Образ скорбного поэта в поэтическом посвящении Леси Украинки „Надсонова домівка в Ялті” («Домик Надсона в Ялте»)

В статье рассматривается проблема читательского восприятия творчества Надсона его современниками, и в частности объектом изучения становятся поэтические созвучия в лирике Надсона и выдающейся украинской поэтессы Леси Украинки.У статті розглядається проблема читацького сприйняття творчості Надсона його сучасниками, і зокрема об’єктом вивчення стають поетичні співзвуччя у ліриці Надсона і видатної української поетеси Лесі Українки.The question of reader’s perseption of Nadson’s creative work by his contemporaries is examined in the article. In particular, the object of study is the poetic consonance in lyrics of Nadson and the famous Ukrainian poetess Lesya Ukrainka

Problem of gender edintification of male characters in V. Rasputin`s prose-dualism of psycho-intellectual dominants

Статья посвящена анализу эволюции мужских персонажей в прозе В. Распутина

Discussions on Universal Conscription and the “Professional Army” in Russian and World Military Literature of the Late XIX - First Half of the XX Centuries

The article is devoted to the discussion of the transition from the mass to the professional army, which was conducted in the domestic and world military literature both before the First World War and in the period between the World Wars. The relevance of the study is due to the fact that in our time, the transition to a professional army really takes place in many countries of the world, including Russia. A review is made of a number of military works, the authors of which upheld the idea of a professional army. The content of the concepts of the White Immigrant General Gerua and the German General Seeckt is analyzed in particular detail. It is concluded that the understanding of a professional army in the first half of the 20th century was fundamentally different from the modern one: its supporters believed that it should not be a replacement, but just a supplement to the mass conscript army, a kind of guard of the industrial era. Particular attention is paid to criticism of the concept of a professional army by Soviet military authors of the 1920s and 1930s, including the People’s Commissar for Defense Marshal Voroshilov, as well as some foreign military authors of that time. The article shows that this criticism was justified: the Second World War was conducted by draft armies

Costruction of the judicial defense speech: based on the material of court speeches by Y.S. Kiselev

The construction of a public speech is one of the most important components of creating a convincing oratorical performance. Despite the constant interest of researchers in the challenges of constructing a court speech, the arrangement of structural elements, the issue remains unresolved in practical aspect: modern court speakers need recommendations that would contribute to creating effective defense statements. The purpose of this research is to analyze the composition of successful court speeches of the famous Soviet lawyer Y.S. Kiselev, aimed at identifying the features of arrangement of the material, factors that condition this or that disposition, and on this basis to identify various options for the arrangement of content elements contributing to the creation of a convincing speech. Using the method of compositional analysis, as well as rhetorical analysis, descriptive and structural methods, we investigate thirteen effective judicial defense speeches by Y.S. Kiselev. Having analyzed the types of introductions used by him, we have established a high degree of viability of using hyped up or unexpected beginning, as well as conditionality of the choice of the type of introduction by the prosecutor, readiness of the audience to perceive the defense speech, and attitude of the audience to the circumstances of the case. The analysis of the main part of Kiselev’s speeches allows to identify the micro themes presented in all his defense statements, as well as conditionality of a number of micro themes by the circumstances of the case, the arguments of the prosecution, and the chosen line of defense. The conclusion reveals structural elements in all the speeches of the well-known lawyer under study: a clearly expressed position of the defense in the case, a pathetic and educational moment, and an appeal to the court for leniency or acquittal of the defendant. In general, the construction of the defense speech is conditioned by the circumstances of the case, the position of the prosecution, the chosen line of defense, the specifics of the audience, as well as the moral qualities, erudition and communicative skills of the speaker

Між біографією і пропагандою: Михайло Козачинський та його «Журналъ или описанїе лѣтъ и преславныхъ, высокоторжественныхъ побѣдъ блаженныя и вѣчнодостойныя памяти Петра Великого, отца Отечествїя, перваго імператора всероссійскаго» (1744)

