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The article presents the aesthetic and ideological concept of liberal criticism, which was expressed by a leading Galician critic, literary scholar, journalist and cultural figure of the interwar period Mykhailo Rudnytsky. His main scientific works were interpreted as a kind of postulate of "worldlessness" and "liberal criticism" focused on Western European intellectual models. Much of Rudnytsky's publications were written in the ideological vein of a resonant discussion, provoked by the critic and formulated by him under the slogan "Should a writer have a worldview?". In this discussion, M. Rudnytsky argued that it is not important for a writer to have a worldview. The main thing is the aesthetic criterion, which should also be decisive in the literary-critical evaluation of the writer's work. This thesis was quite ambiguous and controversial, as it sharply contradicted the general tendencies of the Galician society of that time. So the discussion provoked a polemical wave. The literary liberalism focused on issues of pure art, the search of Beauty, a kind of aesthetic ideal, non-involvement in politics, the predominance of form and style over content and ideas – founded in the Galician cultural environment of the interwar period more resistance than support. In anticipation of war, amid economic and political instability, in conditions of statelessness, the rejection of any ideology in Ukrainian society was interpreted as an ethical danger, ideological and political nihilism. Article focused also on the scientific and aesthetic problems of Rudnytsky's literary-critical scientific creativity, the specific eclectic stylistics of his works, the influence of the aesthetics and ideology of the Moloda Muza (Young Muse) group and modernism of 19 century on his philosophy and literary theory, the common and different in scientific theories of Mykhailo Rudnytsky and the Polish critic and literary theorist Ostap Ortwin, the cultural europocentrism of literary-critical assessments of Mykhailo Rudnytsky, reception of his ...

China is a distant and unusual country specifically known as the oldest extant civilization in the world. Relations between Ukraine and China originated in the days of the Kyivan Rus as the trade routes of the Silk Road branched over the territory of modern Ukraine, precisely the annexed Crimea. The country of East Asia is one of the largest investors in the world and has made an enormous contribution to the world's development of art, science, and culture. In Ukraine, the year 2019 was recognized as a year of a particularly active partnership between China and Ukraine. It was a reasonable and symbolic gesture on Ukraine's part. The Strategy of Ukraine's foreign policy for 2021–2024 identified China as one of its key strategic partners. It certainly is a novelty considering the global competition for the world's leadership. The conversation, however, is not about politics but literature in China. Chinese literature has always played a significant role in various spheres of cultural life: Confucius, Cao Xueqin, Lu Xun, Liu Zhenyun, and, of course, our contemporary writer – Mo Yan. In fact, this article gives a review of the collective monograph "The Tendencies in Chinese literature and the literary work of Mo Yan", edited by Ihor Pavliuk (2021), a writer, Doctor of Social Communication, professor of Ukrainian media at Ivan Franko National University of Lviv, with the assistance of the Shevchenko Institute of Literature of the National Academy of Sciences of Ukraine. The article is a brief overview of the distant past and present of literary China based on the extensive research made by employees of the Shevchenko Institute of Literature of the National Academy of Sciences of Ukraine (M. Sulyma, I. Pavliuk, D. Drozdovskyi) and researchers from the leading universities of Ukraine (Taras Shevchenko National University of Kyiv, Ivan Franko National University of Lviv, Oles Honchar Dnipro National University, Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University, Drohobych Ivan Franko State Pedagogical ...

