Russian-Ukrainian war in eastern Ukraine – returned the genre to active public circulation: without exception, all the diaries of 2014-2020 were created during the crisis period, social upheavals. The relevance of the subject is explained by the need to use the latest practices to comprehend modern Ukrainian literature and, in particular, the diary genre as one of the components of modern military prose. The purpose of the study was to perform a thorough analysis of army diaries published during 2014-2020, study their genre nature, determine their distinctive features and create their general classification. Among the main methods for processing diary texts were historical-biographical, comparative historical, comparative, structural-narratological, interdisciplinary, as well as elements of hermeneutical, intertextual methods, text and discourse analysis, etc. The study presented a thorough analysis and suggested a new classification of the modern diary genre.

Мета статті -окреслити підхід до класифікації культурно-історичних епох, у якому ключову роль відіграє динаміка змін між карнавалом та містерією як метажанрами.Визначено сучасні теоретичні дискусії про метажанр як чинник періодизації літературного процесу

The philosophical parameters of English post-postmodernistic novel have been determined. The influence of non-literary factors on the features of the novelistic chronotope and the worldview of characters has been described. The genre nature of the post-modernistic novel has been outlined. For the first time in Ukrainian literary studies, an array of features that makes it possible to determine the affiliation of the novel to post-posmodernism has been proposed. The experience of Dutch theoretical school in understanding the metamodernistic art has been generalized and the theory of metamodernism has been supplemented. Characterized by the peculiarities of world perception, post-postmodernistic thinking, which at the same time unites such features as irony and sincerity, has been explored. Besides, the specificity of autistic thinking has been spotlighted, which makes it possible to visualize the nature of the post-postmodernistic world outlook grounded on the principles of science, the pursuit of objectivity and emotional sincerity. From the psychological point of view, the concept of the multifaceted reality as one that denotes the perception of the characters of the contemporary novel has been explained. The genre and narrative features of English novel of 2000-20100s have been determined by the influence of the results of astrophysical and biological discoveries that have an impact on the structure of the narrative and actualize the spectrum of philosophical problems inspired by the views of F. Nietzsche, the discourse of multiculturalism in the thematic field of contemporary English novel.

Публикуются прототипы сарматских зеркал-подвесок с тамгами, известные во II—I вв. до н.э. вокруг оз. Балхаш в Казахстане. Там же представлены позднетагарские сюжеты в искусстве и тамги будущих правителей более западных территорий. В тагарском Большом Салбыкском кургане тамги позднего времени, аналогичные сарматским, изображены узкими полосами по краям. В поздний период использования храма Байте III среди сарматских региональных тамг преобладают знаки Нижнего Дона и«варварского» Крыма I — начала II вв., когда торговля была наиболее интенсивной. Интересны обряды над стелой с тамгами в Мингурюке. На конской упряжи и поясах римских офицеров второй четверти — середины II в. н.э. сарматские тамги относятся к среднесарматской культуре и представляют самые сильные группировки (Аорсия на западе Украины и Алания на Нижнем Дону). Эти знаки на эффектных трофеях стали частью «сарматской моды» кавалерии, наряду с военной экипировкой номадов. Рассмотрены единичные важные находки с тамгами, связанные с Ольвией и Пантикапеем. The prototypes of Sarmatian mirrors-pendants with tamgas known in the 2nd — 1st centuries BCE around Balkhash Lake, Kazakhstan. There are also late Tagar subjects in art and also tamgas of future rulers of more western territories. In the Tagar Great Salbyk Barrow tamgas of late time, similar to Sarmatian ones, were depicted in narrow stripes along the edges. In the late period of use of Bayte III temple the signs of the Lower Don and the “Barbarian” Crimea predominate among the Sarmatian regional tamgas in the 1st — early 2nd cc. CE when trade was most intense. The rituals over the stele with tamgas in Minguriuk are interesting. On the horse harness and belts of the Roman officers of the 2nd quarter — middle 2nd c. CE the tamgas belong to the Middle Sarmatian culture and represent the strongest groups (Aorsia in the west of Ukraine and Alania on the Lower Don). These signs on spectacular trophies become the part of “Sarmatian fashion” for cavalry, along with the military equipment of nomads. The single important finds with tamgas associated with Olbia and Panticapaeum are analyzed also.

