PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word
У випусках серії “Слово” публікуються наукові матеріали за напрямком: - Філологія
Ivano-Frankivsk Departament of Shevchenko Scientific Society
Copyright (c) 2026 PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word
POETRY DISGUISED AS LIFE, OR HALYNA KRUK’S WAR DIARY
The purpose of the article is to study the existential image of the human being in Halyna Kruk’s online poetry and diary. The article examines ideological and thematic aspects, figurative techniques, the peculiarities of the poet’s individual style, and her ability to find relevant artistic forms for expressing anti-militarist motifs in her work. The theoretical and methodological basis of the study consists of works by scholars who have examined the anti-militarist writing of Halyna Kruk (Liudmyla Shumeiko, Olena Saikovska) and the features of the contemporary Ukrainian literary process (Olena Haleta, Artem Chekh). The article employs hermeneutic methods (in interpreting the author’s system of imagery), elements of genre analysis (in determining the genre specificity of the diary), and methods of reception aesthetics (in observing the suggestive influence of Kruk’s works on the reader). The findings show that Halyna Kruk’s work is largely representative in discussions about the directions of contemporary Ukrainian literature under wartime conditions. The ideological and thematic focus of her online poetry and diary—supporting resistance to occupation and preserving the memory of war crimes—corresponds to the historical challenges facing the Ukrainian people during the ongoing catastrophe. Her work contributes to the formation of national identity at the level of the collective subconscious. Distinctive features of the author’s individual style include the realization of thematic content through relevant genre forms and artistic techniques, among them the somewhat “forgotten” realist principle of “depicting life in the forms of life itself.” The article attempts, based on an analysis of Halyna Kruk’s online works, to identify key tendencies in the development of contemporary Ukrainian literature, to clarify the significance of art in general and literature in particular in wartime, and to investigate the genesis of genre and style during years of wartime devastation. The results of the study can be used in scholarly research and academic courses related to the study of Halyna Kruk’s individual authorial style and the genre potential of poetry and diaries within the discourse of anti-militarist literature.
Copyright (c) 2025 PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word
THE IMAGE OF THE WAY IN THE POETRY BOOK ‘POEMS FROM THE LOOPHOLE’ BY MAKSYM KRYVTSOV
The article presents a comprehensive study of the poetic world of Maksym ‘Dali’ Kryvtsov – a soldier-poet and representative of the New Executed Renaissance who was killed in the war in January 2024. Based on his poetry book Poems from the Loophole, the research analyzes the image of the road and the lyrical hero’s path, as well as the functioning of the traveller figure, which emerge as key concepts shaping both the structure and semantic depth of Kryvtsov’s lyrical narrative. The purpose of the study is to identify the specific features of the poetic modelling of the road and the traveller figure in Kryvtsov’s poems. The methodology combines structural-semantic analysis of poetic texts, elements of hermeneutics, and intertextual analysis. This approach makes it possible to reveal the compositional features of the author’s poetics, uncover deeper semantic layers of war poetry, and trace the transformation of the monomyth in the context of contemporary warfare. The results of the study show that the images of the road and the traveller acquire multidimensionality. The lyrical hero becomes a warrior, a witness, and a wanderer moving between two worlds – the living and the dead, the sacred and the profane. War is interpreted as a road that performs the functions of departure, initiation, and the (im)possibility of return, while Christian images – God, Mary, the saints – acquire new symbolic roles embedded in the everyday reality of trench life. Kryvtsov’s poetry is marked by the remythologization of sacred motifs, giving the war experience a metaphysical dimension, and by the fragmentary, discontinuous structure of his poems, which reflects the psychological nature of wartime existence. The scientific novelty of the study lies in the fact that it provides the first comprehensive literary analysis of the road as a central conceptual element in the poetic world of Maksym “Dali” Kryvtsov and defines its key role in shaping the modern image of the traveller in Ukrainian war poetry. The practical significance of the research lies in its applicability to the study of contemporary Ukrainian war literature, the teaching of literary studies, and the formation of a corpus of texts representing the New Executed Renaissance. The article also contributes to a broader understanding of the role of the soldier-poet in the contemporary Ukrainian cultural space.
