The article deals with the problem of humorous and satirical poetry by Ukrainian literary group "Bu-Ba-Bu." The author highlights the history of popular literary group, reveals common tendencies in the creative activity of each of its three representatives, who tried to oppose their own poetic world to socialist realist canons, throwing down communist leaders and canonized cultural symbols of totalitarianism from «earthly thrones and pedestals». The article states that the aim of humorous and satirical creative activity of "bubabuists" was the aspiration for deflating the primitive image of lyrical hero – the ideolohema of Soviet era, for making a man of the end of the 20-th century realize his own finality, narrowness of well-known, settled and so rotten to the core world. These poets were also striving for breaking the circle of totalitarian world out look and space, for breaking through to inner freedom of a contemporary personality. The author of the article also analyzes the manifesto of this literary (poetic) group, which became known due to Yu.Andrukhovich in 1990 – "Apologetics of blazneady" with the subtitle "Twelve theses to us ourselves". In this Manifesto twelve characteristic features of "Bu-Ba-Bu`s" literary style were outlined. Notwithstanding common tendencies in "bubabuists" creative activity, there exist individual parameters of poetic style of each of three representatives of popular literary group. The accent is also placed (made) on characteristics of genre typology of verse satire and humour of Yu.Andrukhovich V.Neborak and O.Irvanets: "carnival verses" verses-imitations, parody verses, travesty verses, burlesque poetry, mystifications and more. Poetical activity of "Bu-Ba-Bu" group is a peculiar phenomenon in the Ukrainian literature of the last quarter of the 20-th century. The majority of literary critics and researches attribute "Bu-Ba-Bu" either to neoavant-garde, or to post-modernism (N.Bilotserkivets, T.Gundorova, O.Gutsulyak, O.Malenko, L.Taran, etc.). Conclusions sum up main results of scientific investigation. The author of the article stresses, that the creative activity of the literary group "Bu-Ba-Bu" possesses such features as carnivalization of reality, critics of clichés of social realism and folk motifs baroque discourse, enriched with neoavant-garde epatage methods; grotesque elements of eclecticism, author's self-reflection, multiplicity of aesthetic experience of different cultures; "Ironic linguistic behavior" in poetic creativity up till the destruction of poetic form, parodying and obvious stylization and reminiscence of artistic techniques and more. "Bubabuists" with their humorous and satirical poetry sought to make the language of Ukrainian literature more democratic to expand the thematic diversify and figurative and stylistic palette, facilitating the changes of the image of Ukrainian writer.
The image of the author of artistic works and the image of art, the symbolism of the mystery of creation in Ukrainian emigration poetry, in particular in the works of Igor Kachurovsky, is a special artistic form. Emigrants in the conditions of world democracy observed the influence of totalitarian is montheart of the Ukrainian SSR. They understood that their artist he only opposition tovulgar socialist realism; it saves Ukrainian art, its European quality. Igor Kachurovsky understood this as a writer and as a literary scholar. The study of neoclassical forms of images in the emigrant poetry is temporal. The neoclassical dominants and honor to aesthetics of the world's cultural tradition (from ancient Greek to modern) are Igor Kachurovsky's poetry. The most vividly transmits the image of the author, a pilgrim, a lonere searcher of the world the collection of poems «In a Far Harbor» (1956). The book is dominated by the feeling of creator's loneliness in the background of a constantly changing world, ignoring art. The lyrical hero of the rhymed poems of Igor Kachurovsky felt himself a media of a complex and vividera with the need for a messiah, struggle and truth, opposition to good and evil, fatalism, sin and sacrifice, without soil and love, sin and hatred, immortality and struggle with God, as well as the role of fathers and foreigners for the author. Based on his experience in the Ukrainian SSR, in Europe and in America, the poet created unique figurative and symbolic models of philosophical comprehension of art and authorship, the wrestler and exile. The theme of creativity in his verses is realized through the connection of a prominent individual with nature, with his nativeland and with exotic lands, through the understanding of the opposition of a freeman, a poet and power. And therefore the image of a genius of the nationis the center of the neoclassical philosophy of the author, similarto the Aristotelian and Nietzschean. ; Образ автора мистецьких творів і образ мистецтва, символіка таємниці творення в ...