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 Kochubey family has left a significant mark on history, politics, and state reform. The article considers the representatives of the family as statesmen and literary characters of the works of Alexander Pushkin and Leo Tolstoy. Vasyl Kochubey, the protagonist of the poem "Poltava", provokes discussions about Pushkin's assessments of the events of the Great Northern War. However, the author of the poem was interested primarily in the psychological aspect of the character of a person who was captivated by parental feelings. The romanticized image of Kochubey is similar to the image of Mazepa from Byron's poem, also far from historical similarity. L. Tolstoy's novel depicts another well-known representative of the family, Viktor Pavlovich Kochubey, whose role in the work is significant not in the plot development, but ideologically - as an alternative to the Decembrist path of development of the Russian Empire. This is the hero who influenced the principles of Andrew Balkonsky, partially influenced the views of his son. The article suggests the absence of images of Dykan Kochubeys in the works of M. Gogol. The theme of historical and literary memory in the works of M. Gogol, who bypassed the silence of famous neighbors, is studied. The Kochubey family left a noticeable mark on Poltava land. Dykanka is still called Kochubeyivska, there is the Mykolayiv Church with a family crypt and an oak alley, which witnessed the love of Mazepa and Motri. ; Рід Кочубеїв залишив значний слід в історії, політиці, державному реформуванні. У статті розглянуто представників родини як літературних персонажів творів О. Пушкіна й Л. Толстого. Василь Кочубей, головний герой поеми О. Пушкіна «Полтава», викликає дискусії щодо історичних оцінок його діяльності. Проте автора цікавив передусім психологічний аспект характеру людини, що опинилася в полоні батьківських почуттів.Романтизований образ Кочубея схожий на образ Мазепи з поеми Дж. Байрона, також далекого від історичної подібності. У романі Л. Толстого зображений інший відомий представник роду, Віктор Павлович Кочубей, роль якого у творі значуща не в сюжетному розвитку, а в ідейному – як альтернатива декабристському шляху розвитку Російської імперії. Це той герой, який вплинув на принципи Андрія Болконського, частково – на погляди його сина. У статті висловлено припущення щодо відсутності образів диканських Кочубеїв у творчості М. Гоголя. Порушено тему історичної та літературної пам'яті у творчості М. Гоголя, який обійшов мовчанням іменитих сусідів.

The Kochubey family has left a significant mark on history, politics, and state reform. The article considers the representatives of the family as statesmen and literary characters of the works of Alexander Pushkin and Leo Tolstoy. Vasyl Kochubey, the protagonist of the poem "Poltava", provokes discussions about Pushkin's assessments of the events of the Great Northern War. However, the author of the poem was interested primarily in the psychological aspect of the character of a person who was captivated by parental feelings. The romanticized image of Kochubey is similar to the image of Mazepa from Byron's poem, also far from historical similarity. L. Tolstoy's novel depicts another well-known representative of the family, Viktor Pavlovich Kochubey, whose role in the work is significant not in the plot development, but ideologically - as an alternative to the Decembrist path of development of the Russian Empire. This is the hero who influenced the principles of Andrew Balkonsky, partially influenced the views of his son. The article suggests the absence of images of Dykan Kochubeys in the works of M. Gogol. The theme of historical and literary memory in the works of M. Gogol, who bypassed the silence of famous neighbors, is studied. The Kochubey family left a noticeable mark on Poltava land. Dykanka is still called Kochubeyivska, there is the Mykolayiv Church with a family crypt and an oak alley, which witnessed the love of Mazepa and Motri. ; Рід Кочубеїв залишив значний слід в історії, політиці, державному реформуванні. У статті розглянуто представників родини як літературних персонажів творів О. Пушкіна й Л. Толстого. Василь Кочубей, головний герой поеми О. Пушкіна «Полтава», викликає дискусії щодо історичних оцінок його діяльності. Проте автора цікавив передусім психологічний аспект характеру людини, що опинилася в полоні батьківських почуттів.Романтизований образ Кочубея схожий на образ Мазепи з поеми Дж. Байрона, також далекого від історичної подібності. У романі Л. Толстого зображений інший відомий представник роду, Віктор Павлович Кочубей, роль якого у творі значуща не в сюжетному розвитку, а в ідейному – як альтернатива декабристському шляху розвитку Російської імперії. Це той герой, який вплинув на принципи Андрія Болконського, частково – на погляди його сина. У статті висловлено припущення щодо відсутності образів диканських Кочубеїв у творчості М. Гоголя. Порушено тему історичної та літературної пам'яті у творчості М. Гоголя, який обійшов мовчанням іменитих сусідів.