EXISTENTIALITY OF FEMALE IMAGES IN THE POETRY OF MARYNA PONOMARENKO
Purpose of the article. The article examines the work of contemporary poetess Maryna Ponomarenko. The aim of the study is to identify and analyse the female images in Ponomarenko’s texts and to determine their existential content, which unfolds within the framework of the feminist discourse. Research methodology. The study employs elements of historical-cultural, hermeneutic, and structural approaches. The specificity of the analysed material requires the application of a theoretical-cognitive methodology. Results of the study. The analysis shows that the range of female images created by the poet is remarkably broad. These images are multifaceted, grounded in mythological strata of both Ukrainian and European cultures, and they reflect contemporary realities, engaging with everyday events as well as existential dimensions. Originality. The novelty of the research lies in the expansion of the feminist and, more broadly, literary-critical discourse on contemporary Ukrainian poetry. Practical significance. The findings may be used in courses on contemporary Ukrainian literature and may contribute to a deeper understanding of the role of women in times of wartime hardship.
MODERN UKRAINIAN LITERARY WORKS ABOUT THE RUSSIAN-UKRAINIAN WAR: ACHIEVEMENT AND LOSSES, IDEAS AND IMPLEMENTATION
Abstract. Modern Ukrainian prose about the Russian-Ukrainian war, which has been going on for almost as long as the Second World War, and is collectively a kind of artistic and thematic meta-formation. His research constitutes the purpose of the article. Both «small» and «large» prose of such thematic specificity have their own genre diversity. Study results. Having considered the problem of covering the war in modern fiction, we prove that all artistic texts can be divided into metagenres. Metagenres (from the Greek meta – through, after, together, together; and the French genere – genus, species) – are types of content-formal unities of artistic works that are commensurate with the entire history of culture. We distinguish three types of metagenres – philosophical, phenomenological and typological as types of modeling of reality by authors. Meditativeness and suggestibility – are the leading and at the same time significant aspects of these models, that is, two ways of understanding and identifying the deep manifestations of people's understanding of the world – mental and intuitive. What is related to analysis and logical reflection is about meditation. And what is expressed by intuition, – belongs to the intuitive understanding of reality, claim literary critics. Practical significance of the research. «Big» and «small» prose with modern themes about war touches on many problems: loyalty and betrayal, patriotism, mentality, gender relations, psychology of a child in war conditions. Ukrainian writers of different generations and different maniftations of their own talents implement their own creative plans. They show the war as a terrible disaster, a test, a kind of test of maturity and humanity. The results of the study of this problem can be used in modern historical and literary publications.
ONTOLOGY OF WAR IN THE EXISTENTIAL MODES OF VASYL ANDRUSHKO'S POETRY
Purpose. This article is devoted to analysing the ontology of war in the existential modes of Vasyl Andrushko's poetry. The study focuses on ident- ?fying the existential and neomythological models that structure his poetic discourse, forming a unique artistic system that combines corporeal iconotropism, object metaphysics, and intermedial interaction. Based on the analysis of individual poems, it is argued that object details (bone, clay, metal, urban spaces) function as cognitive emblems that model the experience of war not only as a historical or political phenomenon, but as an ontological extreme situation. Research methodology. The study uses a system of hermeneutic, structural, and phenomenological methods. The author relies on the scientific methods of semiotics and psychoanalysis and uses the methodology of mythological criticism and literary cognitive studies. This is due to the specificity of the study, its object and subject. Results. The article emphasises the interaction of existential meanings (A. Camus, K. Jaspers) and mytho- ?ogical structures (archetypes of father, mother, child; the vertical axis of ‘life-death’) that form the complex symbolic-semiotic space of the poetic text. Particular attention is paid to the graphic organisation of Vasyl Andrushko's poems – free verse fragmentation, iconic strophics, and ekphrasis vision.