The article explores transformations of the haiku form in "Morning Haiku" (2010) by the African-American poet, playwright, short story writer, essayist, and editor Sonia Sanchez. Her collections of poetry "Homecoming" (1969) and "We a BaddDDD People" (1970) have a political thrust, focus on black identity and gender issues. Sanchez's later poetry is more lyrical and focuses on love, loss, and relationships. The poet starts experimenting with the haiku in her collection Love Poems (1973) and continues textualizing the form in "Morning Haiku" (2010). As an innovative voice in poetry, Sanchez retains Zen views on haiku, such as the effacement of the subject / object dichotomy, and haiku concept of 'oneness', but she revitalizes the Japanese haiku forging her Afrocentric vision and improvising with the rhythm, phonetic, lexical and syntactical stylistic devices. Following the long-standing tradition of American haiku poets, Sonia Sanchez rejects strict adherence to classical haiku standards and transforms it in the aspects of structure and contents. Her haiku poems are empowered and enriched by black aesthetics and traditions, they are focused on racial, societal, cultural, gender issues, and thus, transformed into politically oriented poetry. ; Стаття присвячена дослідженню жанрових трансформацій хайку у поетичній збірці Соні Санчес "Ранкові хайку" (2010). У розвідці розглядається стильово-поетологічна специфіка поезій афро-американської поетеси і робиться висновок, що всупереч канонам японського жанру, Соня Санчес наповнює хайку активістськими посланнями, феміністичним змістом і створює політично-орієнтовану поезію.
The paper casts light on the existential issues in the works of the Western Ukrainian émigré artists and writers of the interwar period, i.e. between WWI and WWII. These are Ivan Krushelnytskyi, Vasyl Khmeliuk, Galia Mazurenko, Oksana Liaturynska, Sviatoslav Hordynsky, and Volodymyr Havryliuk, who have become the main focus of interest in the paper. They had manifold talents, in other words – embodied universalism. The present paper hence points to the phenomenon of artist-émigré in the Ukrainian culture, showcasing the art universalism as a specifi c feature of the Ukrainian scene in different times. The refl ections of the Ukrainian writer Eugene Malaniuk in the article Late Generation were the motive behind the studies. To substantiate, the author shares that a foreign land was the reason for many people of different professions to devote themselves to literary activities. What is more, Malaniuk takes into consideration both positive and negative aspects of art universalism. In our view, emigration was a catalyst of creative processes. However, there were other reasons that had called for the literary activity of the artists. The main reasons for their turn to poetic creative work, namely those of personal character, motivated by the peculiarities of their artistic mentality, and «exterior» ones, forced by social and political circumstances, have been determined in the process of our study. The chronology of debuts and further publications of poetry collections by these authors have been traced. It has been proved that literary activity was not simply a situational delight for them. Various aspects of artistic contacts between the writers and the artists have been examined. The author devotes much attention to Sviatoslav Hordynsky's versatile creative work. He was a distinctive creator and promoter of the Ukrainian culture during the period between the world wars. Keywords: literature and fi ne arts interaction, writer-artist, poetry, emigration. ; Зосереджено увагу на питаннях екзистенції еміграційних та західноукраїнських митців-універсалістів міжвоєння (Іван Крушельницький, Василь Хмелюк, Галя Мазуренко, Оксана Лятуринська, Святослав Гординський, Володимир Гаврилюк). Обумовлено основні причини звернення цих художників до поетичної творчості (як особистого характеру, вмотивовані специфікою їхнього художнього мислення, так і «зовнішні», спровоковані суспільно-політичними обставинами). Акцентовано увагу на феномені митця-емігранта в українській культурі. Ключові слова: взаємодія літератури й образотворчого мистецтва, літератор- художник, поезія, еміграція.
The article reveals basic tendencies in the development of Egyptian colloquial poetry. Close attention is paid to the works of Bairam at-Tunisi and Ahmad Fuad Najm. Key words: colloquial poetry, zajal, political criticism. ; У статті розкрито основні тенденції розвитку авторської діалектної поезії Єгипту протягом століття з часу її виникнення. Проаналізовано причини звернення поетів до народно-розмовної мови. Особливу увагу приділено творчості Бейрама ат-Тунісі та Ахмада Фуада Наджма. Ключові слова: діалектна поезія, заджаль, політична критика.