Globalization processes in the world, which manifested themselves at the turn of the XX–XXI centuries, significantly affected the literary process: fiction began to lose its position, it began to be rapidly replaced by documentary literature, which includes memo­irs, which has a well-developed genre system, leading genres of which is a diary. Gradually, this genre of non-fiction literature began to emerge from the periphery of scientific stu­dies. S. Efremov's diary, which was still a little-known youth work of the scientist, allowed to better understand his figure, the formation of worldviews, testified to the range of periodi­cals he read. The purpose of the article is to find out the periodicals range that the author of the diary regularly read; determining his likes and dislikes of the periodicals in Russia and Aust­ria-Hungary at the time; outlining the origin of cooperation with individual magazines; tracing the defense of Ukrainocentric positions in the controversy with Ukrainophobes in Russian periodicals, outlining steps to establish publishing activities. In the absence of Ukrainian-language publications in Russia, the diary's author sought to read progressive Russian-language magazines and newspapers, including "Russkoe Bogatstvo" ("Russian Wealth") and "Kievskoe Slovo" ("Kyiv Word") (after changes in the editorial board). At S. Efremov initiative, a union was organized at the Kyiv Theological Seminary, which collectively subscribed to progressive periodicals. An important role in awakening the national consciousness of Ukrainians was played by Lviv editions "Zorya" ("Star"), "Pravda" ("Truth"), "Dzvinok" ("Bell"), with which S. Yefremov sought to establish cooperation, where his early art and journalistic works were published. S. Yefremov's youth diary is a successful first draft of a future Ukrainian scientist, journalist, publicist, publisher, editor, statesman and politician, organizer of science in Ukraine.

The literary process in Germany in the second half of the 20th century is analyzed. Theformation and the role of the literary association "Group 47" in social and political life ofthe country is considered in particular. Main features of the writers' oeuvre are distinguishedwhile paying attention to the personality of the group organizer, Hans Werner Richter.The defeat in the Second World War, the collapse of Hitler's Nazi dictatorship led tothe transformation of the outlook of many writers. There is a limit among writers who livedand worked before the Second World War and after the defeat, were the notion of "we" and"they", "old" and "new". This "new" world began to bear new faces and before unknownwriters who sought a new way to recreate their feelings and attitude : it was a literature of witnesses. Thus, the literary association "Group of 47" was formed, which played a signifi cantrole in shaping the literary process in Germany after World War II. Activities of the groupare called the turning point, the beginning point of "new" German literature. Despite thefact that today there is no unanimous opinion among literary scholars about the proper roleof this group in the literary process one can not deny the fact that it was the most infl uentialassociation of the postwar era in Germany. It should be noted that, in fact, recently re-grownliterary interest of German researchers in the "Group of 47", and many books, diaries,memoirs and articles on the subject appeared for the past 20 years.Keywords: "Group 47", literary association, post-World War II German literature,witness literature, Hans Werner Richter. ; Подано огляд літературного процесу Німеччини другої половини ХХ ст., зокремаувагу зосереджено на становленні й значенні письменницького об'єднання "Група47" у суспільно-політичному житті країни. Виокремлюються особливості тематикитворчості письменників, детальну увагу приділено постаті організатора угруповання –Гансу Вернеру Ріхтеру.Ключові слова: "Група 47", письменницьке угруповання, повоєнна німецькалітература, література свідків, Ганс Вернер Ріхтер.

The figure of Panteleimon Kulish is particularly prominent and influential for Ukrainian culture. But not all his works have not been published yet. Numerous of generations of scholars have studied his literary heritage and research works. These studies have been more and more elaborated with every stage in the Ukrainian humanities' development due to the application of new research methods. Intersectionality of the writer's literary and research interests determines the approaches to the study of his copious achievements as an author, poet, historian, translator, folklore researcher, literary critic, publisher, and social activist. Since his literary and research works were first published and up to nowadays, they have been studied by M. Kostomarov, O. Bodianskyi, M .Zerov, V. Petrov, O.Vertii, Ye. Nakhlik, Ya. Harasym, V. Ivashkiv, O. Fedoruk and many other scholars. Nevertheless, his works devoted to literary criticism require more rigorous scrutiny. They have been studied mainly from the perspective of P. Kulish's evaluation of various works by particular writers. The attention should be drawn to the fact that, in the meantime, he repeatedly emphasized the importance of preserving the Ukrainian language and national culture, its uniqueness and significance. As a matter of fact, the analysis of certain literary criticism studies through this perspective is the main purpose of the article. Having conducted this study, it is necessary to conclude that living under conditions of the imperial censorship, total prohibition of everything related to Ukrainian culture, P. Kulish was always a zealous advocate of the native language, culture and national interests of the Ukrainians. Such views are widely presented in his literary criticism' works and serve as the basis for the main analyzed material. After all, he proved it by all his life, including his literary works.