EXISTENTIAL DIMENSIONS OF WAR IN CONTEMPORARY UKRAINIAN POETRY
Abstract. The article is devoted to the analysis of the existential dimensions of war in contemporary Ukrainian poetry, created in the context of the full-scale Russian invasion. The theoretical basis is the concepts of K. Jaspers, M. Heidegger, A. Camus and J.-P. Sartre, which allow us to comprehend poetic texts through the prism of limit situations, absurdity, freedom, anxiety and existential rebellion. The study examines works from the anthology “The Word Tempered by War. Volume 1”, which demonstrate a wide spectrum of war experience — from the immediate limitlessness caused by war to internal psychic trauma, from the destruction of human integrity to its sustainable restoration. The analysis showed that the key existential dimensions in war poetry are manifested in the forms of experiencing death, fear and anxiety, in expressions of internal and moral rebellion, in the themes of freedom and choice despite impossible conditions, in the temporal discontinuity of being, in silence as a way of testimony, in the ethical encounter with the Other, in the search for meaning and the possibility of transcendence. The article demonstrates that modern Ukrainian war poetry acts not only as an artistic response to a historical catastrophe, but also as a form of existential self-awareness and the preservation of human dignity in conditions of radical evil.
SYMBOLISM AND METAPHORICS OF WAR IN THE POETRY OF YURI IZDRYK
The article determines peculiarities of the author’s perception of the concept of war in the poetry collections "Calendar of Love" (2015), "After Prose" (2022), "Lazy and Tender" (2024) by Yuriy Izdryk. The paper studies the way the metaphors and symbols of war and military vocabulary are implementated in the intimate, philosophical, and civic lyrics of the author. It ttraces both the diversification of the concept of "war" and the change in its perception depending on the context. In particular, in the frameworks of the intimate lyrics the relationship between the concepts of "war" and "love" come into focus, while in philosophical lyrics the understanding of the thesis "war is a cosmic game" comes to the fore.The paper pays special attention to the way the metaphor of war plays out in the civil lyrics of Yuriy Izdryk , where, in fact, there is a sharp decrease in the use of vocabulary and symbolism related to military themes. Instead, it is in civil lyrics where there appears the concept of war as an unjust and all-consuming force of chaos. Since the collections include poetry from different periods, one cannot talk about the diachronic comparison and evolution of the metaphor of war in the poetic work of Yuriy Izdryk .
ARTISTIC REMINISCENCES IN ARTUR DRON`S BOOK “HEMINGWAY KNOWS NOTHING”
The article explores artistic reminiscences in the book “Hemingway Knows Nothing” by contemporary Ukrainian writer Artur Dron. It demonstrates that the title of the collection, as well as the titles of the short stories and essays within it, are symbolic and contain both direct and indirect parallels — in particular, with works of world literature, as well as biblical allusions. As a result, a context is created that helps emphasize the causes and brutality of the modern war. The realistic portrayal of events, the prototypes of the characters, and the dialogic nature of the narration point to the author’s need to artistically comprehend and reveal his own experience gained during the war, to record facts and testimonies from both military personnel and civilians. The use of code names, meaningful titles, and symbolic details contains hidden meanings and contributes to the expansion of the thematic scope. The ideological and artistic analysis of the short prose from A. Dron’s collection “Hemingway Knows Nothing” illustrates that the writer seeks to depict the tragedy of war through the portrayal of both individual human lives and the global transformations caused by these tragic events. Through the expressive title of the collection and its constituent works, the author encourages readers to reflect on the socio-political preconditions of military conflicts, addressing issues of heroism and loss, and the preservation of national memory about those Ukrainians who changed the course of history by resisting totalitarianism and defending democratic principles.