An artistic role of the onomastic vocabulary in the poetry of Ukrainian poet and writer M. Vingranovsky is analyzed in the article. Throughout M. Vingranovsky's works, we can become aware of the history of the land, humans' psychology, the peculiarities of their worldview. The diversity of themes and genres in M. Vingranovsky's works has resulted in proper names derivation. All variety of onyms can be detected in the author's works. These are anthroponyms, toponyms, teonyms as well as hydronyms. They indicate the wealth of expressive means.Onyms in the works of M. Vingranovsky serve as an expressive and informative means. An important place in poetry is given to toponyms that have a special content.Toponyms cover both Ukrainian and non-Ukrainian names. A large part is made up of hydronyms, including the central image of the Dnipro. Historical figures are depicted in Vingranovsky's works: Samiylo Kishka, Sahaidachny, Ivan Bohun, queen Olga, Sviatoslav. The choice of the nomination of historical characters in a work of fiction is a demanding account of any writer. These names carry the reader to real-world events and compare the events depicted in poetry with historical periods.They are exponents of social and political processes that form the background of the plot. In the system of onymical space of M. Vingranovsky's works relatively insignificant place is occupied by people's proper names. M. Vingranovsky's onyms are not just identification marks but complex semantic signs, that shortly and clearly represent ideas, characters, behaviour as well as everything, that is required for fiction work understanding.Key words: onym, toponim, proper names, anthroponym, hydronym. ; Проаналізовано особливості функціонування онімів у творчості М. Вінграновського. Описано типи власних назв, що використовує автор. Висвітлено роль онімів у розкритті авторського задуму. Виявлено основні прийоми використання власних імен в аналізованих поетичних творах.Ключові слова: онім, топонім, власна назва, антропонім, гідронім.
The paper examines the role of poetry in decoding of archetypes of the collective unconscious, aiming to study the purpose of poetry in development of philosophy of national idea of peoples appearing on the current historical arena. The author draws a conclusion that firstly, poets are no myth-makers. They merely convey the meaning of historical imperatives to people through a myth. That is why the myth contents are of invariant nature. The myths which came from Poet's sacral pen are truly eternal - at least until there exist communities which spiritual analogs they are. Likewise, these myths are never abandoned and denied, demythified, verified and falsified by any peripetia of social processes and intellectual progress: they get reactualized rather.Secondly, each people can get a national idea as a program for their being in history only through comprehension of a poetic myth under the notions of historiosophy, philosophy of history and philosophy of culture. With no systematic philosophical synthesis, the poetic Myth mostly becomes a tilting-yard of primitive politicking and intellectual fraud.Today Ukraine has found no adequate solution to this topical issue though there are persons to rely on, specifically the historiosophic heritage of V. Lypynskyi, D. Dontsov, I. Boichenko, S. Krymskyi and M. Popovych. ; В статье автор рассматривает проблему роли поэзии в раскодировании архетипов коллективного бессознательного с целью исследовать назначение поэзии в формировании философии национальной идеи народов, которые выходят на историческую арену в современный период. Автор приходит к выводу, что, во-первых, поэты не являются мифотворцами. Они только открывают народу через миф смыслы исторических императивов. Именно поэтому содержание мифа имеет инвариантный характер. Во-вторых, каждый народ может получить национальную идею как программу своего бытия в истории только через осмысление поэтического мифа в категориях историософии, философии истории и философии культуры. Украина сегодня еще не нашла адекватного ответа на этот насущный вопрос. Хотя опираться есть на кого - это, в частности, историософское наследство В. Липинского, Д. Донцова, И. Бойченко, С. Крымского, М. Поповича. ; У статті автор розглядає проблему ролі поезії в розкодуванні архетипів колективного несвідомого, маючи на меті дослідити призначення поезії у формуванні філософії національної ідеї народів, які виходять на історичну арену в сучасний період. Автор доходить висновку, що, по-перше, поети не є міфотворцями. Вони лише відкривають народу через міф сенси історичних імперативів. Саме тому зміст міфу має інваріантний характер. По-друге, кожний народ може отримати національну ідею як програму свого буття в історії лише через осмислення поетичного міфу в категоріях історіософії, філософії історії та філософії культури. Україна сьогодні ще не знайшла адекватної відповіді на це нагальне питання. Хоча спиратися є на кого - це, зокрема, історіософський спадок В. Липинського, Д. Донцова, І. Бойченка, С. Кримського, М. Поповича.
