Journal of Vasyl Stefanyk Precarpathian National University

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ISSN / EISSN : 2311-0155 / 2413-2349
Total articles ≅ 444
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Victor Moskalets
Journal of Vasyl Stefanyk Precarpathian National University, Volume 8, pp 108-115;

The essential psychological properties of any activity lie in its motivation in particular in those purposes that lead the subject to it as a means of achieving them. Various positively colored emotional experiences awaken in the subject in the process of playing (games), such as the joy of excitement, elation, and so on create a basis of its motivation. Acquisition and use of material goods and / or social benefits have never been the motives of a game as such; it does not belong to the future or the past, but only to the present moment - to its own course here and now. However, such a motivational basis is inherent not only to a game, but also to some other activities. The so-called game tools, used by other activities, are clearly divided into two types: 1) educational and developmental (training, business, role, etc.); 2) psychotherapeutic. The subject seeking to use these tools effectively should be dominated by motivation matching their purpose. Thus, the former "belong to the future" in the sense that their basis is purpose, not some game result, but developmental, correctional and therapeutic result etc.; and the latter belong to the past, as they are to help their participants to get rid of the past pathologies effects. Therefore, according to the criterion of motivation, these "game" tools are not actually games. Differntia specific of playing/game is the creation of purely imaginary playing situations. It is this property that is the predicate-discursive basis of the term "game" denotation. The rest of its meanings are connotations and other similarities and associations, in particular superficial ones that create definitive relativism in the semantic field of playing/game theory. Among the necessary conditions and essential components of games/fictional playing situations, "fakes", pretense, etc., there are rules that ensure the functioning of a game; deviations and rule-breaking spoil and devalue the game. The subject accepts the restrictions on his freedom by the rules of the game willingly and follows them gladly, because restrictions of the game are conditions created to achieve "courage", and the subject tests their mental and physical abilities (intelligence, agility) etc. and proves them to themselves and others. This means that in the process of the game the vital forces, energies, resources of the subject "play", and they are the source of admiration, comfort, and pride, especially if the game impresses important to them individuals and groups of people with skills, beauty, and delight. Thus, the game (playing) is the creation of purely imaginary playing situations with mandatory rules of conduct, where players can test and demonstrate their mental and / or physical abilities, inclinations, strengths, and which provides enthusiasm, inspiration, strength, joy, pleasure, etc. (it allow to " play " their vital forces), and therefore participants willingly play those games that bring them such experiences.
Olga Bigun
Journal of Vasyl Stefanyk Precarpathian National University, Volume 8, pp 92-99;

The article analyses historical and genetic origins of the genre of prose poem. It singles out the genus-genre syncretism of prose poem, the foundation of which lies in the intertwining and interpenetration of epic, dramatic and lyrical principles, "overlapping" of different modifications. The material under study is represented by a collection of prose poems by Paul Verlaine Les mémoires d'un veuf. The aim of the article is to study the narrative peculiarities of a prose poem given the syncretic nature of the genre, and its delivery, which allows to analyze artistic works from the standpoint of their composition and structure. According to the internal genre-style dominant, three forms of narrative modeling are distinguished: a narrative with the predominance of epic-realistic elements, a narrative with the predominance of lyrical-impressionistic elements and dramatization of the narrative. According to its plot-compositional structure works of the epic-realistic block can be divided into two categories: the first one is determined by the dominance of the linear principle of the beginning, the second one is characterized by the fragmentary principle of composition with the increased aestheticization and intellectualization, in-depth psychological insights, and appeal to “eternal themes”. The works of the lyrical-impressionist model include an internal psychologized plot, attention to feelings and changes in emotional states, as well as stylistic syncretism. The lyrical semantics of the work is closely connected with the position of the lyrical character, personal author's experience. The entire plot of the poem is centered on the inner world of the poetic lyrical character; therefore, it is not the work itself that conveys the plot line but the character’s emotional experiences do that. It is the ability to express a particular feeling, a state without adhering to the plot line that becomes decisive for the dramatized type of story.
Volodymyr Baran
Journal of Vasyl Stefanyk Precarpathian National University, Volume 8, pp 116-120;

Review on the publication: Western Ukrainian People's Republic 1918-1923. Encyclopaedia Vol. 1: A-Ж. Ivano-Frankivsk : Manuscript-Lviv, 2018. 688 p.; West Ukrainian People's Republic 1918-1923. Encyclopaedia Vol. 2: З-O. Ivano-Frankivsk : Manuscript-Lviv, 2019. 832 p.; West Ukrainian People's Republic 1918-1923. Encyclopaedia Vol. 3: P-С. Ivano-Frankivsk : Manuscript-Lviv, 2020. 576 p.; West-Ukrainian People's Republic 1918-1923. Encyclopaedia Vol. 4: T-Я. Ivano-Frankivsk : Manuscript-Lviv, 2021. 688 p. (Head of the Editorial Board I. Tsependa, Head of the Editorial Board M. Kuhutiak).
Nataliia Maftyn
Journal of Vasyl Stefanyk Precarpathian National University, Volume 8, pp 70-78;