CREATING AN ARTISTIC IMAGE IN THE POETRY OF VETERANS OF THE RUSSIAN-UKRAINIAN WAR: THE TECHNIQUE OF DESTRUCTION
This article is devoted to understanding the phenomenon of Ukrainian poetry that emerged during Russia's full-scale war against Ukraine. The author focuses on the appearance of several hundred publications related to the theme of war. Poetry occupies a special place among these publications as the fastest and most emotional form of reflection on dramatic events. Poetry in wartime emerges as a space for collective experience, a place for preserving pain, memory, stoic endurance, and spiritual resistance. The study focuses on a special layer of war poetry — the works of veterans and military personnel who were not only witnesses but also active participants in the fighting. Their texts are distinguished by a high level of expression, emotional nakedness, honesty, and the absence of artistic pathos. Such poets transfer their own physical, psychological, and moral traumas into their poems, creating a new ethic of writing in which authenticity, documentary evidence, and inner truth become key criteria. The works of authors such as Maksym Kryvtsov, Ihor Mitrov, Yaryna Chornoguz, Pavlo Korobchuk, and Serhiy Rubnikovych are examined, whose texts raise painful themes of loss, death, post-traumatic experiences, and the devaluation of combat experience by the home front.
STUDY OF WAR TRAUMA THROUGH THE PRISM OF GENRE FEATURES OF OLEKSANDR MYKHED'S WORK "CALL SIGN FOR YOVA"
The purpose of the study is to analyze the genre-compositional and ideological-stylistic features of the work of Oleksandr Mykhed “Сall sign for Yova”, the role of micro-images in the creation of a specific genre synthesis. Research methodology. The methodology of “trauma studio” was used to study the problem. Research results. Oleksandr Mykhed’s book “Сall sign for Yova” is a kind of martyrology, in which the author tries to record the war crimes of the occupiers, using a combination of documentary and artistic forms for this. Three sections of the narrative – objective, subjective and philosophical – combine a chronicle of events and a narrative of fixation, “photographic” with a deeply personal, reflective and experiential experience. The specificity of the genre and composition of this work is the use of elements of reportage, chronicle, memoirs, interviews – a kind of collage of intermittent memories, “overlaying” texts with different time layers. At the same time, it is a successful attempt to “write trauma” – to narrate the pain and shock of the experience, so the work seems to “balance” on the border of fiction and documentary literature. Here, two genre dominants are clearly traced – the diary and the chronicle. The experience of a traumatic experience affects the composition of the work both as a whole and in the composition of individual essays, even the composition of micro images. Mykhed’s style is characterized by the antithetical modeling of a phrase, in which oxymoron is embedded. The antithesis in the work also becomes one of the central compositional techniques that form the bipolarity of the book’s artistic world. The book gains its depth thanks to the structure that allows it to speak not only in the author’s voice, but also in four key dialogues (Voices of War), representing different dimensions of experience.
TWO WORDS about Vasyl MOYSYSHYN: reflections on what I read
Heroes are great, events are large-scale
"Every next flight could be the last..."
“THE WORK IS A LOVED ONE, THOUGH IT ISN’T EASY, OF COURSE”. IVAN FRANKO’S SKILLS AS TRANSLATOR (FRENCH PROSE)
The article examines individual facts of the multifaceted translation legacy of Ivan Franko (1856-1916) in what concerns his reading of four prose samples of three French literature classics of the second half of the 19th– early 20th c. The aim of the article consists in clarifying Ivan Franko’s role in the entry of French literature into the Ukrainian cultural process of the period in question, his translation interests in the novellas by Е. Zola, А. Daudet, A. France. Research methodology. The article employs the system approach with the application of historical-literary, genetic, comparative methods, as well as that of hermeneutics. On the basis of these methods, factual material regarding the history of Ivan Franko’s interest in individual novellas’ samples of the three outstanding representatives of French literature in the second half of the 19th –early 20th c. is presented. Results. The research presents major facts connected with Ivan Franko’s translation practice not only as interpreter of French belles-lettres works, but as tutor, mentor and leader of budding talents embarking upon the path of Ukrainian translators. Scholarly novelty. The article is an interesting page in coming to know Ivan Franko’s interests as translator, the writer’s skills in the reproduction of literary-artistic and stylistic specificity of French novellas. It accounts for the motifs and themes that suggested Ivan Franko’s choice of these particular works by the above-mentioned French writers. Practical novelty. The article may provide a basis for a more profound cognition and study of Ivan Franko’s practice as translator, primarily regarding the interest in French literature of the second half of the 19th – early 20th c., corroboration of the standing interest of Ukrainian literati in the accomplishments of more outstanding figures in certain national literatures. It is maintained that of importance is further research into Ivan Franko’s skills as French prose translator, also the stylistic specificity of his Ukrainian-language interpretations of French novellas.