The article deals with the problem of modality as one of the stylistic resources of the sentence. Attention is paid to the achievements of the domestic and foreign scientists who have studied modally oriented syntactic constructions. Common and different features of utterances with illocutionary and optative semantics are briefly stated. It is ascertained that in optative sentences, the very essence of illocution is obscure, the wish is expressed politely, hidden. Verbal forms with the conjunctions хай (нехай)are established as the most common means of expressing the optative mood in modern linguistics. It is analyzed that modern research of optative sentences has been done basing on the material of Ukrainian proverbs, advertisements, periodicals, fiction by Ukrainian writers of the XIX – XXI centuries. The article studies the functioning of optative sentences as an integral part of the syntactic organization of T. Melnychuk's individual style. It is ascertained that the optativeness of the analyzed poetic texts has different modally marked means, and among them most often used are the conjunctions хай, нехай combined with finite verbs in two-member sentences. Another representative of optativeness in the poet's writing are subjunctive mood verbs combined with the conjunctions нехай(най) andби that make it possible to express a wish-supposition. The sentences with optative modality have a high level of linguistic expressiveness, contributing to the intensification of the expressiveness of the poetic text. The main semantic features of the optative constructions are studied: existential poetic reflections provoked by understanding the transience of life, awareness of losing the most precious things – the happiness of the home comfort, love – caused by the hard fate of a political prisoner poet. ; У статті порушено проблему модальності як одного зі стилістичних ресурсів речення. Зосереджено увагу на вітчизняних та зарубіжних лінгвістах, які досліджували модально орієнтовані синтаксичні конструкції. Коротко ...
. Ivan Svitlychny (1929-1922) and Vasyl Stus (1938-1985) - prominent figures of Ukrainian culture, poets, scholars, human rights activists, fighters for freedom of Ukraine, political prisoners of the USSR times. The relationship of dissident artists is a multifaceted problem, one of its sides is the artistic image of one friend in the poetry of another. In the works of both artists there are works where the comrade becomes a literary hero. The subject of the study in this article is Vasyl Stus as an artistic image in the poetry of Ivan Svitlychny. Object of study are poems «Archimedes», «Rilsky octaves», lyrical works «Loneliness», «Parnas», «Guilt», «To V. Stus».The image of Vasyl Stus in the poems of Ivan Svitlychny «Archimedes (after Pluzhnikov's «Galileo») », «Rilsky octaves» is summarized to the symbol.In the poem «Archimedes» I. Svitlychny seems to classify people of the era of totalitarianism by the criterion: the place of man in the struggle for spiritual values. The first are the «islands» that try to stand aside when the continent of spirituality collapses. The second is a tribe of saffron, those who betray their holy shrines and destroy them. The author singles out the third type - people standing on the guard of spirituality. Only here author mentions the names, and the first one is Stus.The poem «Rylsky octaves» has a sarcastic mood. The poet-scholar highlights the choice of Soviet poets who escaped tragedies that Ukraine has experienced, or even glorified its enemies. I. Svitlychny affirms that «pure Kalynets and Stus' muse» is a true criterion of art. «Kalyntsi and Stusy» is the leading image of the poem. The work is imbued with a deep respect for invincible artists, the author is confident that they will gain glory in time that will tell the truth about everyone.If the poem depicts the image of Vasyl Stus as a symbol, then the lyrical works individualize him, illuminate the existential. In the poetic legacy of I. Svitlychny we see two verses with epigraphs from Stus («Loneliness», «Guilt»), sonnet «Parnas» with the image of the poet, and poem «To V. Stus».The poem «Loneliness « expresses the finality of the prisoner's situation, his loneliness, spatial blockade. In the sonnet «Parnas» the hero-prisoner of I. Svitlychny finds an existential exit from the borderline situation of imprisonment and abandonment. In his imagination, his friends-poets come to him and read their poems. V. Stus was one of the comrades who saved his soul even at a distance, with his beautiful verses, his unbroken existence.The sonnet «Guilt» contains an epigraph from the poem of V. Stus «Streams»: «The great sin on my heart I wear .». The guilt is multifaceted, complex psychologically and philosophically. I. Svitlychny raises the idea of justice, names the crimes of a totalitarian regime in the USSR.In the poem «To V. Stus» I. Svitlychny continues dialogue with the friend. In the poem «Streams» V. Stus wrote about guilt before a woman, mother, took upon himself the sin of unhappiness that his fate brought her. I. Svitlychny names the real reason: love is stolen not by those who truly love, but by those who have unjustly condemned and imprisoned him.A portrait of an indifferent crowd, composed by people of the mass (H. Ortega-i-Gasset), is presented. The spiritual drama of the Ukrainian dissidents of the sixties