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.

Symbolism and semantics of the Ob Ugrians festive costume

Статья посвящена исследованию символики и семантики праздничного костюма обских угров (народности ханты и манси). Использованы описательный и компаративный методы. Отмечается, что цветовой «словарь» данных народностей максимально конкретен и основан на непосредственном восприятии, поэтому «образы» цветов реалистичны и мифологичны одновременно. Соответственно, каждый цвет несет особую смысловую нагрузку, что детально рассмотрено на примере коллекции вышитой праздничной одежды остяков (ханты) «Узоры Конды». Показано, что костюм можно воспринимать как текст, прочитав который можно понять смысл его цветовой, орнаментальной, архитектурной текстуры. Резюмировано, что праздничный костюм обских угров — не только самобытное явление художественной традиции Западной Сибири, но и итог многовековой коммуникации между соседними народами. The article is devoted to the study of the symbolism and semantics of the festive costume of the Ob Ugrians (the Khanty and Mansi peoples). Descriptive and comparative methods were used. It is noted that the color "vocabulary" of these ethnic groups is as specific as possible and based on direct perception, therefore, the "images" of colors are realistic and mythological at the same time. Accordingly, each color carries a special semantic load, which is examined in detail on the example of the collection of embroidered festive clothes of the Ostyaks (Khanty) "Kondy Patterns". It is shown that the costume can be perceived as a text, after reading which one can understand the meaning of its color, ornamental, architectural texture. It is summarized that the festive costume of the Ob Ugrians is not only an original phenomenon in the artistic tradition of Western Siberia, but also the result of centuries-old communication between neighboring peoples.

Modernist interpretation of the image of the sun in the European literature of the late 19th and early 20th centuries

The article is devoted to the clarification of the semantic and text-creating potential of linguistic cultures in the european and ukrainian artistic speech. The research was carried out in several directions: a) on the material of texts of european and ukrainian authors of the beginning of the twentieth century revealed semantic-stylistic features of the linguistic culture of the sun; b) considered the semantic structure of the text through the projection of this image into the context; c) through the description the modernist features of the interpretation of the image in the European literature of the early twentieth century. In the work, a comparative method of analysis was used, which allowed to find out the common and excellent in interpreting the image, revealing its deep meaning. Modern linguistics defines the concept of linguistic ethnocentrism. It becomes the background for the development of an ethnic group as an original phenomenon, acts as a uniting beginning of each individual nation, a marker of the national language, traditions, and culture. The history of its formation is dynamic. The philosophical origins are hidolen in the idea of anthropocentrism. Human being is regarded as an organic part of nature, and its surrounding animals, birds, trees, plants, rivers, rocks – as living beings endowed with a human soul The formation of linguistic ethnocentrism was significantly affected by the geographical and climatic features of the ethnic group's residence (natural landscape, climate, natural phenomena, flora and fauna). The natural origin caused the occurrence of a system of cult concepts associated with phyto-and dendrological symbols. It is expedient to analyze the historical and social conditions of the formation of an ethnic group and its culture (economic activity, occupation, relations with neighbors, social and political forms).The distinctive features of any ethnic group affect its psychological behavior and mental traits. Among the most characteristic features of Ukrainians, it is appropriate to name humanity, individualism, emotionality, sentimentalism, receptivity, hospitality, a kind of sincerity, lyricism. Formation of national-marked language units (epithets, metaphors, comparisons, proper names, compound words, associative language relations, specific vocabulary and phraseology) becomes the background of individualization of any ethnic culture, and Ukrainian especially. Ethnic language pictures of the world, which all members of society are involved in, affect the way people think and behave.

