Synopsis: Text Context Media

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EISSN : 2311259X
Current Publisher: Borys Grinchenko Kyiv University (10.28925)
Total articles ≅ 182
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Latest articles in this journal

Synopsis: Text Context Media; doi:10.28925/2311-259x

Svitlana Borshch
Synopsis: Text Context Media, Volume 26, pp 11-16; doi:10.28925/2311-259x.2020.1.2

The subject of the study is the “legendary style” of one of the most iconic hagiographic text of the IX century “The Comprehensive Life of Constantine (Cyril) the Philosopher”. This Pannonian legend belongs to the texts of Cyril-Methodius cycle and has the description of the re-finding and transportation Saint Clement’s relics by Constantine the Philosopher from Korsun (Chersonesus) to Rome. This episode is an important part of the process of legalizing the translation of the Divine Books to the so-called Church-Slavonic language. The phrase “legendary style” was borrowed from I. Franko’s work “Saint Clement in Korsun” (Lviv, 1902–1905) and has not been explained as a term yet. The purpose and the novelty of our research is to find out how “legendary style” was formed, which techniques were needed to create this concept. The relevance of this study is due to the analyzing sources for the legend as a genre (it was formed on the base of the hagiographical texts such as Jacobus da Varagine’s "The Golden Legend", XIII century). Ideological description of historical events ("tendentious historicity"), disclosure of holiness and using the category of the miraculous were clarified as the technique of “legendary style”, using the cultural-historical method, elements of comparative, structural and phenomenological analysis. Holiness, called by J. Le Goff “the most important value of Christian society”, is a predetermined aspect in “The Comprehensive Life of Constantine (Cyril) the Philosopher” and it connected the saint’s life with the events of the New Testament. The category of the miraculous is considered from the point of mythological view: miracles regulated the universe, restored harmony and established true rules and laws. According to A. Losev, the true Christian miracle occurred when the real person dialectically synthesized with his/her inner ideal at a certain moment. “Tendentious historicity” is observed in the episode about saint relics of Pope Clement I. There are variations in the very process of re-finding the holy remains: locations, heroes and time in some stories are not the same in different texts from the so-called Cyril-Methodius cycle. It gives reasons to consider these texts ideologically involved. It is advisable to include other hagiographic texts to confirm or refute, expand or narrow the “legendary style” as a term in further research.
Mariana Shapoval
Synopsis: Text Context Media, Volume 26, pp 1-10; doi:10.28925/2311-259x.2020.1.1

The global trend of digitalization and publishing of historical sources, in particular fiction and its existence in different eras, makes the reader constantly reconsider the lives and work of persons who are regarded as prototypes of characters in literary works. As a result, an artistic image, linked to real life and rooted in the past, generates a consistent literary story in the form of artistic biography. The number and variety of such literary works, including dramatic ones, is constantly growing, which determines the topicality of this study. Over the recent decades, biographical fiction drastically changed its forms, and was enriched with numerous genre varieties and modifications. And this process remains far from complete. The term ‘meta-genre of artistic biography’ is introduced to designate it. This term emphasizes the scale of a certain phenomenon and allows defining the subject of the study — the artistic biographical description of the intellectual in contemporary Ukrainian drama — as well as clarify the understanding of the concept of the ‘intellectual,’ and problematize ways of describing characters of this type. The purpose of the article is to identify the genre-style unity of Ukraine’s modern drama about intellectuals and prove the expediency of the application to it of interpretive approaches to popular knowledge from related areas (history, philosophy, art). Specifically, such varieties of genres as personal artistic biography and intellectual artistic biography were singled out and proposed for the first time on the literary material (S. Rosovetskyi), and that is the research novelty. The research methodology is defined by an interdisciplinary approach that appeals to the achievements of literary criticism, art criticism, history, and philosophy. Results of the Study are connected with considerations that the interest in the artistic biography of the intellectual is associated with a general trend to anthropologize scientific knowledge, coupled with the growing interest of the audience in the individual and personal in the history and in the present, with the dominance of the emotional component in contemporary media discourses, resulting in the actualization of an emotional narrative of the intellectual’s biography, which often sounds tragic nowadays in the context of the catastrophic past of the Ukrainian science and culture. Глобальная тенденция оцифровки и публикации исторических источников, в частности касающихся художественной литературы и ее функционирования в различные эпохи, побуждает к постоянному переосмыслению читателем жизни и деятельности лиц, являющихся прототипами персонажей литературных произведений. Следовательно, связанный с реальной жизнью и укорененный в прошлом, художественный образ генерирует созвучный литературный сюжет в форме художественной биографии. Количество и разнообразие такой литературы, и драматургии в том числе, постоянно растет, что определяет...
Światłana Kaladka
Synopsis: Text Context Media, Volume 25, pp 59-67; doi:10.28925/2311-259x.2019.2.1

