scholarly journals Репрезентанты концепта ПАМЯТЬ в свете новых задач стилистики

Stylistyka ◽  
2020 ◽  
Vol 28 ◽  
pp. 25-40
Author(s):  
Ольга В. Евтушенко
Keyword(s):  
Interdisciplinary Approach ◽  
Literary Work ◽  
Temporal Organization ◽  
Literary Texts ◽  
Family Chronicle ◽  
The Aesthetic ◽  
Definition Of ◽  
The Individual ◽  
Aesthetic Ideas ◽  
Individual Style

Starting with the definition of style by K.A. Dolinin, the article proposes to reflect on the perspectives of an interdisciplinary approach to stylistic research, using primarily the achievements of psychology and philosophy, as the style of a literary work is the result of the subject’s choices, which in turn result from his/her individual way of thinking. The interdisciplinary approach will also allow for more effective aesthetic assessment of the work. The article analyses three literary texts based on memories: The childhood years of Bagrov-grandson, serving as a continuation of the Family Chronicle by S.T. Aksakov, The Life of Arsenyev by I.A. Bunin and Be Like Children by V.A. Sharov. On the example of language constructions forming the concept of MEMORY, the researcher shows the factors that influence the choice of language means that ultimately create the individual style of the author. The study proves that this choice is influenced by non-linguistic factors: the situational context, era, the author’s professional and personal experience and education, philosophicaland aesthetic ideas, and other important circumstances that guide the artist’s thinking. Genre rules and current tastes are also of importance. The study shows that the ratio of the number of language constructions regarding experience memory and information memory can characterize the individual style of a given author. It also proves that a broader interdisciplinary view of style allows to see more determinants of the aesthetic value of a work. Among them are: the harmonious structure of the text including its spatial and temporal organization, and the compliance with the broadly understood norm that involves not only the linguistic but also the mental layer of the text, as expressed by appropriately selected means.

scholarly journals AUTHOR’S INDIVIDUAL PUNCTUATION AS AN ELEMENT OF TEXT GRAPHICS

Movoznavstvo ◽  
2021 ◽  
Vol 319 (4) ◽  
pp. 60-69
Author(s):  
N. S. PRУKHODKO ◽  
Keyword(s):  
Structural Features ◽  
Graphic System ◽  
Punctuation Mark ◽  
Poetic Text ◽  
Research Findings ◽  
The Aesthetic ◽  
Definition Of ◽  
The Individual ◽  
Historical Epoch ◽  
Individual Style

The article sheds light on the concept of text graphics and the importance of punctuation in the graphic system of the text, in particular, poetic text. The author elucidates various scholars’ approaches to the definition of the term author’s individual punctuation, with a focus on the system-structural features of some punctuation marks and the most important functions of punctuation as a stylistic device. The article analyzes the expressive and stylistic means used to produce the greatest emotional influence on the listener or reader and classifies them into constructive, emotive, combined, and contaminated groups. The multi-functionality of the author’s punctuation embraces strengthening the aesthetic loading of punctuation marks and expanding the boundaries of their use. The unregulated use of punctuation mark is determined by historical changes and the semantic principles concerning the location of punctuation marks. Author’s punctuation can be interpreted as a substitution of some normatively motivated signs/marks with the unregulated ones; as a text devoid of any marks; as an excessive use of either some particular punctuation marks or only one of them and, on the contrary, their complete absence in the text. The article outlines the main functions of the author’s punctuation: emotional, emphatic, logical, evaluative, semantic, dividing. The individual style, dependence on the functional style, genre, traditions, and norms of a definite historical epoch are the factors that influence the author’s individual punctuation system formation. The author’s punctuation is an interstyle phenomenon because it is inherent in texts of different functional styles. The research findings argue that the author’s individual punctuation system should be interpreted in a broad sense as any conscious, deliberate choice of the unregulated punctuation mark, not fixed in the spelling rules, and in a narrow understanding — all the punctuation marks in the author’s manuscript, which are different from the normative use.