У статті роман «Амстердам» І. Мак'юена проаналізовано як твір, у якому експліковано перехід постмодернізму в постпостмодернізм в аспекті репрезентованих мотивно-тематичних комплексів.Визначено динаміку кореляцій між постмодернізмом і постпостмодернізмом у сучасному британському романі.Запропоновано поняття «перехідний постмодернізм» для характеристики історико-культурної ситуації після 2000 р. й, зокрема, роману як ключового жанру, що репрезентує спектр світоглядно

Logical concept of artistic detail as a system-forming phenomenon of any creative thinking, ranging from scientific, rationally oriented and completing poetic, spontaneously existential. The reflexive trajectory of the research way of the artistic detail covers the following topics: the place and role of analytical detailing in the development of literature, the detail of the artistic work as a subject of study, the typology of artistic details, the levels and peculiarities of their functioning in the perception of the work by the reader, the artistic detail as a means of figurative perception of reality in the work of Mykhailo Kotsubynskyi, the importance of detail in revealing the psychological peculiarities of the character of the heroes, the compositional function of artistic details, and others. The epic core of methodologization is the novels of the talented master of the Ukrainian word Mykhailo Mykhailovych Kotsubynskyi (1864-1913) and, in its context, the evolution of detail in his work as a means of artistic generalization. Logically argumented choice of the objective space of scientific think activity is caused by several moments that in the complementary form a subject field of given study: first, the special attention of the writer to the inner world of man, to the subtle movements of her soul; second, constant search for adequate artistic forms for this and, thirdly, the peculiarity of his creative manner. It is proved that accurate study of the novels of M. Kotsubynskyi gives a holistic representation of both the essential mosaic of artistic detail and the peculiarity of the skill of the image of details in his work in general.

Unknown letters of M. I. Storozhenko to O. M. Bodianskyi.

The paper focuses on the fi gurative, style, and genre characteristics of B. Hrinchenko’s poetry. Three stages have been distinguished: early poetry of the 1880s, poems of the 1890s, and those of the1900s. The fi rst period is marked by a thematic and formal imitation of T. Shevchenko, I. Manzhura, V. Zabila, etc., and yet the originality of poetic talent, attested by the poems “The Tiller”, “Sad Views”, and others, is evident. In terms of genre and style, the civic poetry prevails, in which the leading motive is work, sometimes interpreted as commitment to the benefit of others (1880s), and sometimes as an immanent internal need of an individual (1900s). The researcher traces the dynamics of the lyric hero, being defi ned mostly by the moral imperative. In B. Hrinchenko’s poetry of the late 1890s, philosophy and sensuality deepened, and as a consequence the lyrical hero changed; the strong-willed personality with a neo-romantic outlook emerges. The topicality of neo-romantic ideas for the poet is indicated by the interpretation of the motive of spiritual leadership, as a feature that characterizes someone who is able to elevate others to his level.
 The syncretism of the types of artistic understanding of reality is evident in Hrinchenko’s poems. The poems of the 1880s and 1890s were dominated by the positivist worldview, and the poetry at the turn of the century was rather focused on the subjective and emotional, neo-romantic perception of the world, although not devoid of the ‘two worlds’ concept of the late romanticism.
 Meditative and epical lyrics noticeably prevail in Hrinchenko’s genre system, due both to the thematic material and the focus on the reader. The most frequent were reflection, appeal, invective, and song genres, mainly romance, for example “The Soul is Burning, and the Heart is Singing.” Knowledge of folklore, interest in the Cossack era and the history of the Cossack state gave Hrinchenko material for his works; he wrote about twenty poems interpreting the history of Ukraine.

