The article covers the complex processes of folk art during the Second World War, in particular slave poetry. In times of war, the creation of folk poetry is intensified, which is caused by the need to respond to events, to record them, above all, in memory. These song responses to events take place on the material of "old" samples of poetry that are already known. And «innovations» are used by participants of events and are saturated with new realities. Such is the folk song of the period of fascist captivity during the Second World War. The genesis of the poetry of captivity of the studied period can be traced on a large factual material, it is proved that genetically slave poetry of the period of the Second World War is connected with the cries of slaves and has its roots in the long history of Ukraine. These motives are still heard in the old Cossack thoughts, in which the lamentation gradually turns into a lyrical song. And during the war troubles of the twentieth century, these songs became relevant and sounded in a modern way. The article analyzes recordings of songs that reflect the grief of young girls taken to forced labor in Germany, the suffering of mothers who lose their children. Most of the analyzed works are stored in the funds of the IMFE of Ukraine, as well as in the own records of the authors of the article. The folklore of captivity, according to the authors of the article, fully reflects the deep universal feelings. It is the basis of artistic culture, because the socio-pragmatic world is conditioned by spiritual ideas about its integrity and ideals. The folklore of captivity, according to the authors of the article, fully reflects the deep universal feelings. It is the basis of artistic culture, because the socio-pragmatic world is conditioned by spiritual ideas about its integrity and ideals.
La vida imaginaria del científico. El caso del cómic ‘Los Proyectos Manhattan’