Several approaches to the interpretation of emotion in poetic text are considered in the article — linguistic, traditional literary and emotive (from the point of modern interdisciplinary interpretation of the phenomenon of emotionality). The relevance of the study determines the belief that, without taking into account of achievements of linguistic emotion and traditional linguistics, the analysis of the stylistic individuality of the writer will be incomplete. Novelty of the study is the introduction concepts of poetic emotion and emotivity into the conceptual apparatus of the style of the text. The subject of study — the emotivity of a poetic text — is defined as a formal-stylistic index / factor of author’s individuality, expressed through the images of a work. The relation of emotional and rational in methods of author’s self-expression, coordination of pathos and emotions is considered. The methodology of the research is determined by an interdisciplinary approach, it is determined during the analysis that among the linguistic approaches the most effective for literary analysis is the method of in-depth study of the category of emotivity in the text, worked out by O. Filimonova. As a result of research an emotivity of the form and content components are interpreted as the interconnected stylistic means in recognition of the lyrical work. It is proved that the expressiveness and aesthetic origin of poetry as a kind of artistic creation predetermines the emotivity of all its components. The basis of the theory of the emotivity of a poetic work, which incorporates the concepts of traditional poetry and prosody, is the principle of revealing poetic emotion in the text in three planes: content, expression and image. Stylistic differentiation of emotive means is conditioned by the formal expression of them at all levels of language use — phonological, morphological, lexical-semantic, phraseological, syntactic levels of structural models of works. According to the results of studying various aspects of the author’s emotionality in the poetic text, it is planned to develop a literary theory of poetic emotion and its description in the historical perspective.
Valentyna Kryvenchuk
Synopsis: Text Context Media, Volume 25, pp 86-95; doi:10.28925/2311-259x.2019.2.4

The relevance of the study is due to the need to expand the circle of the Sixtiers- poets, demonstrating the manifestation of modernist aesthetics in the works of S. Shumitskyi as an organic part of the discourse of the sixtiers movements. Accordingly, the subject of the study is the intertextual links of the poetic works of this author with other representatives of the generation of the 1960s. The purpose of the study is to demonstrate the modernist aesthetic and philosophical search for the poetic heritage of the sixtiers S. Shumitskyi. Achieving the purpose is possible thanks to the methodology of intertextual analysis, which reveals the relationship between the texts, as many-sided discussions, as the process of creating text by sending text to art forms and genres, style codes, literary tradition, as the destruction or transformation of established poetic norms. As a result of the research, it is established that the work of S. Shumitskyi develops ideological and aesthetic features common to the sixtiers poets. The original features of his creative heritage are autoreflexivity, associativeness and musicality. As the nature of each poetic text is different, it causes the following: the very genesis of the text determines the complexity of the interconnections between the various texts, which, in turn, depend on the dominant sense of the additional functions of the auxiliary inclusions imagery. In S. Shumytskyi’s works, latent (not directly written) ideas dominate, therefore, they prompt the recipient to meditate. These very signs enable the creation of innumerable models of manifestation of the author's thinking. S. Shumitskyi’s intertextuality confirms his inclusion in the context of the sixtiers, in particular, references to the work of V. Simonenko are demonstrated. The frequency types of intertextuality are such types of intertextual links as intertextuality itself, paratextuality, metatextuality, hypertextuality, and intermedia. The intertextual links can load any element of the text: from the name to the tropes. The perspectives of the research is consist in the study of other sources of intertextual connections in the work of S. Shumitskyi, the clarification of his aesthetic guidelines and the determination of the optimal context for the evaluation of the auther’s work.
Andrijana Nicolic
Synopsis: Text Context Media, Volume 25, pp 96-98; doi:10.28925/2311-259x.2019.2.5