The article presents an analysis of the process of subordination of artistic thinking to ideological dictates, «inscribing» the literary practice of the subject of aesthetic creativity in the format of a single Soviet method.It is proved that at the stage of political structuring of literary and artistic life, strengthening of regulation and unification of creativity, writers in the format of socialist realism are forced to use new tactics and methods, to find ways of adapting. ; У статті подано аналіз процесу підпорядковування художнього мислення ідеологічному диктатові, «вписування» літературної практики суб'єкта естетичної творчості у формат єдиного радянського методу. Досліджено, що на етапі політичного структурування літературно-мистецького життя, посилення регламентації та уніфікації творчості, письменники у форматі соціалістичного реалізму змушені використовувати нові тактики й методи, відшукувати шляхи адаптації.

Ivan Franko's epistolary legacy has been carefully scrutinized. Special attention is drawn to the secrets of the writer's laboratory, creative stimuli and minute aspects of researching literary texts. The article contains biographic information about the writer, reveals his internal world, ideological and aesthetic views and individual peculiarities of literary thinking. While analyzing Franko's epistolary legacy, it was ascertained that his letters appear a valuable source to gain perceive his biography, in particular literary one, literary-aesthetic and political views, and his participation in public and literary and in revolutionary-liberation movement. Franko's letters provide ample material for understanding leading socio-political and aesthetic thought in Ukraine. Keywords: epistolary legacy, epistle, epistolary form, letter, correspondence, literary process. ; Проаналізовано та досліджено епістолярний спадок Івана Франка. Особливу ува-гу приділено секретам письменницької лабораторії, творчим стимулам, деталям праці над літературними творами. У дослідженні містяться біографічні відомості про митця, розкривається його внутрішній світ, ідейні та естетичні погляди, індивідуальні особливості художнього мислення. Ключові слова: епістолярій, епістола, епістолярна форма, лист, листування, літературний процес.

The article is devoted to the investigation of the phenomenon of intercultural relations and influences between Russia and Africa which reflected in the literary works. The aim of the article is to submit how the diverse and unknown Africa has attracted the attention of many Russian writers for ages. Among the great names who devoted their works to the Dark Continent are Nikolay Gumilyov, Ivan Goncharov, Korney Chukovsky, Konstantin Balmont, Vasilij Niemirowich-Danchenko, Ivan Bunin and many others.The author of the article tries to disclose what are the factors that link Africa and Russia. Is the closeness imposed only by the history and the difficult political situation or maybe there is something more that connects Russia and Africa? The article is a tentative of revealing the origins of the fascination with the Dark Continent. It also tries to answer when exactly Russia become interested in Africa and what affects the willingness of cooperation of the two territories which are far away from each other.The author's attempt is to exhibit the similarities not only between Russians and Africans, but also in the literary picture of the world presented in great Russian writers. The article is also an attempt to raise the readers' awareness that the Russians with their unique culture and mentality are closer to Africa than to Western culture. This can be observed in the values that both of the described groups share. For the inhabitants of the African continent, as for the citizens of the Russian Empire is not money, but family ties and collectivism in the first place. This common values reflect in literary works of great Russian writers of all times. ; Стаття присвячена дослідженню феномена міжкультурних зв язків і впливів між Росією та Африкою, які знайшли своє відображення у літературних творах. Метою даноі статті є аналіз того, чому дика і невідома Африка привернула увагу багатьох російських письменників. Серед тих, хто присвятив своі твори чорному континенту, були Миколай Гумильов, Іван Гончаров, Корній Чуковський, Константин Бальмонт, Василь Немирович-Данченко, Іван Бунін та інші.Авторка статті намагається з ясувати, які фактори об єднують Африку і Росію, а, саме, з ясовує, що сприяло наближенню краін: близькість історіі і складноі політичноі ситуаціі чи, можливо, за цим особливим спорідненням приховується щось більше, що об єднує Росію і Африку? У статті з ясовуються причини захоплення Росіі чорним континентом. У ній також вказано на час пояаи цього особливого інтересу до Африки, що також вплинуло і до сьогодні впливає на готовність двох народів, які знаходяться на такій далекій відстані, до співпраці.Авторка сконцентровує увагу не лише на схожості між росіянами та африканцями, але і на іхній літературній творчості, на якій тим чи іншим чином позначились захоплення російських письменників чорним континентом. Ця стаття є спробою переконати читача в тому,що російський менталітетближчий до африканського, навіть, порівняно з ментальністю мешканців Західноі Європи. Все це відбилось на системі цінностей,властивій для представників обох культур. Для мешканців африканського континенту, як і для мешканців Російськоі імперіі, головними у житті є не матеріальні цінності, а сімейні зв язкиі почуття колективноі єдності. Ці спільні життєві цінності знайшли відповідне відтбраження у літературних творах великих російських письменників.