Philosophical Aspects of Literary Objectiveness

1998 ◽  
pp. 77-84
Author(s):  
Endre Kiss
Keyword(s):  
Literary Work ◽  
Philosophy Of Art ◽  
Crucial Importance ◽  
Work Of Art ◽  
Artistic Experience ◽  
Scientific Analysis ◽  
The Status ◽  
The Aesthetic ◽  
Definition Of ◽  
General Fact

Gadamer’s hermeneutic philosophy avoids the problem of literary objectiveness altogether. His approach witnesses the general fact that an indifference towards literary objectiveness in particular, leads to a peculiar neglect of par excellence literariness as such. It seems obvious, however, that the constitutive aspects of the crisis of literary objectiveness cannot be shown to contain the underlying intention of bringing about this situation. At this point, one can identify what could probably be the most important element in a definition of literary objectiveness. In contrast to ‘natural’ objectiveness and objectiveness based on various societal conventions, the legitimacy of a literary work is solely guaranteed by its elements being organized in accordance with the rules of literary objectiveness. Thus when the crisis of literary objectiveness intensifies, literariness will also find itself in a crisis. This crisis detaches new, quasi-literary formations from various definitions of literariness. When literary objectiveness ceases, however, to be understood as a system constituted by various objective formations aiming to correspond in one way or another to the ‘world’, scientific analysis of literary objectiveness will be rendered impossible. The crisis of literary objectiveness thus brings about the crisis of the theory of literature and the philosophy of art. Gadamer explicitly argues that the scientific approach proves to be inadequate in the analysis of artistic experience. This attitude results in the categorical rejection of a scientific orientation (and so in a complete indifference towards literary objectiveness), but he seems to overemphasize an otherwise correct thesis on the non-reflexive character of artistic experience. It is the anti-mimetic and Platonic character of Gadamer’s aesthetic hermeneutics that determines the status of literary (artistic) objectiveness in his system of thought. What is of crucial importance, however, is to point out that this aesthetics entails a fundamental reduction of the significance of literary objectiveness. As soon as the essence of aesthetic object-constitution is taken to be re-cognition (plus the emanating aesthetic possibilities), the absolutely natural interest in the original object represented by a work of art.Undoubtedly, Gadamer’s conception answers a number of questions that tend to be ignored by other theories. It is just as obvious, however, that Gadamer completes here the aesthetic devaluation of the objective domain. It is not the characteristics of the ‘original’ that constitute the image, but in effect the image turns the original into an original. Paraphrasing this claim one arrives at a near paradox: not objectiveness makes a work of art possible, but a work of art lends objects their objectiveness.

scholarly journals A PESQUISA INTERDISCIPLINAR EM ESTUDOS DE PAISAGEM: intersecções fenomenológicas entre a Literatura e a Geografia Humanista Cultural no âmbito do GEPLIT

2018 ◽  
Vol 25 (4) ◽  
pp. 225
Author(s):  
Rosângela Guedêlha da Silva ◽  
Márcia Manir Miguel Feitosa ◽  
Claudia Letícia Gonçalves Moraes
Keyword(s):  
Interdisciplinary Approach ◽  
Space And Place ◽  
Literary Texts ◽  
Narrative Space ◽  
Landscape Studies ◽  
Analytical Perspective ◽  
Phenomenological Perspective ◽  
Analytical Research ◽  
Las Mujeres ◽  
The Aesthetic

