scholarly journals Мифо-архетипические мотивы психобиографии Тараса Шевченко

2021 ◽  
Vol 1 (XXIII) ◽  
pp. 157-170
Author(s):  
Iryna Betko
Keyword(s):  
Literary Criticism ◽  
Special Role ◽  
Great Mother ◽  
Biographical Analysis

The study of various aspects of the symbolic biography of Taras Shevchenko is a contemporary direction of modern Ukrainian literary criticism. This article analyzes the mythological and archetypal motifs in Great Mother. They played a special role in the life and work of the poet, who never made up for the slave and orphan complexes. The strategy of symbolic-biographical analysis significantly expands the psychoanalytic context of the study.

MUNICH CONFESSION OF VOLODYMYR YANIV (dedicated to 110th anniversary of birth)

2019 ◽  
pp. 321-333
Author(s):  
Taras Salyha
Keyword(s):  
Literary Criticism ◽  
Literary Work ◽  
Political Prisoner ◽  
Special Role ◽  
Revolutionary Movement ◽  
Catholic University ◽  
Prague School ◽  
The Right ◽  
Ukrainian Catholic ◽  
The Church

Three major aspects of Volodymyr Yaniv’s life-creativity are described in the article: 1. biographical (his forma- tion as a creative person); 2. literary and art studies; 3. essayistic (author’s stories about the meetings with the perennial rec- tor of UFU). In parallel, there are “plots” about Volodymyr Yaniv as s historian of the church and Christianity, as a religious scholar, about his contacts with the Vatican, and in particular with His Beatitude Josyf Slipyj in the study. We can trace the “odyssey” of a young ascetic of the Galician revolutionary movement for the statehood and the unity of Ukrainian lands. A separate vision in the life of V. Yaniv is the magazine “Student’s Way”. He was fond of modern processes that took place in the cultural and artistic sphere. Studying poetry of European poets, poetry of Ukrainian creative youth, in particular B.-I. Antonych, V. Havrylyuk, O. Olzhych, poets of the Right-Bank Ukraine, Yaniv developed for himself the criteria for evaluating a literary work. The Lviv weekly “Towards” and the month “Dazhbog” and, of course, the poetry of the “Prague School” were played a special role for Yaniv as a poet. The famous Polish writers, supporters of the so-called “Ukrainian school”, Severin Goshchin- sky, Alexander Fredro, Leopold Staff, Jan Kasprovich, Maria Konopnitskaya whose creativity, undoubtedly, also influenced Volodymyr Yaniv lived and worked in Lviv. The ideological and thematic space of the poetry of Yaniv, in particular the collections “The Sun and the Lattices” and “The Foliage Fragments”, his prison poems, poetry about the Kruty heroes, are analyzed in the article. Lyro-epic creativity of V. Ya- niv in this thematic direction in her own way is biographical. The collection “Ways,” based on the scientific observations of the German, Polish and Czech theorists of psychoanalysis, is based on the ethno-psychoanalysis of the Ukrainian political prisoner. V. Yaniv is a scientist, psychologist, ethnic psychologist of the Ukrainian “soul”, sociologist and literary critic, art critic, organizer of Ukrainian science and church-religious life, public figure, professor of the Ukrainian Catholic University named after St Clemens, the Pope in Rome. The sacred motives are an organic page in poetry, literary criticism and, in general, in the works of Volodymyr Yaniv. The author used the bibliographic literature about the life and work of Volodymyr Yaniv, which, however, doesn’t allevi- ate his individual views.

scholarly journals SYMBOLISM OF THE GREAT MOTHER SABA AND RITES RELATED TO HER

2021 ◽  
Vol 70 (3) ◽  
Author(s):  
Z.J. Naurzbaeva ◽  
Keyword(s):  
Comparative Analysis ◽  
Traditional Culture ◽  
Symbolic Capital ◽  
Female Character ◽  
Special Role ◽  
Great Mother ◽  
The World ◽  
Role Of Women

The purpose of the study is to reveal the mythological symbolism of the “saba” leather wineskin, revered in the traditional culture of Kazakhs and related peoples. The methods of structural-semantic and comparative analysis, the analytical school of K.G. Jung, the mytholinguistic school of S. Kondybai, as well as the concept of symbolic capital of P. Bourdieu used to analyze the Kazakh folklore, linguistic and ethnographic material about the saba wineskin, in which koumiss is sourd and butter is beaten. The originality and value of the research lies in the fact, that the available ethnographic, folklore and linguistic materials about the wineskin-saba were interpretedby the author in a new way in the context of the assumption, made by S. Kondybai. The essence of S. Kondybai's idea is that the image of Sauap-khan in one of the versions of the epic "Koblandy" was originally a female character named Saba-apa and represented one of the incarnations of the mythological Great Mother. The results of the study: the symbolism of the wineskin-saba as the Great Mother and the World Mountain is revealed, the connection of this symbolism with the images of a woman and a mare, and the special role of women in traditional rituals associated with kumis are explained. Process of butter beating in saba interpreted as cosmogonic act, in which the Great Mother creates the world.

Orthodox arrangement of the Pochaiv Lavra in the second third of the XIX century.