The article performs socio-demographic analysis of the complex and contradictory phenomenon of the Ukrainian culture of the previous century – literary movement Shistdesyatnytstvo. The author studies the interrelations "literature intellectuals – government" on the stage of claiming the "ottepel" ideology. In spite of the superficiality of the liberalization process in the fiction art the writers demonstrated a rather high level of the loyalty to the government. In its turn, the government made some concessions for getting the literature intellectuals' support and reviving the literature life in the country: it turned partially the groundlessly forbidden literary pieces, exonerated their authors. As the result of such interrelations it was expanded the literature thematic range, the pleiad of the talented Ukrainian youth joined the ranks of the Soviet writers. The author has made a conclusion that the fundamental factor of the nascent and development of the literature sixties was the socialistic realistic method which was artificially invented and propagated by the government party as the only possible method of artistic creativity on the Soviet Union territory. The socialistic realism became the main form of the party guideline of all creative processes in the country for many years. The party documents analysis gives the opportunity to discover the character of socialistic realism "perfection" by the party in accordance with its priority tasks. As the consequence it started the appearance of the literature intellectuals group units which were the literature sixties basis. On the ground of the analysis of originally different historical sources – archive documents, publicistic, memorial literature – quantitative representation of the writers called 'shistdesyatnyky' has been substantiated; age qualification and regional origin of the creative artists who were the nucleus of this phenomenon have been determined; the dislocation of literary intellectuals' cells that became the basis of movement Shistdesyatnytstvo formation in Ukraine has been revealed. Taking into account the results of the investigation, an attempt has been made to arrange categorical sphere, to decide on the use of the definitions to denote the phenomena which took place in the cultural sphere of Ukraine during the epoch of Khrushchev's Thaw. ; У статті здійснено соціально-демографічний аналіз складного і суперечливого явища української культури минулого століття – літературного шістдесятництва. На підставі аналізу різних за походженням історичних джерел – архівних документів, публіцистичної, мемуарної літератури, обґрунтовано кількісний склад письменників- шістдесятників; встановлено віковий ценз і регіональне походження митців, які склали ядро цього явища; виявлено дислокацію осередків літературної інтелігенції, що стали основою для формування шістдесятництва в Україні. З урахуванням отриманих у ході дослідження результатів, зроблено спробу впорядкувати категоріальну сферу, визначитися із вживанням дефініцій на означення явищ, що мали місце в культурній сфері України в епоху хрущовської «відлиги».