In the paper, the forms of critical perception of reality inherent to the protagonists of contemporary British novels (“The Curious Incident of the Dog in the Night-Time”, “Carry Me Down”, “Little Stranger”, etc.) have been discussed. The author has analyzed strategies for reactivation of skepticism in British post-postmodern novel “Cloud Atlas” by D. Mitchell. The specificity of the representation of skepticism in literary post-postmodernism is investigated; in particular, theoretical considerations of L. Miroshnychenko, O. Boynitska and other experts in English/British literature have been developed. The peculiarities of dystopia as a part of the metageneric phenomenon of post-postmodernistic novel “Cloud Atlas” have been revealed. The features of representation of propositional and existential truths in contemporary British novel are outlined. The mechanisms of counteraction to the forms of post-truth and the simulacrum “truths” represented in “Cloud Atlas” as part of capitalist ideological discourse, which leads to a distorted perception of reality and civilization catastrophe, have been outlined. It is revealed that in “Cloud Atlas” there is a critique of hypertrophied consumerism and the loss by contemporary literature the ability to be the source of existential meanings. The specific features in human representation as a dual phenomenon in post-postmodern British novel (Nietzsche's conception of the revaluation of values and the will to power in “Cloud Atlas” is depicted ambivalently) has been explored in the paper. I state that post-postmodernism is a cultural paradigm that unites aesthetic and philosophy of modernism and postmodernism. Besides, the post-postmodern novel has a specific feature resulted in a special narrative mode that combines scientific discoveries that influence the narrative with a special philosophical realm. In the paper, David Mitchell’s novel “Cloud Atlas” has been discussed as an example of post-postmodern writing that reveals emotional sincerity and skepticism, utopic way of thinking and anticolonial discourse. The novel exploits epic beginning to involve the reader in a special atmosphere created by the omnipotent narrator. The end of the story is a metaphorical return to the beginning; however, the starting point was changed. The novel exploits six separate stories that are interlinked according to the idea of eternal returning presented by Nietzsche and realized in the novel in the image of “Cloud Atlas” (symphony). The reality in the novel is exploited as a multifaceted phenomenon and time is depicted according to super-string astrophysical theory. The research gives a clue to understanding the philosophical boarders of post-postmodernism and demonstrates the combination of different discourses (humanitarian and scientific) in contemporary British novel. The paper provides new findings in explaining philosophical parameters of post-postmodern novels.

A theory of cultural transfer was the branch of comparative literary criticism, although this theory declared its sharp opposition against the mentioned tradition of study. The comparative studies in humanities are based on the ideas of specificity of every culture, even when one deals with the influence of one culture on another. Instead of this approach, the theory of cultural transfer promotes not only a simultaneous study of several cultural and national spaces but also a research on disseminations and transformations that appear at any rapprochement between cultures both in an influential culture and in a perceiving one. Consequently, it is not the binary opposition that must be taken into account in cultural transfer but two cultures, one of which is necessarily comprehended as a culture-recipient, although the whole scheme is much more complicated. Any transition from one cultural space into another easily may cause some transformation.
 Other ‘new element’ in the theory of cultural transfer is positioning the study of a cultural space periphery, i. e. connections with alien cultural space that every culture necessarily supports, in a center. This approach demonstrates that any phenomenon, no matter how specifically national it may be, actually is a complicated alloy of different cultures and influences.
 The objects of cultural transfer include the history of translation. Another priority direction is a comparative study of the national forms of comparativism related to the history of intellectual and spiritual relations between different countries and nations. During the transfer from one cultural situation into another any object gets into another context and acquires a new meaning.
 As focus of attention of a theory and studies of translation was shifting to the context of creation, operation and perception of translations, the research on the translated texts increasingly crossed the boundaries of the related disciplines that enabled learning this context – sociology, comparative studies, economics, history, cultural studies. The scholars aim to indicate the ways of manipulating the readers via translation, to explicate interests and values brought with every translation, to show how it forms the culture-receiver and values of society. The most attention is paid to the issues of ideology, economy and politics, the problems of ethnic responsibility of the translator. The object of cultural translation studies is the text in the system of literary and extra-literary meanings within the initial and receiving cultures. Cultural theory of translation raises the question of cultural prestige of the selected texts and determines the basis of this selection, the principles of forming and changing their status. One may focus also on the role of the commentator as an intermediary between the translator of the text and the readers to whom the translator wants to make his way through.