A. Karamanov’s piano concerts: “curve” of the style and language evolution

The article is devoted to the peculiarities of the concert-piano style of A. Karamanov, an outstanding Ukrainian composer, whose works have only recently become the subject of musicological discourse. The “curve” of style and language evolution is outlined, the stages of which are marked by three large-scale concerts of the composer, the last of which called “Ave Maria” has already gained worldwide popularity and entered the repertoire of outstanding performers both in Ukraine and abroad. Based on a comprehensive analysis of the genre-stylistic complex of the phenomenon of “piano concert”, a definition of the concept of “concert-piano style” is offered, which is extrapolated to the author’s style of A. Karamanov in this genre. The characteristic features of the composer’s three piano concerts are highlighted and generalized, a kind of triptych cycle, in which through the work of A. Karamanov as a composer-pianist, constant and individually innovative features of the genre are embodied, which became symphonic conceptual model not only in his work, but also in the styles of other authors of the late XX — early XXI centuries. The relevance of the chosen topic is determined by the need for a systematic consideration of the triptych of piano concerts by A. Karamanov as a significant phenomenon of Ukrainian and world pianism at the turn of the XX–XXI centuries. The purpose of the research is to reveal the peculiarities of the style and language evolution of A. Karamanov’s work, the stages of which are represented by his three piano concerts. The methodology is a combination of general scientific and special musicological approaches to the disclosure of the stated topic. Among them are: the method of deduction, which determines the movement of research from the general (concert as a principle of musical thinking) to special (piano concert) and specific phenomenon (triptych piano concerts by A. Karamanov); methods of genre and stylistic analysis used in considering the drama and form of all three concerts; methods of performance and texture analysis aimed at identifying the features of Karamanov’s concert pianism. The results of the research reveal the combination of traditions and innovations in the interpretation of the genre in the concert-piano style of A. Karamanov. All three of his piano concertos are based on different models of drama and form, but common to them is the attraction to the symphonic concept, which brings the concert forms in his music closer to the symphony as a genre of “high generalizations” (Asafiev, 1971). The scientific topicality of this research is determined by the fact that for the first time In Ukrainian musicology it presents a comprehensive review of the aesthetics and poetics of three piano concerts by A. Karamanov, which reflect the characteristics of modern interpretation of the genre with a tendency to symphonization. The practical significance of this scientific research is determined by the possibility of applying its provisions and conclusions in the further study of the laws of modern concert-piano style in the works of other composers. The article can be useful for performers who turn to interpretations of Karamanov’s piano concerts, as well as for teachers and students of piano departments and branches of art universities of Ukraine. Conclusions. The review carried out in this article showed that the concert-piano style of A. Karamanov is an original phenomenon of world piano culture, and therefore requires more in-depth study and performance attention. After all, it embodies the characteristics of a new worldview paradigm, formed on the basis of classical traditions and it is considered as a “bridge” between them and modernity.

Iconostases of Galicia: History and Features of Design

The meaning of sacral art in the spiritual culture of Ukrainian people is scarcely explored. Analytic review of iconostases in Galicia during 19th and the first half of the 20th cnturies as a phenomenon of Ukrainian artistic culture may be used during the restoration of ancient religious buildings, as well as in construction of new ones. The aim of the research is a historical comparison as well as artistic and culturological analysis. A series of iconostases have been introduced into scientific circulation. The meaning of carved décor in Galician Ukrainians’ sacral culture has been outlined. The formation of iconostasis design in the sacred environment of Galicia is investigated. The dominant and accentuating role of the iconostasis in the design of the church interior is established. The artistic carving played an important role in the history and artistic features of the iconostasis. The artistic and figurative solution of iconostases was conducted with the imitation of historical styles and used imitation of the ornamental and compositional structures of traditional folk art. Consequently, a national style emerged that became an original phenomenon of world art. Prospects for further studies are in increasing the number of studied iconostases, in investigating the symbolism of carved décor and its meaning in the sacral culture of the Ukrainians. Furthermore, the traditions of the design of religious buildings may be applied in modern construction

Text as a Game: Modern Strategies for Working with Texts in Future Teachers’ Training (on L. Frank Baum’s tales “American tales”)

The article deals with modern strategies for working with literature in the future teachers’ training process, especially in work with tales. Suggested technologies make it possible to move away from traditional text analysis, to offer interesting interpretations as well as to focus on details. A text comes to life as it receives new interpretations, and visual ones complement the verbal content. This strategy helps make the reading more stimulating. It helps unleash and develop students’ analytical and creative potential: interpret scientific texts, create a lapbook and scrapbook. The examples are discussed on the material of Baum’s tales, “American Tales”, which is a fascinating and original phenomenon of American literature for children, and it provides a considerable space for interpretation. These tales are bright, interesting, and funny and allows to suggest to play with text, details, characters. Such game is impossible without attentive reading and understanding the main ideas of the text. The authors of the given manuscript recommend the following methods of working with texts as calligrams, hero pyramid, mind mapping, six thinking hats by E. Bono, etc. As a result, students begin to read literature more carefully, pay attention to details and better memorize certain episodes. The success of applying holographic technologies in dealing with literature is proved. Thus, the following skills like reading, creative thinking, critical thinking, the ability to express thoughts have been developed as well as the fear of misinterpretation of texts has disappeared.