THE MODE OF THE HALYCH BORDERLAND IN THE WORK OF JOSEPH ROTH
The article explores the features of the epic thinking of the prominent Austrian writer, a native of Galicia (Brody), Josef Roth. Actually, this was the purpose of the study. It is proven that this was very clearly manifested in the works of the “Galician borderland”, which the author used with different functionality (starting with the topos and ending with national-ethnic modes). In such a broad aspect of studying the originality of the ideological and aesthetic consciousness of a foreign artist of the word, the emphasis is placed on how in the novels, short stories, stories and reports of Josef Roth, Galicia is understood and recreated as an object and subject of his artistic thinking. For this purpose, the article applies the appropriate research methods: philological, hermeneutic, cultural-historical. As a result of studying the problem posed on the material of Josef Roth's prose works about the "Galician borderland", their originality and organicity in the general work of the classic of Austrian literature have been proven. This, in fact, is the novelty of the study.
UKRAINIAN LEXICOLOGY, PHRASEOLOGY, LEXICOGRAPHY IN TERMS
“LEAVE THE WORLD TO THE WORLD AFTER ITSELF…”: ARTISTIC FEATURES OF NATALIA KRISMAN’S CIVIC LYRICS
ETYMOLOGY AS A SOURCE OF INFORMATION ABOUT THE FORMATION OF THE LEXICAL COMPOSITION OF LANGUAGE
SYNTACTIC VALENCY AND FUNCTIONAL-SEMANTIC FEATURES OF WORD-FORMS
Aim. In modern linguistics, it is relevant to study ideas and concepts that were theoretically substantiated in the course of key scientific movements of the 20th century. The fundamental approach to the analysis of grammatical units was laid by the founders of structural linguistics, in particular the French linguistic school. Structural linguistics has developed the key and most widely used scientific method – descriptive. The descriptive method provides a consistent, complete, comprehensive and exhaustive analysis of the research object, provided that it is based on universal and consistent criteria and postulates. The aim of the article is to analyze the functional and semantic features of word-forms from the point of view of their valence; the results obtained make it possible to carry out a theoretical and conceptual addition to the structural category of valence and determine its role in the systemic and structural construction of grammar. Methods. The main research method is descriptive. Typological analysis was used for functional-semantic and morphological-syntactic taxonomy of word-forms. Comparative-typological analysis of syntaxemes and part-of-speech classes ensured their differentiation in terms of valence capacity. Results. It is established that the structural-semantic category of valence extends beyond the verb-predicate and encompasses all word-forms that make up the component structure of a sentence. Valence is defined and embodied as a syntactic connection that differentiates typological variants of dependency relations. The doubleordinate connectivity, which determines the interdependence of the components of the predicative center of a sentence, forms the parity status of the noun and verb from the point of view of formal-syntactic and structural-semantic function. These word-forms have a valence determined by their dominant part-of-speech status. The ability to fill the valence position of the main word is a velanty feature, which is inherent in noun (adjectives) and in verbal (adverb) attributes. The valence capacity of word-forms is determined by their primary or secondary function (transposition into another part-of-speech class with the corresponding syntactic function). Practical significance. The results of the study make it possible to supplement the theoretical concept of the structural category of valence and deepen the functional-semantic analysis of word-forms, typologize part-of-speech classes from the point of view of their syntactic role as components of doubleordinate and subordinate word combinations, and establish their semantic-functional position determined by valence.