The paper analyzes V. Shevchuk’s story “Confession”, in particular tracing the peculiarities of literary representation of ideas and motives of existentialism on the substantive and figurative levels. The focus is on the relationship between the philosophical, mythological, Christian, and neo-baroque plot/content and idea/image contexts of the work. The image of a werewolf in the creative interpretation of V. Shevchuk combined demonological and philosophical content, embodied the idea of the mystery and ambivalence of human nature, the tragedy of existence in the world, and also became an original illustration of the path from absurd existence to a true one. The existential context of the story is highlighted by the analysis of the feelings and states experienced by the heroes: despair, longing, metaphysical horror, alienation, etc. The way taken by both heroes runs through suffering, self-discovery, remorse, and redemption. It is their way to themselves and a way out of the one-dimensional plane of absurd existence, a process of creating the meaning of their own existence. An important stage on this path is the choice, which acquires the significance of a special borderline situation, in which the theme of the tragedy of human existence is actualized and the essence of man, the strength and weakness of his spirit, the desire for freedom are being most fully revealed. The original plot, compositional, narrative, and figurative structure of the story contributes to the unfolding of different time layers, furthers in-depth reflection of the inner world of the heroes and their moods, which create the context for the themes of human knowledge of oneself, the others, the world, and the truth. The historical, mythological, and philosophical story “Confession” testifies to V. Shevchuk’s desire not only to know a person and the complex dialectics of a personal inner world but also to affirm the uniqueness and value of human existence; like in his other works, the writer tries to understand and therefore to justify a person.

The aimof the article is to clarify features ofsymbolic comparative resources used in the Ukrainian media to represent conflict and counter propaganda, and to consider how these contribute to decision-making. Historical parallels and intercultural analogies are considered as rhetorical means used bywriters in the Ukrainian mediain analyzing the challenges posed by the Russian-Ukrainian military conflict.Research methods and techniques: critical discourse analysis,«problem-oriented interdisciplinary approach»,which emphasizesidentity and power as factors that contribute to the formation of meaning. The research procedureinvolves the analysis of the linguistic and actual context of tropes, comparison of interpretations, and classification of intertextual patterns.Results: different types of analogies are exploited in media texts, the differentiation of which is based on several functional criteria: eitherthe «script of war»,argumentative purpose, or sources of transposition.Conclusions.1. Analogies in media texts are seen as interpretive frameworks that explain current conflict through references to scenarios of military, political,and cultural histories in the world, including the causes of hostilities and models of negotiation. 2. In media texts dealing with interstate conflict and related geopolitical issues, the analogy is approached as a unit of argumentation and belief that influences the choice, and shapes Ukraine's position in the information war. 3. Analogies used in the process of media persuasion serve the functions of symbolic identification, promotion of values, transfer of experience, and proposing strategies. 4. Collectively, the public debate in Ukraine, which addresses the challenges of resistance, is an example of intercultural intertextuality, revealing the basic principles of conflict resolution and protection of state sovereignty.Keywords:analogies,historicalparallels,discourse,conflict,frames,rhetoric,symbol,context.

Ukrainian modernists, in particular Prague School poets, sought to actualize the old Ukrainian mythology in their writings and reinterpret it as a starting point for existence. Relying on the tradition of neoromanticism and neoclassicism, they created a unique style that reflected the experience of defeat in the national liberation war and emigration. This style was an attempt to form a new identity that would maintain continuity with the glorious past and meet the requirements of the time. The poets aimed to establish a new way of thinking that would influence the nation’s worldview, self-determination, and will to struggle. A scrupulous analysis of the elements from old Ukrainian mythology in Oleh Olzhych’s lyrics is crucial for a comprehensive interpretation of his texts. Oleh Olzhych’s poems are saturated with old Ukrainian mythological archetypes, images, and plots that have become a fundamental part of his literary model of the world. The published poems from his books “Pebble” (“Rin”, 1935), “Towers” (“Vezhi”, 1940), and “Pidzamcha” (1946), as well as works beyond these collections, have been analyzed with the use of mythocritical method. Mythologemes, being minimal semantic units of text referring to myths, are typically positioned prominently within the texts.
 The relevant archetypes and images in Oleh Olzhych’s lyrics include the Great Mother, the World Tree, a complex of solar imagery, mediators, and direct references to the gods and creatures of old Ukrainian myths. The old Ukrainian mythology in Oleh Olzhych’s poems accumulates ontological, existential, and value knowledge, appealing to the collective unconscious and being one of the formative components of his worldview.