Review of the monograph: Kalezić, S. (2018) “Minervinim tragom”, prozno stvaralaštvo crnogorskih književnica. Cetinje, FCJK.
Ivanna Devdiuk
Synopsis: Text Context Media, Volume 25, pp 75-85; doi:10.28925/2311-259x.2019.2.3

The article is devoted to the study of death as an existential phenomenon. The topicality of the research is due to the lack of comparative studies of the problem. Its aim is to comprehend the existential of death in the prose of the Ukrainian and English authors of the interwar decades. The research is made on the material of the works by V. Pidmohylny (“Ostap Sheptala”, “A Story without a Title”) and the novel “Honor” by M. Mohyliansky, “The Painted Veil” by S. Maugham and “To the Lighthouse” by V. Woolf. The subject of the study is the philosophical reflections of the characters as subjective thinkers, in the plane of which the authors’ visions of death are actualized. Theoretical and methodological basis is the concepts of the representatives of the existential philosophy (S. Kierkegaard, M. Heidegger, K. Jaspers, A. Camus), in which death is seen as the basic existential of human existence. The main heroes’ attitude to death is considered in the plane of distinguishing of death as an event and as a boundary situation or a phenomenon of death and a phenomenon of mortality. In the course of the study, it was found that an important prerequisite for acquiring thanatological experience by the personages is ‘the death of Another’, which gives rise to a sense of guilt, inducing the personages to active actions. For Ostap Sheptala, Horodovsky, Kitty, Mr. Ramsay, a direct meeting with the death of close people means a boundary situation in which the existence of their own finitude is revealed, which is the main factor in their becoming as individuals as well as in gaining freedom. Instead, in the images of Kalin and Walter, who are in the captivity of their own ambitions, the perception of the ‘death of the Other’ is represented as an objective fact. Their suicide is a consequence of despair, caused by the awareness of their own weakness, which leads to a rejection of oneself. The last is considered as one of the forms of evasion from death. Common for the characters as the spokesman for authors’ views is the state of alienation and loneliness caused by the dehumanization of post-war reality. Prospects for further studies are seen in the study of the problem through the prism of archetypal criticism, as well as the expansion of the arsenal of investigated works.
Khrystyna Semeryn
Synopsis: Text Context Media, Volume 25, pp 68-74; doi:10.28925/2311-259x.2019.2.2

The article analyzes imagological parameters of the Jewish ethnoimage presented through the dimension of travel in the fiction of the late 19th and early 20th centuries. Due to the intensification of national imagology in the past decades, the study of the Others’s existence is an actual scholarly issue. The representation of Jewry is traced by the example of three texts of different aesthetics and genres with the commonality of travel discourse: Istoriia odniieii podorozhi [The Story of One Journey] (1890) by Ahatanhel Krymskyi, Modest Levytskyi’s Porozhnim hodom [In Vain] (1918) and Shchastia Peisakha Leidermana [The Happiness of Peisakh Leiderman] (1918), and Mike Yohansen’s essay Podorozh liudyny pid kepom (Ievreiski kolonii) [The Journey of a Man in a Cap (Jewish Colonies)] (1927). According to the paper, the geopoetic component, that is the movement in space, seems to be a way of cultural, identical transformation, a shift in the experience of the characters and the reader: moving “inside” of the Jewish culture and the Jewish world in real and symbolically, everyone cognizes better the other culture, and simulthaneously His own. In Krymskyi’s story, the journey of Itsko the Jew and Skalskis the Ukrainians is denoted by the imagological inversion of ethnostereotypes: the figures of Ukrainians are depicted in a negative mode, while a Jewish image is positive. This confirms the dynamics of gradual decline from the stereotypical interpretation of the Others by writers. In the end, we get the image of Jew built-in a realistic axiological paradigm, whose personal tragedy is tangled by social prejudices. The “Doctor's Stories” by Modest Levitskyi against the backdrop of heavy Jewish life appeal to the universal context of human suffering. Penetrating into the other culture, the protagonist gradually undergoes a personal transformation and recognizes the Others more deeply. Mike Yohansen’s alter ego’s observation of colonial Jews’ life in the Southern Ukrainian regions reveal the spiritual and social proximity of the Ukrainian and Jewish peoples, their comfortable coexistence in a common geographical, linguistic, and economic space. The research originality lies in the fact that valuable in the imagological light texts of Ahatanhel Krymskyi, Modest Levytskyi and Mike Yohansen are considered as representing the Jewish ethnoimage from the position of homo viator. The perspective of the development of the topic is multidimensional study of the Jewish ethno-form in the unexplored segments of the national literary space.
Olha Shchoka
Synopsis: Text Context Media, Volume 25; doi:10.28925/2311-259x.2019.1.8