Introduction. The political context is the most important context of national-liberation movement for understanding of the problem of woman's freedom in O.Teliha's works. This context is the dominant factor for forming O.Teliha's conception of the world and creative self-development. Here one should remember about systemic and immanent character of natsiological thinking which possessed its own system creative dominants of significantly idealistic type. Purpose. The purpose of the article is to analyze the freedom phenomenon through prism of political and natsiological aspects in O.Teliha's literary-critical and publicist works. Methods. The dominant methods of the research are hermeneutics (including the method of natio-existential interpretation) and post-colonialism. Another methods of the research are biographical, cultural, historic and natsiological. Results. Interpreting the phenomenon of faithfulness O.Teliha underlines the importance of fanatic devoting of a person to one idea, and people, who don't do this will never create anything good. She wants to be the spiritual leader and she can be the leader of free nation. She will not follow incultural youth movement but first of all she will apply to own traditions where she will find that facts which will be important for youth's spiritual liberation and consolidation. O Teliha also notes that in our nation appears quite a new type of a person – the so-called type of cultural, reasonable schemer. For this person the life and serving to his Motherland is a boring duty. The writer defines main features of such type of a person. O.Teliha formulates the goal for modern young generation of educated persons and this goal is to become the leaders of the enslaved nation. This goal defines the specific author's approach to over thinking of culture leaders and to political (nationalistic) interpretation of various traditions of the enslaved nation being. This new leader must be the chief of the nation must know about different world events and trends, must serve the whole nation in appropriate way. O.Teliha notes distinct anthropologic antinomy in elite nation surroundings. On the one hand the real elite exist and comprise heroes and creators of the life of nation. and on the other hand the artificial elite exist and comprise menservants, slaves, destroyers of the bases of national being. Destroying all alive and independent, destroying their own dignity they (nation leaders) exist owing to it. The main distinct feature of these slaves is the absence of civil courage which is very important to heroic cult. The political and natsiological aspects of the freedom phenomenon in O.Teliha's literary-critical and publicist works are analyzed. The thing is not about artistic and emotional but ideological, worldviewing dimension of over thinking of this important value of woman's being, which, truly speaking is considered by the author integrally, in the context the young man being of the interwar period. Simultaneously, a brief outline of visnykyvsky variant of Ukrainian national ideology as freedom creative social conception of the world, which affected the creation of OUN ideology is presented in these researches. Originality. The complex hermeneutic approach to the interpretation of literary-critical and publicist works of the writer-nationalist as natiocentric significative system was proposed for the first time. The interpretation of O.Teliha's woman being sense in terms of patriotic and political for her thinking aspects was verificated. Conclusion. The significative problem of freedom was very important in the writer's life and creative works. O.Teliha decides to subject her individual freedom to strong organization discipline for the sake of nation freedom. The political context is very important for deeper understanding of the problem of woman's freedom in O.Teliha's works. O.Teliha's lyrical works help the recipient to over think the lines of deeper woman freedom senses. First of all, to be free Ukrainian woman must be able to get free from unfavourable circumstances of foreign land existence, which is the precondition of forming character able to win. Another freedom creative aspect of woman being is to follow heroic way. That means that a young man (a woman), who wants to be free must belong to national-liberation movement of his nation: through willingness to become the leader of revolution, spreading of heroic national traditions, inheritance of national heroes and overcoming of harmful, destructive traditions. For O.Teliha the personal woman's freedom depends on national freedom through the active part in cultural and political struggle of the nation