The research, based on the epistolary data, memoirs and articles, deals with the almost fortyyear long history of business and friendly relations between O. Konyskyi and O. Barvinskyi. Being citizens of the antagonistic empires, they tried to bring the inhabitants of the Dnieper Ukraine and Western Ukraine territories closer by means of the cultural and editorial projects. During the last decades of the 19th century O. Konyskyi and O. Barvinskyi actively participated in cultural, educational, social, and political life of Ukrainians. They had managed to start a number of projects that considerably changed the cultural and educational landscape of Ukraine. They took an active part in the establishment and subsequent reformation of Shevchenko Scientifi c Society in Lviv, which became the prototype of the national academy of sciences; they contributed to development of such editorial projects as “Pravda” and “Ruska istorychna biblioteka”; moreover, they published a range of school textbooks in the Ukrainian language. The paper also covers their active participation in establishing the Department of the Southern Europe history in Lviv University and their attempts to popularize and implement the ideas of the ‘new era’. Sometimes they sacrifi ced their own plans and even reputation realizing the projects that weren’t popular among the contemporary public but promised great prospects for Ukrainians in general. Therefore, O. Konyskyi and O. Barvinskyi were fulfi lling a very ambitious task of gaining the unity of the Ukrainian state and ensuring the possibilities for the national, cultural and educational evolution of Ukrainian society.

El objetivo del artículo fue estudiar las peculiaridades de la arquitectura del texto dialectal en inglés y ucraniano, a fin de comparar sus peculiaridades para una buena comprensión de un idioma extranjero. Como método se utilize el análisis comparative, método de correlación y análisis de contexto; asi como la distribución cuantitativa de variantes de las variables. Las formas del verbo to be en tiempo futuro en inglés y ucraniano se consideran marcadores de tiempos verbales para el estudio paramétrico. Es obvio que el tiempo futuro en ucraniano debe considerarse primario en términos de origen. Para los verbos activos, el número de ejemplos fuera de las combinaciones con el pronombre personal es relativamente pequeño, entonces para las formas verbales completas será el número de tales ejemplos es mucho más significativo. En conclusion, el tema de las diferencias dialectales entre lenguas, comportamientos, tradiciones y mentalidad cobra cada vez más relevancia en el mundo actual, que busca resistir la globalización. La investigación futura debería abordar los aspectos fonéticos y léxicos del habla dialectal, pues la cobertura integral de las características fonéticas y léxicas de los dialectos del idioma permitirá a los futuros especialistas adquirir competencias comunicativas.

The paper deals with Shevchenko’s theme in Mykola Storozhenko’s memoirs “From My Life” and in his letters to Panteleimon Kulish. The author of the paper believes that this issue was marginal for the historian, as Storozhenko’s attitude towards the poet was ambivalent. After all, in articles on historical issues, Mykola Storozhenko quoted Shevchenko only once without giving his name.Special attention is paid to the authorship of the paper “An Episode from the Life of T. Shevchenko”, which researchers now attribute to Mykola Storozhenko based on the signature ‘С-кo’. It is noteworthy that he did not mention this episode in his memoirs, writing about dance evenings in Moisivka, as well as in the publication about his grandmother Maria Korsun. While Mykola’s authorship is the most probable, there are some arguments in favor of his brother’s authorship. Andrii Storozhenko signed his publications with the signature ‘C-кo, A.’. He was interested in Shevchenko’s artistic heritage, ancient portraits and understood the importance of Shevchenko for the Ukrainian idea, despite the fact of creating the caricature character of the poet in his work “The Ukrainian Movement”, which is still used by Russian propaganda in its fight against the ‘Ukrainian separatism’. The article also deals with the problem of perceiving Shevchenko as a natural talent without proper education. It is evidenced by the letter of Mykola Storozhenko tо Panteleimon Kulish. The author is inclined to explain the vitality of the thesis about the poet’s ignorance and poor literacy by the dual Russian-Ukrainian identity which was widespread among the contemporary intellectuals of Dnieper Ukraine and rooted in their sense of inferiority.