Given article is the first study of the artistic features of the novel "Keys of Mary" since its publication. The article clarifies the difference between literary texts that attempt to provide answers to the philosophy of gnosis questions and those postmodern literature texts the authors of which use gnostic ideas to create the artistic world of the work while largely formalizing them. We consider it relevant to apply the concept of "gnosis simulation" for this group of works. The author argues that it was exactly the use of ideas and signs of this philosophical direction that made the basis for the plot and composition of "The Keys of Mary". "Simulation of gnosis" emphasizes the genre peculiarity of the novel defining it as a detective-adventure; it stimulates the reader's interest, because it serves as an intriguing factor. The work is modeled on the "cosmogony structure" principle: its bipolarity is manifested both in the division of characters and in the way the main conflict is resolved. Elements of gnosis, replicated at the subculture level, are successfully used to combine three storylines, three spatiotemporal dimensions. The focus point of the work is the image of the Maiden in her three novel incarnations (Maria, Aretha, Rina) – she is an eternally young savior of the mankind, whom the forces of evil hunt in all three of the "worlds". An interesting artistic discovery in the novel that draws reader attention is the plot of a lost historical chronicle about the knight Olgerd: in the narrative space of the work, it is perceived as a "supernova" that attracts the worlds of two time- distant plot orbits and creates a kind of insight on the last pages. Primarily, the authors of “The Keys of Mary” used the simulation of gnosis to model the plot, chronotope, and intrigue; but the values,​​ deeply reflected in the legends and artifacts associated with the life of the Virgin Mary, prompt readers' need for self-determination.
Roman Golod
Journal of Vasyl Stefanyk Precarpathian National University, Volume 8, pp 56-64;

The article deals with the study of the problem of Lesia Ukrainka's reception of the literary phenomenon of naturalism and the philosophy of positivism as its ideological basis. It also studies the way the poetess evaluated and looked at the achievements of European and Ukrainian writers representing this literary movement in the context of world and Ukrainian literary and cultural processes. The research also singles out the significance, national and individual-author features of the naturalism professed by I. Franko, A. Krymsky, E. Zola, Goncourt brothers, and F.Norris. The article focuses on the ideological and aesthetic importance of the postulates of naturalistic art for the development of the Ukrainian literary process. It also analyses different stages of the ideological and aesthetic reception of the naturalism doctrine in the perception of different generations of Ukrainian literary critics; it deals with Lesya Ukrainka's attitude to the naturalistic concept of a man and her reasoning about the compatibility of naturalism with certain genres and movements of literature. The article drives to the conclusion that Lesia Ukrainka recognizes the very fact of the existence of Ukrainian naturalism. It provides Lesia's vision on the usage of naturalistic elements in generally unnaturalist works and their combination with other elememts, sometimes representative of opposite to naturalism in their ideological and aesthetic postulates, such as romanticism, decadence, neo-romanticism, realism, etc. The article also provides an insight of Lesia Ukrainka's attitude to the problems of zoomorphic imagery, social involvement, physiological scientism in the literature of naturalism. It draws attention to the problem of the evolution of aesthetic consciousness of E. Zola, I. Franko, A. Krymsky, and Lesia Ukrainka herself. There is also place for the comparative analysis of the perception of naturalism in the literary-critical reception of different generations of Ukrainian and foreign writers.
Vitaly Kononenko
Journal of Vasyl Stefanyk Precarpathian National University, Volume 8, pp 45-55;

The article highlights the features of the idiostyle of Victor Domontovych, a writer of 1920s, a representative of modernist artistic discourse. The stylistic manner of the author's writing shows his intellectualism, principles of his extraordinary scientifically oriented linguistic thinking. V. Domontovych depicts artistic reality through the prism of the ontological clash of categories of rational and irrational, real and unreal, intellectual and primitive-bourgeois, sexual and asexual. Using the concepts of plausible and implausible, real and conditional, the author characterizes the psycho-behavioral stereotypes of his characters in order to comment and evaluate their actions and decisions; he often uses a descriptive and contemplative manner, and forms of logical conclusions; therefore, a symbiosis of scientific and fictional presentation is formed. Domontovych's texts are full of ironic and mocking intonations in order to expose spirituality, low culture, meanness; the author strongly condemns selfishness, callousness, dishonesty in the behavior of the characters; the sharpness of his critical vision is directed against the arrogance of the intelligentsia, unjustified rationalism, scientific-like thinking, and bourgeoisie. The intellectual novels of the writer can be considered as extended metaphorical constructions, integral figurative and symbolic structures, profound artistic worldview carriers, as well as systems of meaning mythologizing. The author’s usage of linguistic and stylistic means is not extensive; they are unusual in their associative-figurative aspect and intended for the domain of cognitively meaningful perception. The expressiveness of texts is achieved through an implicit coded word usage, there is space for the reader to think creatively as the texts rely on the conceptual interaction within the system Author-Text-Reader.
Oleg Beley
Journal of Vasyl Stefanyk Precarpathian National University, Volume 8, pp 126-130;