Este artigo objetiva refletir acerca da configuração teórica e prática da pesquisa interdisciplinar desenvolvida no âmbito do Grupo de Estudos de Paisagem em Literatura (GEPLIT), da Universidade Federal do Maranhão (UFMA), uma vez que a interdisciplinaridade ainda se configura, quase sempre, um caminho rico e desafiador. Esses trabalhos voltam-se a obras literárias cujo espaço narrativo ficcional articula-se à subjetividade da experiência humana, compondo a paisagem existencial portadora de significados do que o ser humano vivencia e é enquanto ser-no-mundo. Essa é uma perspectiva fenomenológica de abordagem do espaço literário que aproxima a Literatura a áreas do conhecimento com as quais não tradicionalmente dialogava, como a Geografia Humanista Cultural. Na fundamentação, contou-se com as contribuições teóricas de Morin (2005), Santos (2010), Fazenda (1994, 2008), Tuan (2012; 2013), Dardel (2015), Relph (2014), Feitosa (2012; 2016), Marandola Jr; Gratão (2010), dentre outros. Esta é uma pesquisa qualitativa, bibliográfica e de caráter analítico. Como resultados, pode-se evidenciar a viabilidade da abordagem interdisciplinar entre a arte literária e a ciência geográfica na vertente humanista e que tal prática amplia a perspectiva analítica de textos literários ao fomentar leituras a partir da constituição estética das obras em articulação às experiências humanas de espaço e lugar, o que representa um enriquecimento à formação acadêmica dos estudiosos e uma significativa contribuição para sua atuação como pesquisadores e como docentes. Palavras-chave: Interdisciplinaridade. Literatura. Geografia humanista cultural. Paisagem. GEPLIT.INTERDISCIPLINARY RESEARCH IN LANDSCAPE STUDIES: phenomenological intersections between Literature and Cultural Humanist Geography within the scope of GEPLITAbstractThis paper aims to reflect on the theoretical and practical configuration of the interdisciplinary research developed within the Landscape Studies Group in Literature (GEPLIT), Federal University of Maranhão (UFMA), since interdisciplinarity is almost always a rich and challenging road. These works turn to literary works whose fictional narrative space articulates with the subjectivity of human experience, composing the existential landscape bearing meanings of what the human being experiences and is as being-in-the-world. This is a phenomenological perspective of approach to literary space that brings Literature closer to areas of knowledge with which it has not traditionally spoken, such as Cultural Humanist Geography. In the rationale, the theoretical contributions of Morin (2005), Santos (2010), Fazenda (1994, 2008), Tuan (2012; 2013), Dardel (2015), Relph (2014), Marandola Jr; Gratão (2010), among others. This is a qualitative, bibliographical and analytical research. As a result, the viability of the interdisciplinary approach between literary art and geographic science in the humanist field can be evidenced, and that such practice extends the analytical perspective of literary texts by fostering readings from the aesthetic constitution of works in articulation with the human experiences of space and place, which represents an enrichment to the academic formation of scholars and a significant contribution to their performance as researchers and as teachers.Keywords: Interdisciplinarity. Literature. Cultural humanist geography. Landscape. GEPLIT. LA INVESTIGACIÓN INTERDISCIPLINAR EN ESTUDIOS DE PAISAJE: intersecciones fenomenológicas entre la Literatura y la Geografía Humanista Cultural en el ámbito del GEPLITResumenEste artículo objetiva reflexionar acerca de la configuración teórica y práctica de la investigación interdisciplinaria desarrollada en el marco del Grupo de Estudios de Paisaje en Literatura (GEPLIT), de la Universidad Federal de Maranhão (UFMA), ya que la interdisciplinaridad aún se configura, casi siempre, camino rico y desafiante. Estos trabajos se vuelven a obras literarias cuyo espacio narrativo ficcional se articula a la subjetividad de la experiencia humana, componiendo el paisaje existencial portadora de significados de lo que el ser humano vive y es en cuanto ser-en-mundo. Esta es una perspectiva fenomenológica de abordaje del espacio literario que aproxima la Literatura a áreas del conocimiento con las que no tradicionalmente dialogaba, como la Geografía Humanista Cultural. En la fundamentación, se contó con las contribuciones teóricas de Morin (2005), Santos (2010), Hacienda (1994, 2008), Tuan (2012, 2013), Dardel (2015), Relph (2014), Feitosa (2012; 2016) ), Marandola Jr; (En el caso de las mujeres). Esta es una investigación cualitativa, bibliográfica y de carácter analítico. Como resultados, se puede evidenciar la viabilidad del abordaje interdisciplinario entre el arte literario y la ciencia geográfica en la vertiente humanista y que tal práctica amplía la perspectiva analítica de textos literarios al fomentar lecturas a partir de la constitución estética de las obras en articulación a las experiencias humanas espacio y lugar, lo que representa un enriquecimiento a la formación académica de los estudiosos y una significativa contribución para su actuación como investigadores y como docentes.Palabras clave: Interdisciplinariedad. La literatura. Geografía humanista cultural. Paisaje. GEPLIT.

scholarly journals PHILOSOPHY OF INTERDISCIPLINARITY

2021 ◽  
Vol 3 (5) ◽  
pp. 48-52
Author(s):  
Cecilia CURIS ◽  
Keyword(s):  
Applied Sciences ◽  
Scientific Research ◽  
Interdisciplinary Approach ◽  
Point Of View ◽  
Rational Approach ◽  
Human Being ◽  
Methodological Principles ◽  
Definition Of ◽  
The Individual ◽  
The Relationship