This article considers the issue of the identity crisis in the context of globalization, represented in the novel Flights by Olga Tokarczuk, a Nobel Prize laureate and one of the best-selling Polish writers of our time. The artistic world of the novel reveals key features of globalization such as increasing global mobility, intensifying migrations, the dissipation of national borders, and the deactualization of national memory. O. Tokarczuk portrays an original type of a character acting in such conditions – a modern nomad that can be an emigrant, a refugee, a traveler, or a homeless person. This paper focuses on the correlation between memory collapse and identity crisis depicted in several stories from the novel. It mainly considers the philosophical aspect of the issue, namely, people’s fear of death and desire for immortality expressed through their propensity for perpetual motion and rejection of individual and national memory. The topic of plastination (a method of body preservation), deeply elaborated throughout the novel, is examined in the context of interdependency between human’s body and identity. Specific attention is dedicated to fragmentariness as essential characteristic of both formal side of the novel (composition, narrative) and its thematic range. Fragmentariness is also intrinsic to the artistic manifestation of memory, presented in the form of a heterogeneous archive. Providing an alternative, polyphonic narrative, O. Tokarczuk opposes it to any kind of a coherent, monolithic historical narrative. Written in 2007, this novel is particularly interesting to analyze nowadays, when impugning the globalization values is becoming a common tendency. In the new context, Flights can be construed as a warning about creating a world devoid of memorial meaning. This article highlights a well-pronounced appeal to recollection and verbalization of the past. In the “narrating” of life, O. Tokarczuk sees the way to salvation and liberation, thus affirming the crucial role of memory in dealing with the identity crisis faced by contemporary societies.

An action of cold was found to decrease the rat myocardium contractile activity which correlated with the catecholamines level in adrenergic fibres and glycogenolysis in cardiac muscle. Coronary blood flow preservation associated with cold, and its decrease 18 hrs later are connected with the change in the basophils activity in the myocardium as well as with the dynamics of sympatho-adrenal system condition during experiment.

The paper offers to extend the historical time frame of modern cross-media studies formation. The start of this research direction dates not from the 1950-60s, as it is usually considered to be, but from the early 20th century, the ‘synthesis epoch’. Development of neosyncretism was accompanied by creating bright theories in aesthetics and art criticism and promoting the concept of arts’ interaction by the humanities. Three scholars — H. Wolfin, M. Dessoir, and A. Warburg were the pioneers of the modern interdisciplinary research field. The author considers that the range of influences on the cross-media studies in literary criticism should be broadened with the works of philosophers and art critics who started to use the cross-media strategies (not the term itself) when analyzing the works of literature and arts. The leading role belonged to the Iconology school (E. Panofsky, R. Wittkower, E. Gombrich et al.). Their methods were based on applying tools of various disciplines. In the first place, they took into account connections between literature and visual arts. Henceforth, philology interpolated the iconological method into visual and comparative studies. One of the contemporary leading cross-media researchers, W. J. T. Mitchell, named his first book “Iconology: Image, Text, Ideology” (1986).
 In the middle of the 20th century, philosophy had a considerable influence on the cross-media research formation. In particular, literary critics referred to phenomenology (the works by M. Dufrenne, R. Ingarden. M. Merleau-Ponty) and actualized the analysis of interacting arts once more. A visual turn in culture caused growing attention to the issues of apperceptive cross-sensual experience. The newest works in the fields of perception psychology, gestalt psychology, neurolinguistics, and neurophysiology also support the general cross-media theory. It is possible that, due to the mutual influences of sciences, a uniform platform for studying syncretic phenomena will be created.