The article is devoted to the problem of the place and role of the peasant theme in the literary work of Ivan Stepanovich Maslov, who is the winner of prestigious literary awards. The fate linked I. Maslov with the Kharkiv State Pedagogical Institute named after G.S. Skovoroda, which he not only finished, but also worked at from 1991 to the end of his life.The works by I. Maslov have repeatedly become the object of attention of critics and scientists, but the rural theme in his work was not the subject of special scientific research. Therefore, the purpose of our article is to analyze the significance of rural themes in the literary fate of I. Maslov.The peasant theme in I. Maslov's work has deep roots in Russian literature of the 19th and 20th centuries. (M. Klyuev, S. Yesenin, K. Trenev, B. Lavrenev, F. Gladkov, F. Panferov, V. Kataev, etc.). In the years of Soviet power, the peasant issue was subjected to grave pressure from the Marxist-Leninist ideology. However, since the mid-1960's, the totalitarian model began to lose real control over literature. Since 1987 (after Gorbachev came to power), the process of democratization of all spheres of social life began.The article discusses the terminological aspects of the concept of "peasant prose", which are still debatable. The so-called prose writers, "the villagers" (F. Abramov, V. Astafiev, V. Belov, V. Rasputin, V. Shukshin, Y. Kazakov, etc.) entered the literature during the years of "thaw". Symbolic for I. Maslov is the fact that he defended his Ph.D. thesis on the theme "Creativity F.А. Abramov in the context of Russian village prose".Ukrainian writers, poets and playwrights also addressed peasant themes, who wrote about the village and the fate of the peasants in different periods of the twentieth century. I. Maslov would be mistakenly called only as the peasant chronicler: he was the son of Ukraine, he was equally fond of Ukrainian and Russian words, Ukrainian land (village) and the city of Kharkiv. In his writings, I. Maslov often refers to the ordinary history of an ordinary person who cares not only of problems of local, but also of world scale. His peasant works are sharply controversial, and the memories of peasant life for him are the source of eternal values. We see the prospects for further research in the disclosure of the peculiarities of the peasant theme in some works of art by I. Maslov.Key words: "rural theme", literary fate, creative way, literary traditions, the democratization of literature, the source of eternal values. ; Стаття присвячена проблемі місця й ролі селянської теми вімені Г.С. Сковороди, який він не тільки закінчив, але і працював у ньому з 1991 р. до кінця життя.Окремі твори І. Маслова неодноразово ставали об'єктом уваги критиків і вчених, проте саме селянська тема в його творчості не була предметом спеціального наукового дослідження. Тому мета нашої статті – проаналізувати значення селянської теми в літературній долі І. Маслова.Селянська тема в творчості І. Маслова має глибокі коріння в російській літературі к. ХІХ–ХХ ст. (М. Клюєв, С. Єсенін, К. Треньов, Б. Лавреньов, Ф. Гладков, Ф. Панферов, В. Катаєв та ін.). У роки радянської влади селянська тема зазнала серйозного тиску з боку марксистсько-ленінської ідеології. Проте з середини 60-х рр. тоталітарна модель починає втрачати реальний контроль над літературою З 1987 року (після приходу до влади М. Горбачова) розпочинається процес демократизації усіх сфер соціального життя.В статті обговорюються термінологічні аспекти поняття «селянська проза», які досі мають дискусійний характер. Так звані прозаїки-«деревенщики» (Ф. Абрамов, В. Астаф'єв, В. Бєлов, В. Распутін, В. Шукшин, Ю. Казаков та ін.) ввійшли в літературу в роки «відлиги». Символічним для І. Маслова є той факт, що він захистив кандидатську дисертацію на тему «Творчество Ф.А. Абрамова в контексте русской деревенской прозы».До селянської теми зверталися й українські письменники, поети і драматурги, які писали про село та долю селян у різні періоди ХХ ст. І. Маслова було б помилково називати тільки селянським літописцем: він був сином України, однаково любив українське і російське слово, українську землю (село) і місто Харків. У своїх творах І. Маслов часто звертається історії звичайної людини, яка опікується не тільки проблемами локального, але й світового масштабу. Його селянські твори гостро полемічні, а спогади про селянське життя для нього – це джерело вічних цінностей. Перспективи подальших досліджень вбачаємо у розкритті особливостей селянської теми в окремих художніх творах І. Маслова.Ключові слова: «селянська тема», літературна доля, творчий шлях, літературні традиції, демократизація літератури, джерело вічних цінностей. Статья посвящена проблеме места и роли сельской темы в литературном творчестве Ивана Степановича Маслова, который является лауреатом престижных литературных премий. Судьба связала И. Маслова с Харьковским государственным педагогическим институтом имени С. Сковороды, который он не только закончил, но и работал в нём с1991 г. до конца жизни.Отдельные произведения И. Маслова неоднократно становились объектом внимания критиков и учёных, однако именно сельская тема в его творчестве не была предметом специального научного исследования. Поэтому цель нашей статьи – проанализировать значение сельской темы в литературной судьбе И. Маслова.