The interdisciplinary approach in science is becoming more widespread today. It is gratifying that in the age of applied sciences, in which technology prevails, philosophy as the core of the humanities is restored to its status. Starting from the definition of philosophy that includes notions such as knowledge, values, reason, existence, mind, language, it is not surprising the attitude of modern man in relation to the rational approach of including this fundamental discipline in scientific research in any field. This reconceptualization is absolutely necessary for the progress of humanity starting from the assumption that no field of scientific research can exist without a series of methodological principles. Consequently, we can consider philosophy, the theoretical foundation of any science and more than that, a science applied, per se with resonance in everyday existence. What can be more important for the human being than explaining the meaning of life, the relationship with peers and the psychological motivation of its existence in this world? Thus, philosophy can be the promoter of the active attitude of the individual in any social field. It is important to consider the model of the individual who from a moral point of view is interested, participatory, has a purpose and correctly defines his duties towards himself and society. These coordinates define the pattern of the human being capable of participating in the progress of humanity

scholarly journals The Role of Rhythm and Metre in the Style and Genre Formation in B. Rachmanin’s Prose

2021 ◽  
Vol 26 (2) ◽  
pp. 198-205
Author(s):  
Petimat Sh. Tsurueva ◽  
Irina G. Mineralova
Keyword(s):  
Literary Work ◽  
The Other ◽  
Literary Works ◽  
Silver Age ◽  
Functional Potential ◽  
The Individual ◽  
Contemporary Author ◽  
Individual Style

The issues of rhythm and metre in prose of 1960-1970s reflect the experiments of young writers not only within the form. The search for new genres and ways of expressing new content are diverse. The article deals with literary works by Boris Leonidovich Rachmanin, the author of poetry collections, stories, screenwriter, who boldly created a new internal form of his works using both possibilities of meter and rhythm in his prose, which was different from the works of his predecessors in the Silver Age or those who worked in the Russian diaspora. The analysis of works A Letter, The Action Takes Place on the Other Planet and others shows the functional potential of special rhythm and melody of prose in the individual style of the writer and also outlines semasiological approaches in the analysis of a literary work in general. Comparison of literary works by B. Rachmanin with the works by A. Bely or I.A. Bunin as his predecessors and Yustinas Martsinkevichus as his contemporary author gives an idea of the tradition Rachmanin inherited and the cultural style of the epoch in which the writer worked.

scholarly journals Unfinished Work as Aesthetic and Musical Phenomenon: about Interrelation of Genre, form and Technique of Composition

2021 ◽  
pp. 24-34
Author(s):  
Lyudmila Zapevalova
Keyword(s):  
Mutual Influence ◽  
Comparative Method ◽  
Historical Context ◽  
Musical Form ◽  
Main Research ◽  
General Scientific ◽  
Observation Method ◽  
Definition Of ◽  
The Individual ◽  
Aesthetic Ideas

The relevance of the study is dictated by the interest of contemporary creators and researchers in various fields of science to the problem of unfinished works. The appearance of the latter is associated with the historical situation and philosophical and aesthetic ideas of the time, with the psychological characteristics of the Creator's personality and the peculiarities of his thinking, as well as with the originality of the individual design of the work. In musical art, a productive direction in substantiating the specifics of unfinished works is their consideration both through the “prism” of the philosophical and aesthetic ideas of the time, cultural and historical context surrounding the composer, and based on fundamental theoretical teachings. The aim of the research is to establish and substantiate the “zones” of action and mutual influence of categories that are important and system-forming for theoretical musicology — musical genre, musical form and composition technique within the boundaries of unfinished works. The scientific novelty of the research is reported by: 1) the definition of the artistic and aesthetic phenomenon of “incompleteness”, which is universal for works of art, formulated and proposed for the first time; 2) the classification of unfinished works presented in relation to musical art; 3) analytical observations of the process of interaction of genre, form and technique of composition in conditions of various degrees of manifestation of incompleteness of musical works. The research methodology is based on the works of various fields of scientific knowledge — philosophical and aesthetic research (U. Eco, J. Gartner, etc.), works on the history and theory of art (S. Stupin, E. Abramovskikh, etc.), research in the field of theoretical and historical musicology (Y. Kholopov, E. Ruchevskaya, M. Pereverzeva). The main research methods are the general scientific observation method and the comparative method, as well as various methods of analyzing a piece of music. The results of the study reflect the following conclusion. A progressive tendency is clearly visible from work to work, which in music belongs to the category of “unfinished”: from a ghostly “hint” expressed through the genre, through a meaningful idea “underlying” the form, to the assertion of the principles of an “open work” through total interdependence genre, form and technique of composition. The study is undoubtedly of practical value. It significantly supplements and expands knowledge about some new genres that are little studied in music (fragment, sketch, etc.) and their compositional originality.