INTERMEDIATE (MEDIATE) ANTECEDENT AS A STRUCTURAL-SEMANTIC UNIT OF ANAPHORICAL RELATIONSHIPS
Abstract. The article is devoted to the intermediate (mediated) antecedent as a structural-semantic unit of anaphoric relations. The definition of the intermediate (mediated) antecedent within the semantic organization of a sentence and related syntactic constructions is of particular relevance. The purpose of the study is to investigate and describe the intermediate (mediated) antecedent in syntactic constructions. Achieving this goal involves solving the following tasks: to generalize the concept of anaphoric relations as a type of semantic relation; to investigate anaphoric relations with the intermediate (mediated) antecedent in literary Anaphoric relations, as a means of connectivity between the components of semantic text structure, are represented by various patterns, where one or two intermediate (mediated) antecedents can be identified. Syntactic constructions with intermediate antecedents encompass rather large text fragments, ensuring referential, grammatical, and semantic coherence. Attention is drawn to the fact that, in the process of analyzing anaphoric relations, there are various ways of employing the intermediate (mediated) antecedent as a structural-semantic unit of anaphoric relations. In literary texts, it can be represented by a synonym, hyperonym, substantivized adjective, noun, vocative, taxonomic description, as well as lexical-semantic units with positive or negative axiological meaning.
NOUNS AND NOUN ADVERBS WITH QUANTITATIVE MEANING IN THE WAR POETRY: SEMANTIC AND PRAGMATIC ANALYSIS OF THE POETIC DISCOURSE
The article carries out a comprehensive analysis of the semantic and pragmatic features of nouns and noun adverbs with quantitative meaning in the poetic discourse of Bohdan Tomenchuk (“Embroider, Mom, a Body Armor”), Olga Slonivska (“In Camouflage and Body Armor”), Olga Derkachova (“Confession on the Rosary”) and Anthologies of Network Poetry (“A Word Tempered by War”), which reflect current trends in communicative linguistics in Ukrainian linguistics. It is shown that such nouns and adverbs perform not only a nominative function, but also become means of intensifying emotional impact, forming axiological assessments and strengthening the communicative effect of a poetic text. The analyzed lexemes were analyzed and divided into several semantic groups: those that denote a set of people (“legion”, “cohort”, “company”), indicate a sequence of objects arranged one after another (“rows”, “columns”, “row”), typically name a set of animals (“flock”, “swarm”, “herd”), specific objects as units of measurement (“buckets”, “barrels”, “cisterns”, “cup”, “glass”), names of water spaces (“ocean”, “sea”, “puddle”) and parts of a whole (“piece”, “piece”, “drip”). Each of these names acts as a tool for linguistic concr- ?tization of war, thanks to which large-scale tragedies acquire tangible imagery. It was found that the authors transform the primary meanings of words into markers of the scale, dehumanization and tragedy of military events, creating semantic contrasts, religious connotations, etc. Therefore, quantitative nouns and adverbs become an important means of poetic typification of war realities, because they allow us to comprehend the mass nature of the tragedy through specific linguistic images, combine the everyday and the sacred, thereby emphasizing not only the bodily but also the spiritual dimension of destruction, ensure the formation of semantic contrasts, testify to the features of the individual author's style and the formation of the poet's idiostyle. Lexemes with quantitative semantics in war poetry function as means of artistic influence, conveying the destruction of ordinary life by war, the loss of individuality, moral and emotional pressure on the recipient's consciousness. The study demonstrates the effectiveness of the communicative approach to the analysis of the artistic text, the integration of nominative, emotional-evaluative and axiological functions and confirms the importance of such linguistic units in the formation of a holistic poetic image of war and its absurdity.