is expressed through the image of the abyss, the poet compares the eyes of the crowd with the abyss as a mirror of the collective unconsciousness. The image of Vasyl Stus in the poem-dedication appears existentially. The reader manifests the essence of the inner life of man, his intimate feelings, experiences, values. The author writes You with a capital letter, as a manifest to the friendly closeness of their relations and, at the same time, a deep respect for the friend's personality. In this close and mighty You the poet feels suffering; psychological, intimate injury; hostile siege, in which the soul was wounded. He admires the courage and firmness of his friend, knowing that the values that the comrade preaches are unswerving.The author of the poetry-devotion has no illusions, he says the strict truth: in the near future there will be no change for the better, but there will be new trials, new ways of enslavement. Instead of respect for devotion to the truth, the dissident poet will meet the bullying of the crowd, but will accept them as calmly as he would have received fame. Self-sufficiency, confidence in the truthfulness of the case you protect, inner superiority in relations with the crowd are the features of «You», discovered by I. Svitlychny.I. Svitlychny, as well as T. Schevchenko in his poem "Dream", depicts the Russian soil, prisons, camps, where people, who fight for freedom, suffer. The hero, created by both poets, is a man, who keeps the freedom in his soul and doesn't obey the physical force of the authorities and the dark psychological strength of the crowd.The image of Vasyl Stus in the poetry of Ivan Svitlychny is the embodiment of the highest virtues of a Ukrainian man, a high criterion for assessing others, a friend, a like-minded, a person with a complex inner world, an artist whose poetic word can save from solitude. For I. Svitlychny in his artistic texts, Vasyl Stus is a hope for Ukraine, a symbol of freedom.The poetic of the image is characterized by scientific accuracy of characteristics and the analysis of the situations, metaphors, allusions, the deliberate mixing of discourses – poetic, scientific, camp, the usage of the criminals' jargon, simplicity and terseness of syntax, literary tone painting, the form of sonnet, the inclination to aphorisms, the creative use of artistic time and space. ; Статтю присвячено поезії дисидента Івана Світличного. Дослідниця характеризує образ Василя Стуса у поемах і віршах І. Світличного. Увагу сфокусовано на екзистенціальному смислі тексту та стилі. Стаття містить інтерпретацію художнього тексту та історичний і біографічний контексти. Авторка досліджує художній діалог поета з товаришем. Образ В. Стуса постає як утілення альтернативної вільної України.
The article outlines the methodology of study of lyric texts on the material of contemporary poetry by D. Pavlychko, particularly poetry collections "Pokayanni Psalmy", "Naperstok","Potop", "Symvol Viry", "Virshi z Maidanu". The study touches upon the features of representing the key image of the collection, i.e. the image of Ukraine, the poet's desire toreproduce his own reflections on the contemporary events in Ukraine, the nowadays' reality, the history and future of the country, life itself in his poems. D. Pavlychko is the poet of epic composition and way of thinking. The artist's poetry is always distinguished by respect for the form, conciseness, and refined lyricism, symbolic images preserved in contemporary poetry, which is characterized by ethical sharpness, deep philosophy, balanced emotional wisdom and elegant fullness of the word. In D. Pavlichko's contemporary poetry, the reality is reproduced through the prism of political, economic and cultural events which affect consciousness and feelings of Ukrainians. The poet captures the historical moments, which manifests his active public and political activity. One of the most heartbreaking issues for the poet is the unity of the country which is ideologically split into two parts. The image of Ukraine in D. Pavlychko's poetry is unique, expressive, original, precise, filled with feelings of love and hatred, rich in colors and voices of life, sincere. ; У статті окреслено методику вивчення ліричних творів на матеріалі сучасної поезії Д. Павличка, зокрема поетичних збірок "Покаянні псалми", "Наперсток", "Потоп", "Символ віри", "Вірші з Майдану", визначено особливості зображення одного з ключових образів згаданих вище збірок митця – образу України, засвідчено про прагнення поета відтворити у віршах власні роздуми про сучасні події в Україні, реальність сьогодення, історію та майбутнє України, власне життя. Д. Павличко є поетом епічного складу та способу мислення. Поезія митця завжди відрізняється увагою до форми, лаконічністю та витонченою лірикою, символічними образами, збереженими в сучасній поезії, що характеризується етичною гостротою, глибокою філософією, збалансованою емоційною мудрістю. У сучасних поезіях Д. Павличка відтворено реальність сьогодення крізь призмуполітичних, економічних, культурних подій, які впливають на свідомість і почуття українців. Одне з найболісніших питань для поета – поєднання ідеологічно розколотої на дві частини країни. Образ України у поезії Д. Павличка є своєрідним, виразним, самобутнім, відшліфованим до блиску і точним, виповненимчуттями любові й ненависті, багатим на барви і голоси життя, щирим.