«Russia, Russia! Keep Yourself, Keep it!..» Book review: Essays on the History of Russian Custodians (‘Khranitel’stvo’

The ideas of conservative modernization of Russian society are currently very relevant. However, the concept of «conservatism» in modern discourse is very ambiguous, and most importantly, not fully relevant to the complex of domestic socio-political and religious-philosophical ideas that have developed since the existence of the Old Russian state. A much more precise definition in this regard is the concept of “Khranitel’stvo”, which organically developed in the Russian tradition almost until the end of the 19th century and which is a unique and original phenomenon of the intellectual culture of Russia. On the basis of large historical and theoretical material, the authors of the monograph study the ideological origins, essence and evolution of «Khranitel’stvo» as a specific socio-political direction of Russian thought.

Russian Animalism in Relation to Other Genres of Fine Art in the History of Russian Culture of the 18th—19th Centuries

The article deals with the historical-cultural topic of relations of the Russian animalism with other genres of fine art of the 18th and 19th centuries. When the features of animalistic art were identified as a peculiar and characteristic phenomenon open to interaction, animalism became an original page of Russian culture. The author refers to this topic in connection with the small number of complex studies in the field of animalism. The purpose of the article is to consider the specific features of animalism, as a characteristic original phenomenon of Russian artistic culture, in the context of the existing genre system of the two designated periods. The relevance of the article lies in the fact that the issues of interaction and integration are very significant in historical and modern artistic practice. The demonstration of such “communications” on the example of Russian animalistic painting, graphics, and sculpture further enriches and diversifies the sphere of Russian art, giving it the character of integrity and national color.The article presents a review of Russian and foreign literature on this topic, indicates that animalism entered the system of genres of Russian art of the 18th—19th centuries as a special “genus” of it, showing an independent status. For two centuries, artists set their task to create an animal’s image in the sphere of the natural reality they observed. The nature they perceived and the animals in it were reflected in different genres of fine art. In the 18th century, when the Academy of Arts and related classes were organized in Russia, animals and birds began to be depicted in historical, battle, landscape paintings, and still lifes. Wild and domestic animals appeared in paintings by foreign and Russian masters. In the 19th century, the horse became one of the most preferred characters in portraiture and sculpture (along with the historical and landscape genre). The author concludes that the historical realities of that time highlighted that image and determined the formation of a separate “hippic genre”.

Figury grozy w literackiej i malarskiej twórczości Zdzisława Beksińskiego

The author of this article focuses on the category of dread which is characteristic of Beksiński’s works. It is an original phenomenon because of the tools that create it and its influence on the poetics of the artistic text. The most important areas of the artist’s literary works and paintings in which he operated with dread, were space, characters and colors. Due to the similarity of means of expression shaping dread in stories and paintings, one can speak of transmedia figures of dread in Beksiński’s work, i.e. metaphor, exaggeration, oxymoron, repetition, animation, play with the perspective and points of view. These figures coexist with each other, interact with each other in the process of creating a unique world of dread, characteristic only to Beksiński. On the other hand, dread itself affects the tools that make it up and transforms the effect of their operation. The author of the article calls such a phenomenon ‘acquainted dread’ – the action of the figures used, initially causing dread, is reversed and means that the presented elements – despite the clear features causing fear – cease to be its source for the recipient.

„Listka jednego, ni ząbeczka w liściu”. Norwid – poza romantyzmem

The article polemicizes with those findings in the history of literature that situate Norwid’s output within the Romantic movement, especially conclusions drawn by Zofia Stefanowska, Zofia Trojanowiczowaand Edward Kasperski, but also certain ideas developed by Rev. Antoni Dunajski, who argues that the poet’s historiosophic reflection is rooted in Hegelian dialectics (or German philosophy in general), seasoned with the Christian tradition and readings from the Bible. The authoremphasizes certain properties of Norwid’s poetics: an original concept of the protagonist, a personalist concept of history, irony, and the development of both the lyrical subject and the virtual lyrical audience, which all decidedly confirm that the poet functioned outside the said literary and ideological movement. These claims are also informed by the idea that even though Norwid operated beyond the Romantic convention, he would not embrace some other, existing trend (e.g. positivism or Parnassianism), or already represent one from the future (e.g. modernism). Instead, as a pre-modernist and precursor of contemporary lyricism, or a symbolist, he foreshadowed future literary movements. Accordingly, the article claims that Norwid’s work constitutes a separate and original phenomenon, at least in Polish literature.