LINGUOAXIOLOGICAL AND LINGUOPRAGMATIC FEATURES OF ‘QUALITY’ AS A CATEGORY OF GERMAN ADVERTISING DISCOURSE IN THE FIRST THIRD OF THE 20TH CENTURY
The article examines the linguistic-axiological and linguistic-pragmatic features of the quality category in the German advertising discourse of the first third of the 20th century. It was found that quality appears not only as a characteristic of the product, but also as a central communicative factor performing axiological, semiotic, pragmatic and sociocultural and cognitive– mental functions. It has been proven that in advertising messages, quality serves as a marker of trust and prestige, acquires the status of a mythological sign, provides a motivational influence on the consumer and reflects the social transformations of the industrial age. Linguistic representation of quality as a category is realized through evaluative vocabulary, grammatical forms of intensification and stylistic means that form a positive image of the product, its reliability and durability in the mind of the addressee. As a result, quality functions as a complex mental-generating category that combines economic pragmatics with cultural expectations and not only acts as a key element of communication between the producer and the consumer, but is also extrapolated into the space of collective self-awareness.
FEATURES OF THE LINGUISTIC DIMENSION OF THE TEXT OF LINA KOSTENKO'S «I'M GOING OUT TO THE GARDEN, IT'S BLACK AND SKINNY...»
The article is devoted to a comprehensive analysis of Lina Kostenko's text "I'm going out to the garden, he's black and thin..." at all linguistic levels, taking into account the peculiarities of their combination to create a complex poetic and philosophical dimension of the symbolic canvas of poetry. The study is based on establishing the linguopoetic specificity of the work, represented through the interaction of the lexical-semantic, grammatical, word-formation, phonetic and trope levels. The article focuses on the figurative system of poetry, in particular, the implicit semantics of macro- images and micro-images are revealed, their functions in creating the semantic aspect of lyrics are described. The results of the study indicate a harmonious synthesis of linguistic means at all levels, which help to create complex symbolic categories that function as representatives of ideological and aesthetic dominants inherent in the author's idiostyle.
GENRE AND COMPOSITIONAL FEATURES OF THE REPRESENTATION OF PHYSICAL AND MENTAL TRAUMA IN MARIA MATIOS` NOVEL “MOMS”
The article explores the latest work of the contemporary Ukrainian writer Maria Matios – «Moms». The objective of the study is to examine how, through narrative strategy realized in compositional mastery and in the specificity of artistic imagery of the work, the author transforms her own traumatic experience into the discovery of therapeutic possibilities. To achieve the set purpose, the authors resorted to the methodology of trauma studies, developed in the works by P. Ricoeur, T. Bilchevsky, G. Agamben, D. La Capri, P. Sztompka, D. Alexander, H. Arendt, K. Erikson, Karut, and Sh. Felman. They also employed various interpretative method- ologies, including psychoanalysis, hermeneutics, receptive aesthetics, inter- pretative, and structural approaches. The work of the writer chosen for the study is distinguished by a special composition, a specific narrative structure due to the inclusion of the author’s personal traumatic experience in the artistic fabric. «Moms» is a real «way of breaking the silence» (A. Matusiak) and a narrative practice of overcoming the repressive effects of trauma; it is notable for its emotional and figurative component, as well as for its genre specificity (the author’s definition of «drama in six acts») and architectonics. The common theme here unites six separate parts, two of which form a circular frame and unfold according to the musical principle of lyrical prose composition. The plot is realized in the stories of five mothers, not only different in social status, time of trauma-loss, and openness of their inner world to the reader, but also united by the trauma of losing their dearest ones – their sons. The specificity of the composition of the work lies primarily in the fact that each part of it – a separate short story – has its own structure of a com- pletely independent, complete literary text, while the architectonics of the en- tire work is characterized by an orientation towards enhancing the