The article focuses on a little-known literary work about Peter I which was composed by a Ukrainian poet, philosopher, and professor of the Kyivan Academy, Mykhailo Kozachynsky (1699–1755). This poetic biography was entitled «Journal or Description of the Years and the Glorious as well as Solemn Victories of the Blessed and Everlasting Memory Peter the Great, Pater Patriae, the First All-Russian Emperor». It was appended to a trilingual panegyric «Augustissimae ac Invictissimae Imperatrici» of the same authorship written in honor of the Empress Elizabeth’s of Russia visit to Kyiv in August-September 1744. The panegyric, the «Journal», a shortened edition of a dramatic play along with a poem and a canto formed a complex of works, which were published in the Kyiv-Pechersk printing house. One more of Kozachynsky’s related poem appeared in Wroclaw on the same occasion.The textual analysis of the «Journal» demonstrates that the author dealt with Feofan Prokopovych’s eulogies that glorified Peter I and were released in Kyiv and Saint-Petersburg throughout 1709–1725, namely «Panegyricvs de celeberrima et paene inavdita victoria qvam Pertvs Primva», «The Word to praise the Poltava Battle», «The Word on the Burial of the Most Illustrious Sovereign Peter the Great» and «The Word to Praise the Blessed and Everlasting Memory Peter the Great». In addition, Kozachynsky borrowed facts about the Great Northern War mostly from the so-called «The Mars’s Book» and then poetically reworked them. Such a richly illustrated collection of reports on the course of military affairs was published for the first time shortly after 1713 and later underwent several reprints.Taken in general, the context in which the «Journal» and the corresponding series of Mykhailo Kozachynsky’s works appeared reveals clearly that the Ukrainian elite of that time pursued the only goal to utilize Elizabeth’s arrival to Ukraine as an opportunity to lobby for the urgent issue of the restoration of the hetmanship. The splendor of the meeting with the special glorification of the Empress’s father served therefore as a propaganda tool to achieve this goal.У статті зосереджено увагу на малознаному творі українського поета, філософа, професора Київської Академії Михайла Козачинського (1699–1755), присвяченому Петрові І. Це віршована біографія, названа «Журналъ или описанїе лѣтъ и преславныхъ, высокоторжественныхъ побѣдъ блаженныя и вѣчнодостойныя памяти Петра Великого, отца Отечествїя, перваго імператора всероссійскаго». Вона слугувала додатком до тримовного панегірика «Аѵгустѣйшей, непобѣдимой імператріцѣ», написаного Козачинським на честь відвідин Єлизаветою Петрівною Києва й Академії у серпні-вересні 1744 р. Панегірик із «Журналом», синопсис драматичної вистави, вірші й кант, які становлять цілісний комплекс, було надруковано Києво-Печерською типографією. Ще один вірш Михайла Козачинського з тієї ж нагоди з’явився у Вроцлаві.Текстологічний аналіз «Журналу» переконує, що автор мав справу з творами Теофана Прокоповича, котрі уславляли Петра І. Йдеться зокрема про «Панегѵрікос или слово похвалное о преславной над войсками свѣйскими побѣдѣ», «Слово похвалное о баталїи Полтавской», «Слово на погребенїе всепресвѣтлѣйшаго державнѣйшаго Петра Великаго» та «Слово на похвалу бл[а]женныя и вѣчнодостойныя памяти Петра Великаго», видрукувані у Києві та Санкт-Петербурзі протягом 1709–1725 рр. Водночас фактографічний матеріал про події Великої Північної війни, що його літературно опрацював Козачинський, походив із так званої «Книги Марсової». Таку багато ілюстровану збірку реляції про хід воєнних справ уперше опублікували невдовзі після 1713 р., а потім неодноразово перевидавали.Загалом контекст появи «Журналу» і відповідного циклу праць Михайла Козачинського доводить, що тогочасна українська еліта мала на меті головне: використати приїзд Єлизавети Петрівни як нагоду пролобіювати відновлення гетьманства. Відтак пишнота зустрічі з особливим прославлянням імператрициного батька слугувала пропагандистським засобом для досягнення поставленої мети

ТВОРЧЕСКИЙ МЕТОД ВОПЛОЩЕНИЯ БИОГРАФИЧЕСКОГО ДИСКУРСА В ПРАКТИКАХ ХУДОЖЕСТВЕННОГО ТАНЦА (НА РУБЕЖЕ 20–21 ВЕКОВ)

The article explores ballet performances as a form of artistic dance which emerged in the context of “biographical deconstructionism” and as a new concept for the cultivation of documentation. Based on an analysis of preserved archival material, the author examines how at the waning of postmodern culture, the concept of a new ballet form called “biographical ballet” was invented by European dance critics. The article goes on to illuminate the features incorporated in this innovative form by investigating its structure and providing examples. The author concludes that memory is again becoming one of the main themes in contemporary culture. This “revival” determines the pivot of the choreographic theater to biographical discourse and the formation of a new creative approach of the choreographic theater. Implementing this approach, choreographers modify, accommodate, and incorporate in their performances the techniques and vehicles of new musicality, thick polylinguistic space, intertextuality, paratextuality, and dramaturgical fragmentation, while maintaining ballet’s optical dramaturgy as a basis.В статье анализируются балетные спектакли как практики художественного танца, возникшие в контексте культивирования таких феноменов как «биографический деконструктивизм» и новая документальность. В опоре на архивные материалы, автор рассматривает, как на исходе постмодерна европейской танцевальной критикой формулируется концепт новой балетной формы — «биографического балета», и выявляет через анализ структуры этой новой формы те элементы, которые были в нее инкорпорированы. Автор приходит к выводу, что «память», как возродившийся тематиз современной культуры, обуславливает поворот практики художественного танца к биографическому дискурсу и становление нового творческого метода хореографического театра, модифицирующего и осваивающего приемы новой музыкальности, насыщенной полиязычности, интер- и паратекстуальности, драматургической фрагментарности при сохранении балетной оптической драматургии