Статтю присвячено виявленню прагматичного ресурсу власної назви Кремль в українському поетичному дискурсі. З'ясовано її аксіологічну різновекторність, домінантну функцію – ідеологічну, яка пов'язана передусім із пресупозиційними значеннями 'радянська влада' та 'російська влада'. ; Статья посвящена исследованию прагматического ресурса имени собственного Кремль в украинском поэтическом дискурсе. Установлена его аксиологическая разновекторность, доминантная функция – идеологическая, которая связана с пресуппозиционными значениями 'советская власть' и 'российская власть'. ; The choronym Kremlin has been poorly researched by the linguists before; it predictably should implement essential connotative potential in poetry. There are only occasional observations carried out in the analysis of various linguistic issues (O. Koval, T. Mozharovа, I. Nazarenko, etc.). The necessity of studying the artistic significance of this onym determines the relevance of the chosen topic. The purpose of the article is to clarify the specifics of revealing the pragmatic potential of the onym Kremlin in the Ukrainian poetic discourse. Ukrainian poetry texts of folklore and literary origin have been chosen as the material for the study. The descriptive method, the comparative-semantic one, the method of contextual analysis, in particular, its contextual and intertextual varieties, are used in this research. The cultural information and the secondary connotative content of the omyn Kremlin, which initially reveals the signs of the toponym/choronym, makes it possible for its versatile classification definition. The presupposition significance of this onym as "Soviet power" or, more rarely, "Russian power" is dominant and it consolidates an ideological function in the poetic sense. Axiological multivectorality of the choronym, as well as in the toponym Moscow, is determined by extra-linguistic factors, in particular, the political background and the views of the addressee of speech. The positive assessment of the ideologues of Kremlin is explored as much as possible by contextual lexemes with the common semantics of light and heat, as well as units of the lexical-semantic field "Star". Means of displaying negatively-evaluative connotations of the onym Kremlin are variegated, among other distinguishable mythological allusions. In general, its poetic connotations testify to the participation in the construction of a universal conceptual opposition "good-evil". An effective means of actualizing various pre-suppositional values and modeling occasional semantics is the interaction of the choronym Kremlin with other toponyms or, occasionally, with their appellate correspondences. The perspectives of research are seen in the establishment of the frame onyms-ideologeme in Ukrainian poetry and statement of ways to realize their semantic and pragmatic potential.
Статтю присвячено виявленню прагматичного ресурсу власної назви Кремль в українському поетичному дискурсі. З'ясовано її аксіологічну різновекторність, домінантну функцію – ідеологічну, яка пов'язана передусім із пресупозиційними значеннями 'радянська влада' та 'російська влада'. ; Статья посвящена исследованию прагматического ресурса имени собственного Кремль в украинском поэтическом дискурсе. Установлена его аксиологическая разновекторность, доминантная функция – идеологическая, которая связана с пресуппозиционными значениями 'советская власть' и 'российская власть'. ; The choronym Kremlin has been poorly researched by the linguists before; it predictably should implement essential connotative potential in poetry. There are only occasional observations carried out in the analysis of various linguistic issues (O. Koval, T. Mozharovа, I. Nazarenko, etc.). The necessity of studying the artistic significance of this onym determines the relevance of the chosen topic. The purpose of the article is to clarify the specifics of revealing the pragmatic potential of the onym Kremlin in the Ukrainian poetic discourse. Ukrainian poetry texts of folklore and literary origin have been chosen as the material for the study. The descriptive method, the comparative-semantic one, the method of contextual analysis, in particular, its contextual and intertextual varieties, are used in this research. The cultural information and the secondary connotative content of the omyn Kremlin, which initially reveals the signs of the toponym/choronym, makes it possible for its versatile classification definition. The presupposition significance of this onym as "Soviet power" or, more rarely, "Russian power" is dominant and it consolidates an ideological function in the poetic sense. Axiological multivectorality of the choronym, as well as in the toponym Moscow, is determined by extra-linguistic factors, in particular, the political background and the views of the addressee of speech. The positive assessment of the ideologues of Kremlin is explored as much as possible by contextual lexemes with the common semantics of light and heat, as well as units of the lexical-semantic field "Star". Means of displaying negatively-evaluative connotations of the onym Kremlin are variegated, among other distinguishable mythological allusions. In general, its poetic connotations testify to the participation in the construction of a universal conceptual opposition "good-evil". An effective means of actualizing various pre-suppositional values and modeling occasional semantics is the interaction of the choronym Kremlin with other toponyms or, occasionally, with their appellate correspondences. The perspectives of research are seen in the establishment of the frame onyms-ideologeme in Ukrainian poetry and statement of ways to realize their semantic and pragmatic potential.