Сельская тема в творчестве И. Маслова имеет глубокие корни в русской литературе к. ХIХ–ХХ вв. (М. Клюев, С. Есенин, К. Тренев, Б. Лавренев, Ф. Гладков, Ф. Панферов, В. Катаев и др.). В годы советской власти сельская тема подверглась серьезному давлению со стороны марксистско-ленинской идеологии. Однако с середины 60-х гг. тоталитарная модель начинает терять реальный контроль над литературой, а с 1987 года (после прихода к власти М. Горбачева) начинается процесс демократизации всех сфер социальной жизни.В статье обсуждаются терминологические аспекты понятия «сельская проза», которая до сих пор имеет дискуссионный характер. Так называемые прозаики-«деревенщики» (Ф. Абрамов, В. Астафьев, В. Белов, В. Распутин, В. Шукшин, Ю. Казаков и др.) вошли в литературу в годы «оттепели». Символическим для И. Маслова является тот факт, что он защитил кандидатскую диссертацию на тему «Творчество Ф.А. Абрамова в контексте русской деревенской прозы ».К сельской теме обращались и украинские писатели, поэты и драматурги, которые писали о селе и судьбе селян в разные периоды ХХ в. И. Маслова было бы ошибочно называть только сельским летописцем: он был сыном Украины, одинаково любил украинское и русское слово, украинскую землю (село) и город Харьков. В своих произведениях И. Маслов часто обращается к истории обыкновенного человека, которого волнуют не только проблемы локального, но и мирового масштаба. Его сельские произведения остро полемичны, а воспоминания о сельской жизни для него – это источник вечных ценностей. Перспективы дальнейших исследований видим в раскрытии особенностей сельской темы в отдельных художественных произведениях И. Маслова.Ключевые слова: «сельская тема», литературная судьба, творческий путь, литературные традиции, демократизация литературы, источник вечных ценностей. The article is devoted to the problem of the place and role of the peasant theme in the literary work of Ivan Stepanovich Maslov, who is the winner of prestigious literary awards. The fate linked I. Maslov with the Kharkiv State Pedagogical Institute named after G.S. Skovoroda, which he not only finished, but also worked at from 1991 to the end of his life.The works by I. Maslov have repeatedly become the object of attention of critics and scientists, but the rural theme in his work was not the subject of special scientific research. Therefore, the purpose of our article is to analyze the significance of rural themes in the literary fate of I. Maslov.The peasant theme in I. Maslov's work has deep roots in Russian literature of the 19th and 20th centuries. (M. Klyuev, S. Yesenin, K. Trenev, B. Lavrenev, F. Gladkov, F. Panferov, V. Kataev, etc.). In the years of Soviet power, the peasant issue was subjected to grave pressure from the Marxist-Leninist ideology. However, since the mid-1960's, the totalitarian model began to lose real control over literature. Since 1987 (after Gorbachev came to power), the process of democratization of all spheres of social life began.The article discusses the terminological aspects of the concept of "peasant prose", which are still debatable. The so-called prose writers, "the villagers" (F. Abramov, V. Astafiev, V. Belov, V. Rasputin, V. Shukshin, Y. Kazakov, etc.) entered the literature during the years of "thaw". Symbolic for I. Maslov is the fact that he defended his Ph.D. thesis on the theme "Creativity F.А. Abramov in the context of Russian village prose".Ukrainian writers, poets and playwrights also addressed peasant themes, who wrote about the village and the fate of the peasants in different periods of the twentieth century. I. Maslov would be mistakenly called only as the peasant chronicler: he was the son of Ukraine, he was equally fond of Ukrainian and Russian words, Ukrainian land (village) and the city of Kharkiv. In his writings, I. Maslov often refers to the ordinary history of an ordinary person who cares not only of problems of local, but also of world scale. His peasant works are sharply controversial, and the memories of peasant life for him are the source of eternal values. We see the prospects for further research in the disclosure of the peculiarities of the peasant theme in some works of art by I. Maslov.Key words: "rural theme", literary fate, creative way, literary traditions, the democratization of literature, the source of eternal values.

The latest work of Günter Grass "Grimm's Words: A Declaration of Love" is analyzed. This work is the culmination of autobiographical cycle of the writer. It is not chronological continuation but rather some ideological conclusion of this cycle. In the novel the richness of German language is deeply studied and German history from princedom to the first attempts at democracy is perfectly shown. Author skillfully throws bridges of words between the past and the present.Key words: Günter Grass, "Grimm's Words", autobiography, tale, brothers Grimmm. ; Проаналізовано останній твір Ґ. Ґраса "Ґріммові слова. Признання в любові",який є завершальним етапом автобіографічного циклу письменника, щоправда не хронологічним продовженням, а певним ідейним завершенням. У романі майстерно досліджено багатство німецької мови й показано історію Німеччини від князівського правління до перших спроб демократії. Ґ. Ґрас уміло перекидає містки зі слів поміж минулим й сучасним.Ключові слова: Ґюнтер Ґрас, "Ґріммові слова", автобіографія, казка, брати Ґрімм.