У статті розглянуто тематичні групи, семантичні поля та варіантно-синонімічні групи фразем у художніх творах Бориса Грінченка. Створено структурно-семантичні моделі фразеологізмів у прозовій спадщині письменника. У роботі також подано таблиці ідеографічної класифікації стійких словосполучень. На їх основі здійснено статистичні підрахунки в межах фразеотематичних груп. У роботі ми опиралися передусім на ідеографічний поділ фразеологізмів, здійснений Віктором та Дмитром Ужченками. Вчені пропонують виділення мовних універсалій (структурно-семантичних моделей — ССМ), за допомогою яких будуються фраземи. На сьогодні ця класифікація застосована лише до вивчення лексики творів Бориса Грінченка. Найбільше стійких словосполучень виявлено у фразеотематичній групі «Людина» (95 %), а саме у ФТП «Людина як розумна істота». У цьому тематичному полі особливо багате на фразеологізми ФСП «Емоції, почуття, стан». Це пов’язано насамперед із тим, що Борис Грінченко мав певні психологічні здібності, майстерно розкриваючи характери та почуття своїх персонажів. У ФТГ «Абстрактні відношення» (3 %) найбільш численним виявилось ФСП «Якість», найменш численним — «Кількість». Це можна пояснити біднішим виражальним потенціалом останнього поля. ФСП «Можливість» у цій фразеотематичній групі відсутнє на противагу класифікації Віктора Ужченка. ФТГ «Природа» (2 %) так само є невеликим, проте у ньому вдалося виділити три ССМ. Крім того, класифікація Віктора Ужченка у статті була доповнена необхідними ВСГ. Аналіз художньої прози Бориса Грінченка в ідеографічному аспекті фразеології доводить її багатство й різноманітність майже в...
Viktoriia Dobrodii
Synopsis: Text Context Media, Volume 25; doi:10.28925/2311-259x.2019.1.6

Стаття присвячена вивченню жанрових особливостей різдвяного оповідання Дзвінки Матіяш «Різдво брата Заїки», яке увійшло до збірки «13 різдвяних історій». Констатовано, що в останні десятиліття в українській літературі опубліковано велика кількість творів цього жанру, адресованих як дитячій аудиторії, так і дорослій. Відтак можна говорити про відновлення традиції написання різдвяних оповідань в українському літературному процесі. Однак їх вивчення ще й досі є переважно принагідним – такі твори аналізуються переважно у рецензіях та книжкових оглядах напередодні новорічних та різдвяних свят. Мета статті — аналіз твору Дзвінки Матіяш «Різдво брата Заїки», його стильових особливостей, своєрідності трансформації жанру різдвяного оповідання. Завдяки методу повільного читання та застосуванню філологічного методу дослідження художнього твору, авторка з’ясовує художні особливості цього різдвяного оповідання, виокремлює його провідні ознаки, символічні образи. На основі проведеного аналізу запропоноване авторське формулювання поняття «філософсько-екзистенційне різдвяне оповідання», описані його провідні ознаки та складові. Це, зокрема, такі риси, як: композиція заснована на поєднанні різних точок зору, одна й та сама подія подається крізь бачення двох різних персонажів, а об’єднують їхні погляди символічні образи, які допомагають показати персонажів – як з боку, з погляду Іншого, так І зсередини, їхніми власними очима; кожен персонаж немов повторює свою версію події, а символічні образи, тісно пов’язані із тематикою різдвяного свята, утворюють систему символів та ідей, які розгортаються перед...
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