The choronym Kremlin has been poorly researched by the linguists before; it predictably should implement essential connotative potential in poetry. There are only occasional observations carried out in the analysis of various linguistic issues (O. Koval, T. Mozharovа, I. Nazarenko, etc.). The necessity of studying the artistic significance of this onym determines the relevance of the chosen topic. The purpose of the article is to clarify the specifics of revealing the pragmatic potential of the onym Kremlin in the Ukrainian poetic discourse. Ukrainian poetry texts of folklore and literary origin have been chosen as the material for the study. The descriptive method, the comparative-semantic one, the method of contextual analysis, in particular, its contextual and intertextual varieties, are used in this research. The cultural information and the secondary connotative content of the omyn Kremlin, which initially reveals the signs of the toponym/choronym, makes it possible for its versatile classification definition. The presupposition significance of this onym as "Soviet power" or, more rarely, "Russian power" is dominant and it consolidates an ideological function in the poetic sense. Axiological multivectorality of the choronym, as well as in the toponym Moscow, is determined by extra-linguistic factors, in particular, the political background and the views of the addressee of speech. The positive assessment of the ideologues of Kremlin is explored as much as possible by contextual lexemes with the common semantics of light and heat, as well as units of the lexical-semantic field "Star". Means of displaying negatively-evaluative connotations of the onym Kremlin are variegated, among other distinguishable mythological allusions. In general, its poetic connotations testify to the participation in the construction of a universal conceptual opposition "good-evil". An effective means of actualizing various pre-suppositional values and modeling occasional semantics is the interaction of the choronym Kremlin with other toponyms or, occasionally, with their appellate correspondences. The perspectives of research are seen in the establishment of the frame onyms-ideologeme in Ukrainian poetry and statement of ways to realize their semantic and pragmatic potential. ; Статья посвящена исследованию прагматического ресурса имени собственного Кремль в украинском поэтическом дискурсе. Установлена его аксиологическая разновекторность, доминантная функция – идеологическая, которая связана с пресуппозиционными значениями 'советская власть' и 'российская власть'. ; Статтю присвячено виявленню прагматичного ресурсу власної назви Кремль в українському поетичному дискурсі. З'ясовано її аксіологічну різновекторність, домінантну функцію – ідеологічну, яка пов'язана передусім із пресупозиційними значеннями 'радянська влада' та 'російська влада'.
In the article, the author analyzes theoretical and practical principles of the axiological aspect of studying poetry in high school. There is an example of the analysis of program andextracurricular poetry in which attention is focused on the formation of values in high. The work reflects some tendencies of development of school students' values while the studying verse. The task of the teacher at the lessons of Ukrainian Literature lies in the necessity to show the values of society through the prism of art works, biographies of writers, literary movements and trends. The scope of values is diverse. It covers material and spiritual, social and political, aesthetic and ethical values. Axiology – in literary criticism and art studies – is a doctrine of artistic values. R. Hromyak notes that understanding the basis of the nature of artistic values literary critics develop the theory of literary criticism, the perception and interpretation of works of literature, their functioning among different readers. The poetry expressing the thoughts and feelings of a person has a huge pedagogicalpotential for the reader's emotional perception of artistic expressions of, their analysis and individualized internalization. Considering the reforms in the field of education, the nurturing of students' values, in particular moral and ethical (dignity, honesty, justice, care, respect for life, respect for oneself and other people), socio-political (freedom, democracy, cultural diversity, respect for the native language and culture, patriotism, respect for the environment, respect for the law, solidarity, responsibility), etc. Therefore, this article reveals the issue of the formation of the axiological component of literary competence while studying Ukrainian poetry in high school. ; У статті аналізуються й розглядаються теоретичні засади аксіологічного аспекту вивчення лірики в старших класах. Подано приклад аналізу програмової поезії та поезії позакласного читання, де увагу акцентовано на формуванні в старшокласників ціннісних орієнтирів. Показано тенденції розвитку ціннісних орієнтацій учня під час вивчення ліричних творів. Завдання вчителя-словесника на уроках української літератури показати ціннісні орієнтири суспільства крізь призму художніх творів, біографій письменників, напрямів і течій літератури. Світ цінностей різноманітний. Він охоплює матеріальні й духовні, соціальні й політичні, естетичні та етичні цінності. Аксіологія – в літературознавстві й мистецтвознавстві – учення про художні цінності. Р. Гром'як зазначає, що в основі розуміння природи художніх цінностей літературознавці розробляють теорію літературної критики, сприймання та інтерпретації творів літератури, їх функціонування серед різних читацьких кіл. Лірика, яка виражає думки й почуття людини, містить значний педагогічний потенціал для емоційного сприймання читачем художньо виражених цінностей, їх аналізу та індивідуальної інтеріоризації.Ураховуючи реформи в галузі освіти, вагомого значення набуває виховання учня на цінностях, зокрема морально-етичних (гідність, чесність, справедливість, турбота, повага до життя, повага до себе та інших людей), соціально-політичних (свобода, демократія, культурне різноманіття, повага до рідної мови і культури, патріотизм, шанобливе ставлення до довкілля, повага до закону, солідарність, відповідальність) тощо. Тому в даній статті порушено актуальну проблему формування аксіологічногоскладника літературної компетентності під час вивчення української лірики в старших класах.