scholarly journals Experiment in the prose of Boris Rakhmanin: forms of depiction, synthesis of genres

2021 ◽  
Vol 27 (2) ◽  
pp. 143-149
Author(s):  
Irina G. Mineralova ◽  
Petimat Sh. Tsurueva
Keyword(s):  
Synthesis Methods ◽  
Thought Process ◽  
Creative Experience ◽  
The 1960S ◽  
Definition Of ◽  
The Individual ◽  
Individual Style

The article examines the creative experience of Boris Rakhmanin as a prose writer who developed new forms of synthesis in Russian prose of the 1960s - 1980s. The distinctive techniques that he experimented with contributed to the lyricisation of prose. The originality in the author's definition of the genre indicated the author's special line of thought, Boris Rakhmanin's techniques originate in prose experiments at the turn of the 19th and 20th centuries (Andrei Bely, Evgeny Zamyatin, etc.) and dialogue with contemporaries (Eduardas Mieželaitis, Justinas Marcinkevičius). Analysis of the resource of synthesis methods used by Boris Rakhmanin in his prose allows us to point out their functionality in creating an image of the life and an image of the thought process of the writer's contemporaries. This analysis also gives an idea of the individual style of the writer.

scholarly journals Sound in the individual poetic picture of the world of Mykola Vihranovskyi

2019 ◽  
pp. 86-95
Author(s):  
Iryna Ivanenko
Keyword(s):  
National Space ◽  
Individual Author ◽  
Living Things ◽  
The World ◽  
Poetic Practice ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Definition Of ◽  
The Individual ◽  
Metaphorical Structures

The article analyzes models of metaphorical description of sounds that are relevant to M. Vinhranovsky’s individual poetic picture of the world. It is determined that the most productive type of audio metaphorization is related to the verbalization of associative sound-to-nature relationships. Its relevance is determined by the collective (secured by verbal tradition) and individual (author) experience of perceiving objects of national space, such as river, sky, water, forest, grove, trees, as well as related phenomena of nature (wind, storm, thunder, rain). and living things (birds, animals, insects). The persistence of associations in the poetic texts motivated by this experience has been consistently confirmed. The collective and individual experience of perception of the phenomena of the nature of rain, thunderstorm, rain, wind, water motivates the active use of «sound» verbs, which metaphorize the various actions and intensity of manifestation of these phenomena. The stylistic performance of common linguistic formulas with stylistically neutral verbs – carriers of the archives of ‘sounds of nature’ is traced. It is proved that an important fragment of the sound definition of the world in the national linguistic-poetic practice and in the idyllic style of M. Vinhranovsky as its symbolic fragment is the image of “silence”. Updating the “zero” manifestation of audio semantics, it creates a semantic opposition to images with the seven “sound”. The aesthetic unfolding of the image of silence in various structural metaphorical structures: verbal predicative, verbal object, oxymoronic, tautological is attested. Analyzed metaphors confirm that the aesthetized verbalization of sound impressions is one of the dominants of M. Vinhranovsky’s individual poetic phrase, in which the metaphors with the seven ‘sound’ are indisputable artistic dominants.

scholarly journals KAJIAN TEORI FORMALISME DAN STRUKTURALISME

2019 ◽  
Vol 3 (1) ◽  
pp. 79
Author(s):  
Fadlil Munawwar Manshur
Keyword(s):  
Literary Work ◽  
Raw Material ◽  
Literary Texts ◽  
Critical Approach ◽  
Verbal Art ◽  
Literary Works ◽  
Literary Research ◽  
Sound Levels ◽  
Close Relationship ◽  
The Aesthetic