Review “Hutsul dialect vocabulary and phrasemics in the Ukrainian literary language“. Dictionary : In 2 volumes / Editor-in-Chief :Vasyl Hreshchuk. Ivano-Frankivsk: Misto NV, 1, 2019, 584 p. Hutsul dialect vocabulary and phrasemics in the Ukrainian literary language. Dictionary : In 2 volumes / Editor-in-Chief: Vasyl Hreshchuk. Ivano-Frankivsk: Misto NV, 2, 2020, 468 p.
Stepan Khorob
Journal of Vasyl Stefanyk Precarpathian National University, Volume 8, pp 65-69;

It is difficult, if not impossible, to find in world literature an artistic phenomenon similar to the work of Lesya Ukrainka. For as long as a century scientists have been trying their best to highlight and explain this versatile astonishing national phenomenon: the phenomenon of the artist, human, woman. It is definitely not accidental that, avoiding analogies, Ivan Franko called Lesya Ukrainka nearly the only man "all across the whole of modern Ukraine" for her spirit strength and true Prometheus obsession, while Mykhailo Hrushevsky named her the "Ukrainian Shakespeare". According to Mykola Zerov, these similarities are clearly pronounced not in poetry (social lyrics, intimate lyrics), but primarily in her drama, which, in fact, makes up a unique modern world of ideas and images not only for national but also for the Western European literature.
Vitaly Kononenko
Journal of Vasyl Stefanyk Precarpathian National University, Volume 8, pp 121-125;

There exists an ongoing tradition to celebrate milestone birthdays and other important anniversaries of famous scientists, who have devoted decades of their lives to fruitful scientific work. The tradition is an old one and can be traced back to the medieval Europe. Primarily, a celebration like that is held not only to glorify the birthday person as a scientist, but also to summarize their work in a particular field of scientific knowledge; it is an event open for discussions and exchange of views. Events of this kind provide young researchers with an opportunity to prove themselves to famous men of science, whose students and followers they are. We can mention the anniversary events organized to celebrate achievement of some of the prominent figures of the Ukrainian science. The list includes Mykhailo Hrushevsky, Volodymyr Vernadsky, Danylo Zabolotny, Yuriy Kondratiuk, Yevhen Paton, and other renowned personalities, whose anniversaries and milestones have been accompanied by scientific conferences, symposiums, monographs and other scientific publications.
Oleksii Vorobets
Journal of Vasyl Stefanyk Precarpathian National University, Volume 8, pp 131-136;

The latest linguistic research has witnessed a strengthening of the analytical consideration of syntactic semantics, the introduction of functional-semantic approach to determining the specifics of the sentence, its nucleus and potentially nucleus components in the inter-categorical section. It is obvious that the analysis of the sentence semantic organization takes into consideration the functions of individual syntaxemes, their system relations network, as well as syntactic properties of grammatical classes of words. At the same time, there arises a problem of complex analysis and interpretation of the mechanisms of semantics and functioning of a syntactic organization in general, as well as each of its units in particular. Typology of the syntactic system of the Ukrainian language, introduction of changes into the "from semantics to function", "from function to semantics", "complex, semantic and functional potential" ideas, all these contribute to the study of syntactic constructions on both the superficial and deep meaning levels. It is noteworthy that linguistic semantics relies on the idea of ​​"non-alternative picture of the world" that is a generalized picture of a one-dimensional type, which excludes the option of complementary and mutually contradictory procedures in its interpretation. Singling out of the extenders in the syntactic plane is connected to the extending way of thinking of the individual, which provides a defining conceptual background of scientific developments, acting as a tool for understanding reality in general and the extending basis of sentence construction in particular. It is the extended view of the surrounding reality allows interpreting the branched system of semantic components and meanings in various structural syntactic units. Given that the sentence, its structure, responsible for the unity of both the superficial and deep meaning, is the sphere of functioning of syntactically tuned elements, and, therefore, a multifaceted unit allowing interaction of formal, semantic and syntactic features of sentence entities, it is the multifaceted nature of a sentence that provides the context for extenders study. Functional-semantic extension of the sentence consists of a four-component hierarchy of extender models: elementary extender; extender complex; extender system; mega- extender, and that indicates the semantic potential of the studied syntactic units both from the standpoint of potentially main / main predication, and in terms of functioning in a framework of simple and complex sentences. The study of the problem is complemented by transformational intentions of the extending components, and it allows reaching to the deep meaning of the sentence through functional-semantic features.
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