18 квітня 1917 р. у Києві було урочисто проголошено створення 1-го Українського козацького полку імені гетьмана Богдана Хмельницького. Створення полку було підтримане Українською Центральною Радою і стало важливим чинником національного поступу. Незабаром існування Богданівського полку вимушена була санкціонувати і тогочасна російська військова адміністрація.Увечері 26 липня 1917 р., вирушаючи з Києва на російсько-німецький фронт, ешелон богданівців зазнав несподіваного нападу з боку шовіністично налаштованих російських кірасирів та донських козаків. По богданівцях, які не мали достатньої кількості набоїв для належної відповіді нападникам, вели вогонь із гвинтівок та кулеметів; після того, як вагони зупинилися, українських вояків били прикладами та рубали шаблями. Внаслідок нападу загинуло 16 українських військовиків та понад півсотні було поранено.Похорон козаків було організовано на урядовому рівні: 30 липня багатотисячна жалібна процесія, яку очолили голова Української Центральної Ради М. Грушевський та інші представники української влади, розпочавши свою ходу від Київського військового шпиталю, куди звезли тіла загиблих, пройшла вулицею Госпітальною, далі – Хрещатиком і спустилася на Поділ. На Замковій горі у Києві відбулося урочисте поховання богданівців. Було оголошено збір коштів на спорудження пам'ятника загиблим, одначе бурхливі революційні події у Києві не дали можливості довести цю справу до логічного завершення.Наприкінці 80-х років XX ст. місце поховання богданівців знову стало об'єктом громадської уваги. 14 жовтня 1989 р. відбулося організоване молодіжними активістами сходження на Замкову гору і встановлення хреста на могилі поховання вояків. Згодом замість дерев'яного встановили металевого хреста, але через брак вивіреної інформації на хрестах зазначалося, що це – місце поховання Січових стрільців, які полягли під Крутами.12 серпня 2020 р., у 103-тю річницю від дня перепоховання козаків Богданівського полку, з ініціативи відділу «Музей Української революції 1917–1921 років» Національного музею історії України на Замковій горі відбулася урочиста церемонія вшанування козаків-богданівців. ; On April 18, 1917, the creation of the 1st Ukrainian Cossack regiment named after Hetman Bohdan Khmelnytsky was solemnly proclaimed in Kyiv. The formation of the regiment was supported by the Ukrainian Central Council and became an important factor in national progress. Soon, the then Russian military administration was also forced to authorize the existence of the regiment.On the evening of July 26, 1917, on their way from Kyiv to the Russian-German front, an echelon of B. Khmelnytsky regiment soldiers was unexpectedly attacked by chauvinistic Russian cuirassiers and Don Cossacks. The attacked, who did not have enough ammunition to counteract the violators, fired rifles and machine guns. After the carriages stopped, the Ukrainian soldiers were beaten with gun-butts and chopped with swords. The attack killed 16 and wounded more than 50 Ukrainian servicemen.The funeral of the Cossacks was organized at the governmental level: on July 30, thousands of people led by the Chairman of the Ukrainian Central Rada M. Hrushevsky and other Ukrainian officials formed the mourning procession and went from the Kyiv Military Hospital, where the bodies of the dead had been brought, along Hospitalna street, Khreschatyk, and then down to Podil. A solemn burial of the soldiers took place on Zamkova hill in Kyiv. A fundraiser for the construction of a monument to the victims was announced, but the turbulent revolutionary events in Kyiv did not allow bringing the case to a logical conclusion.In the late 1980s, this grave once again became an object of public attention. On October 14, 1989, a youth organization initiated the ascent to Zamkova hill and the installation of a cross on the soldiers' graves. Later, the wooden cross was substituted with a metal one, but due to the lack of the verified information, it indicated that it was the burial place of the Sich Riflemen who died near Kruty.On August 12, 2020, on the 103rd anniversary of Bohdan Khmelnytsky regiment Cossacks' reburial, a solemn ceremony honoring them was held on Zamkova hill at the initiative of the Museum of the Ukrainian Revolution of 1917–1921 of the National Museum of the History of Ukraine.