scholarly journals Тhе incarnation of nostalgia in the piano cycle «Love» by V. Barvinsky

2019 ◽  
pp. 58-78
Author(s):  
Oksana Semenets
Keyword(s):  
Characteristic Feature ◽  
First World War ◽  
World War ◽  
The First World War ◽  
Semantic Game ◽  
Piano Cycle ◽  
Characteristic Features ◽  
First World

The features of nostalgia in the piano loop «Love» by V. Barvinsky are considered. Attention is drawn to the peculiarities of the composer's style in different periods of creativity. In particular, the influence of modernism on the work of V. Barvinsky stands out. So modernist features have appeared in many of the works of the composer: Prelude h-moll, Part II from the cycle «Love», «Prelude» from «Suits to Ukrainian folk themes», «The Frog Waltz», «Preludes of the e-moll», «Fis-dur, Cis-dur», «Trio a-moll», solos «In the forest», romances «Oi luli, luli», «In the evening in the house», Sonnet «Blessing be», «Pastoral prelude to fis-moll», «Youth Quartet», «F-moll Piano Concert», romance «Moon-Prince», «In the Forest», «Oh Fields, Fields», etc. Also available for V. Barvinsky's creative method is the use of dialogue and polylogue, a kind of semantic game that manifested itself in allusions to M. Lysenko, R. Wagner, J. Puccini, K. Debussy, M. Ravel, and others like that. In addition, it refers to nostalgia as one of the characteristic features of modernism, which was particularly manifested in the art of the late XIX - early XX centuries. In music, nostalgia can be called appeals to past styles and epochs, including baroque and classicism. Thus, neo-baroque and neoclassical features are observed by composers I. Stravinsky, P. Hindemit, M. Ravel, J. Roger-Dyukas, G. Fore, D. Miyou, A. Onneger, in Ukrainian music - M. Lysenko, K. Stetsenko. Also, the article focuses on the special discovery of nostalgia in the era of the turn of the XIX-XX centuries. It turns out that for this period nostalgia was a characteristic feature that manifested itself as one of the factors of rethinking being. In particular, nostalgia was expressed in the piano cycle «Love» by V. Barvinsky as anxious for his homeland, the bride, grief for lost during the First World War, and so on.

scholarly journals Ravel’sValses nobles et sentimentalesand its Models

2017 ◽  
Vol 23 (3) ◽  
Author(s):  
Michael J. Puri
Keyword(s):  
First World War ◽  
German Romanticism ◽  
World War ◽  
The First World War ◽  
Piano Cycle ◽  
First World

Most commentators have been content to accept Ravel’s claim that the reference to both theValses nobles(D. 969) and theValses sentimentales(D. 779) in the title of hisValses nobles et sentimentales(1911) “sufficiently indicates my intention of composing a series of waltzes in imitation of Schubert,” but this claim does not hold up under scrutiny. Instead, this article seeks to show that theValses nobles et sentimentalesis better understood as a Schumannian piano cycle. As such, the piece is a fascinating attempt at a rapprochement between French Modernism and German Romanticism shortly before the onset of the First World War.

scholarly journals The First World War in Women’s Autobiographical Writing. What, in What Way, and Why Was Omitted?

2017 ◽  
Vol 58 (1) ◽  
pp. 31-44
Author(s):  
Anna Pekaniec
Keyword(s):  
First World War ◽  
World War ◽  
Autobiographical Writing ◽  
The First World War ◽  
Female Author ◽  
Autobiographical Accounts ◽  
Characteristic Features ◽  
First World

Summary This article deals with omissions, lacunae and understatements in women’s personal diaries featuring the First World War, in particular the Diaries of Zofia Nałkowska, the Diaries of Maria Kasprowiczowa and Memoirs of Podolia by Helena Kutyłowska. Their content provides ample clues for identifying the characteristic features of women’s wartime autobiographical writing shaped by both the historic context and the personality of the female author. In their autobiographical accounts the war is an eye-opener, making people see things in a more nuanced way, and as an menacing force intruding upon their private worlds. Each narrative works under its burden, and yet none of them is overwhelmed by it. If only for that reason women’s wartime diaries and memoirs remain an interesting historical and personal record, capable of yielding new insights both to historians and historians of literature.

Socio-political and confessional preconditions of the birth of the Ukrainian Evangelical-Reformed Church in Western Ukraine (20-30 years of the twentieth century)

2000 ◽  
pp. 67-75
Author(s):  
R. Soloviy
Keyword(s):  
Public Life ◽  
First World War ◽  
World War ◽  
Reformed Church ◽  
Religious Influences ◽  
The First World War ◽  
Western Ukraine ◽  
History Of ◽  
Religious Factor ◽  
First World

In the history of religious organizations of Western Ukraine in the 20-30th years of the XX century. The activity of such an early protestant denominational formation as the Ukrainian Evangelical-Reformed Church occupies a prominent position. Among UCRC researchers there are several approaches to the preconditions for the birth of the Ukrainian Calvinistic movement in Western Ukraine. In particular, O. Dombrovsky, studying the historical preconditions for the formation of the UREC in Western Ukraine, expressed the view that the formation of the Calvinist cell should be considered in the broad context of the Ukrainian national revival of the 19th and 20th centuries, a new assessment of the religious factor in public life proposed by the Ukrainian radical activists ( M. Drahomanov, I. Franko, M. Pavlik), and significant socio-political, national-cultural and spiritual shifts caused by the events of the First World War. Other researchers of Ukrainian Calvinism, who based their analysis on the confessional-polemical approach (I.Vlasovsky, M.Stepanovich), interpreted Protestantism in Ukraine as a product of Western cultural and religious influences, alien to Ukrainian spirituality and culture.

Ale na razie tu cisza” – fotografie sprzed katastrofy w wybranych zapisach literackich (Stefan Chwin, Ryszard Kapuściński, Wisława Szymborska)

2020 ◽  
pp. 65-80
Author(s):  
Magdalena Strąk
Keyword(s):  
Time Perspective ◽  
Terrorist Attack ◽  
First World War ◽  
General Concept ◽  
Literary Texts ◽  
World War ◽  
The Past ◽  
The First World War ◽  
History Of ◽  
First World

The work aims to show a peculiar perspective of looking at photographs taken on the eve of the broadly understood disaster, which is specified in a slightly different way in each of the literary texts (Stefan Chwin’s autobiographical novel Krótka historia pewnego żartu [The brief history of a certain joke], a poem by Ryszard Kapuściński Na wystawie „Fotografia chłopów polskich do 1944 r.” [At an exhibition “The Polish peasants in photographs to 1944”] and Wisława Szymborska’s Fotografia z 11 września [Photograph from September 11]) – as death in a concentration camp, a general concept of the First World War or a terrorist attack. Upcoming tragic events – of which the photographed people are not yet aware – become for the subsequent recipient an inseparable element of reality contained in the frame. For the later observers, privileged with time perspective, the characters captured in the photograph are already victims of the catastrophe, which in reality was not yet recorded by the camera. It is a work about coexistence of the past and future in the field of photography.

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