From the perspective of formalism theory, this study aims to reveal that a research on literary texts does not only pay attention to textual facts existing in literary works, but also needs to pay attention to what exists outside the text. In the literary works, the element of defamiliarization holds that literary language is able to express facts of stories using unfamiliar languages. From the perspective of structuralism theory, this study aims to reveal that structuralism is conceptually a continuation of formalism which largely depends on language. Structuralism theory has a close relationship with linguistics, especially in analyzing the functions of the language used. The analysis of language function can help understanding language semiotics that views literature as a sign that then led to literary semiotics. Therefore, functioning to examine a phenomenon, the concept of semiotic structuralism emerged as a social fact.  Critical approach was deemed suitable to be used in this study because formalism theory and structuralism theory are part of a social construction and part of a discursive formation in the formation of subject and reality. As a result, it could be seen the position of formalism theory and structuralism theory in literary research of which raw material is language. The findings in this study are that the formalism theory in its development is dynamic and its language construction stimulates readers to respond. In principle, literary work is not autonomous because it contains author’s feelings and society’s mind. Literary research should exceed the boundaries of formalism and be able to create new vocabularies in writing novels. In the novel, there is intertextual polyvalence, which is a series and intensive dialogic linkages that are capable of giving birth to new novels. Another finding is that structuralism theory has a close relationship with linguistics, for example phonological elements in linguistics which can help literary theory in analyzing sound levels in oral literary works. This theory has also developed a study of poetry to the aesthetic level so that this study has shifted from its original aspects of verbal art only to all art and artistic aesthetics in the present time. This shift distinguishes the views between formalism and structuralism in relation to norms and values inherent in language.

scholarly journals ARTISTIC TRANSCRIPTION OF THE EDGAR ALLAN POE'S IMAGERY IN ANTUN GUSTAV MATOŠ'S AND MYKHAILO YATSKIV'S PROSE

2019 ◽  
pp. 181-189
Author(s):  
Anna KOMARYTSIA ◽  
Keyword(s):  
Edgar Allan Poe ◽  
Literary Texts ◽  
Comparative Approach ◽  
Literary Works ◽  
American Writer ◽  
The World ◽  
Creative Style ◽  
The Aesthetic ◽  
The One ◽  
Definition Of

Background: On the one hand, the literary works of A.G. Matoš were studied by Croatian scholars in the context of the philosophy and poetics of modernism. The authors of fundamental studies about A.G. Matoš are Dubravko Jelčić, Dubravka Oraić Tolić, Mladen Dorkin, Zlatko Posavac, Miljenko Majetić and Nada Iveljić. On the other hand, Ukrainian researchers Mykola Ilnytskyi, Solomiya Pavlychko, Oksana Melnyk, and Polish researcher Agnieszka Matusiak analyzed and studied M. Yatskiv's creative style in the context of the aesthetic canons of the modernism. The novelty of this article is in addressing the influence of E. Poe on the literary texts of the Ukrainian and Croatian modernists using the comparative approach. Purpose: This is the first attempt to analyze the influence of E. Poe on A. G. Matoš and M. Yatskiv. This article treats the actual and yet not studied question of a multilayer impact (composition, imagery set) of the American writer on the Croatian and Ukrainian modernist writers. Results: Romanticism writer Edgar Poe undoubtedly influenced Mykhailo Yatskiv and Antun Gustav Matoš, especially with his essay “The Philosophy of Composition”. In this essay the author demonstrates the principle of constructing the plot with the logic and the hidden mechanisms of imagery construction. But in the biography of the American writer we can find facts that poems such as “Nevermore”, “Ligeia” and others weren`t the result of logic, but they were yearning for his wife who passed away being very young. The author of this study found a numerous allusions on the essay “The Philosophy of Composition” by E. Poe, his images of a horror crow and a cat, as well as the images of dead beloved beautyis in many literary works of A.G. Matoš and M. Yatskiv. Croatian and Ukrainian symbolists also used E. Poe`s technique of the total effect. Mystery element is generalized in the literary texts of three authors in the images of the sphinx, which has several meanings. The most common meaning is the abstract definition of something mysterious that needs to be answered. Similarities between Matoš's and Yatskiv's imagery with American writer E. Poe prove, that Ukrainian and Croatian writers were inspired by the world art achievements, creatively transforming ideas that were contemporary both to the romanticism and modernism. Key words: Edgar Allan Poe, Antun Gustav Matoš, Mykhailo Yatskiv, modernism, romanticism, “The Philosophy of Composition”, art scenography.

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