2021 ◽  
pp. 13-41
Author(s):  
Ella Volodymyrivna Bystrytska
Keyword(s):  
Local Level ◽  
The Political ◽  
Special Role ◽  
Economic Activities ◽  
Government Officials ◽  
Political Motivation ◽  
Archival Documents ◽  
The Status ◽  
The Russian Empire ◽  
Xix Century

Abstract: A series of imperial decrees of the 1820s ordering the establishment of a Greco-Uniate Theological Collegium and appropriate consistories contributed to the spread of the autocratic synodal system of government and the establishment of control over Greek Uniate church institutions in the annexed territories of Right-Bank Ukraine. As a result, the Greco-Uniate Church was put on hold in favor of the government's favorable grounds for the rapid localization of its activities. Basilian accusations of supporting the Polish November Uprising of 1830-1831 made it possible to liquidate the OSBM and most monasteries. The transfer of the Pochaiv Monastery to the ownership of the Orthodox clergy in 1831 was a milestone in the liquidation of the Greco-Uniate Church and the establishment of a Russian-style Orthodox mono-confessionalism. On the basis of archival documents, the political motivation of the emperor's decree to confiscate the Pochayiv Monastery from the Basilians with all its property and capital was confirmed. The transfer to the category of monasteries of the 1st class and the granting of the status of a lavra indicated its special role in strengthening the position of the autocracy in the western region of the Russian Empire. The orders of the Holy Synod outline the key tasks of ensuring the viability of the Lavra as an Orthodox religious center: the introduction of continuous worship, strengthening the personal composition of the population, delimitation of spiritual responsibilities, clarifying the affiliation of the printing house. However, maintaining the rhythm of worship and financial and economic activities established by the Basilians proved to be a difficult task, the solution of which required ten years of hard work. In order to make quick changes in the monastery, decisions were made by the emperor and senior government officials, and government agencies were involved at the local level, which required the coordination of actions of all parties to the process.

Development of Social and Economic Forecasting and Ideas of A. Anchishkin

2013 ◽  
pp. 143-155
Author(s):  
A. Klepach ◽  
G. Kuranov
Keyword(s):  
Economic Planning ◽  
Special Role ◽  
Economic Management ◽  
Economic Forecasting ◽  
Russian Economy ◽  
World Economic ◽  
Long Term Forecasting ◽  
Working Out

The role of the prominent Soviet economist, academician A. Anchishkin (1933—1987), whose 80th birth anniversary we celebrate this year, in the development of ideas and formation of economic forecasting in the country at the time when the directive planning acted as a leading tool of economic management is explored in the article. Besides, Anchishkin’s special role is noted in developing a comprehensive program of scientific and technical progress, an information basis for working out long-term forecasts of the country’s development, moreover, his contribution to the creation of long-term forecasting methodology and improvement of the statistical basis for economic analysis and economic planning. The authors show that social and economic forecasting in the period after 1991, which has undertaken a number of functions of economic planning, has largely relied on further development of Anchishkin’s ideas, at the same time responding to new challenges for the Russian economy development during its entry into the world economic system.

Literature in Our Time, or, Loving Literature to Bits

CounterText ◽  
2015 ◽  
Vol 1 (2) ◽  
pp. 232-269 ◽  
Author(s):  
Ivan Callus
Keyword(s):  
Literary Criticism ◽  
Jacques Derrida ◽  
Anthony Trollope ◽  
Don Quixote ◽  
Time Machine ◽  
Paul Auster ◽  
Anne Michaels

In this essay Ivan Callus provides some reflections on literature in the present. He considers the tenability of the post-literary label and looks at works that might be posited as having some degree of countertextual affinity. The essay, while not setting itself up as a creative piece, deliberately structures itself unconventionally. It frames its argument within twenty-one sections that are self-contained but that also echo each other in their attempt to develop an overarching argument which draws out some of the challenges that lie before the countertextual and the post-literary. Punctuating the essay and contributing to its unconventional take on the practice of literary criticism is a series of exercises for the reader to complete, if so wished; the essay makes no attempt, however, to suggest that a countertextual criticism ought to make a routine of such devices. The separate sections contain reflections on a number of texts and writers, among them, and in order of appearance, Hamlet, Anthony Trollope, Jacques Derrida, The Time Machine, Don Quixote, Mark Z. Danielewski, Mark B. N. Hansen, Gunter Kress, Scott's Reliquiae Trotcosienses, W. B. Yeats, Kate Tempest, David Jones, Anne Michaels, Bernice Eisenstein, Paul Auster, J. M. Coetzee, Billy Collins, Deidre Shauna Lynch, Tim Parks, Tom McCarthy – and Hamlet again. The essay's length fulfils a performative function but also facilitates as extensive a catalogue of aspects of the countertextual in literature and elsewhere as is feasible or as might be dared at this stage.

From Deleuze and Guattari's Words to a Deleuzian Theory of Reading

2015 ◽  
Vol 9 (4) ◽  
pp. 529-557
Author(s):  
Daniel Haines
Keyword(s):  
Literary Criticism ◽  
Deleuze And Guattari ◽  
Transcendental Empiricism ◽  
Theory Of Reading ◽  
Open Question

While Deleuze and Guattari's passion for certain literature is well known, the nature of a ‘Deleuzian’ literary criticism remains an open question. However, most critics appear to agree that Deleuze and Guattari's comments on meaning and interpretation offer an ontological alternative to the textual focus of deconstruction. Through an interrogation of the difficult style of their books in relation to Plato, Nietzsche and Derrida, this paper offers a different reading of Deleuze and Guattari in relation to literary criticism. Despite appearances, transcendental empiricism and the project of ‘overturning Platonism’ provide a Deleuzian theory of reading that attends to textuality.

Un/Becoming Claude Cahun: Zigzagging in a Pack

2018 ◽  
Author(s):  
renée c. hoogland
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Gender Politics ◽  
High Modernism ◽  
Claude Cahun

Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.

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