emotional and figurative, lyricized component combined with the plot. Each of the short stories has its own time and space frame (while in «Mom Veronka» it is lim- ited to one day, the chronotope of the short story «Mom Mykhailyna» covers the period «between 1952 to 2015»). Moreover, certain fragments of one nov- el have their own specific model of chronotope (the climactic episode in «Mom Mykhailyna» clearly resembles the «The Way to Calvary»; «Mom Si- donia» contains an allusion to the «Virgin’s walk in agony»). The time-space framework of the whole novel unfolds in the final chord via the allusion to Michelangelo’s «Pietà» to the dimensions of eternity. The space of memory in Maria Matios’s work is marked with «mnemonic marks»: the locus of the cemetery, the image of a candle, the White Dove, a viburnum bush, and tow- els on the crosses of unmarked graves. The main compositional technique in the novel used by the author to re- veal the theme of maternal loss both during the Ukrainian Insurgent Army’s liberation struggle against the moscow invaders and in the current war waged against Ukraine by russia is contrast, which is manifested in composi- tional elements, narrative strategy, and the lexical coloring of dialogues. Contrast also serves as the main principle of developing the internal mono- logue-stream of consciousness of the protagonists, which reproduces the depth of the pain experience. The analysis of the psychological modeling of the work’s figurative system reveals the disclosure of trauma through the use of elements of expressionist poetics («Mom Mykhailyna»), onirism («Mom Maria»), emphasizing the state of altered consciousness, suffocation, and the contrast between screaming and whispering. The artistic world of Maria Matios’s novel is also full of speaking signs and symbols.
FOLKLORE-MYTHOLOGICAL PARADIGM OF BOHDAN-IHOR ANTONYCH'S LYRICS
Purpose. The article is devoted to folklore and mythological searches in the lyrics of Bohdan-Ihor Antonych and attempts to interpret the author's po- sitional narratives in the context of modern literary discourse. A separate look is paid to pagan and Christian interpretations, in which the author ar- rives at his own worldview model of being. Based on this paradigm, we man- aged to single out several leading blocks in the poetry of Bohdan-Ihor An- tonych, in particular, the relationship between natural objects and the human environment, the echo of the mythopoetic ideas of our ancestors, etc. The im- portance of the folklore and mythological basis in the author's lyrical herit- age is demonstrated through the analysis of individual poetic texts. Research methodology. In accordance with the topic and issues, the ar- ticle uses a number of methods that make it possible to highlight the issues raised, in particular, cultural-historical (a work of art in the context of rela- tionships with the cultural-historical background), hermeneutic (establishing the deep meanings and philosophical issues of a work of art), biographical (the main milestones of the author's life and work), phenomenological, etc. Research results. The article summarizes and analyzes the features of Bohdan-Ihor Antonych's folklore and mythological thinking based on the writ- er's lyrics, draws attention to the positional features of the influence on the au- thor's work, complements and critically analyzes the basic content of the po- ems, in particular, we are talking about the folklore and mythological back- ground, and carries out a multi-aspect analysis of the writer's selected poems. The practical significance of the results of the scientific study lies in the fact that they can be used in the further study of the work of Bohdan-Ihor An- tonych, in clarifying the features of the development of Ukrainian literature in the first half of the twentieth century.
MYKHAILO STRELBYTSKYI, AS I DID NOT KNOW HIM
Mykhailo Strelbytskyi (1949-2018) – is a strange and whimsical man. Literary critic, critic, poet, teacher of Ukrainian literature. For the first time, I heard about him by the edge of my ear in the summer of 1978, when I en- tered Odessa University, planned for Ukrainian philology, submitted docu- ments for historical studies (there was a shorter queue), as a result, I did not pass the competition and worked for a year in my native collective farm «Progress». So, in Odesa, applicants or even students praised two young teachers of literature, Panchenko and Strelbytskyi. I recognized both of them already at the end of the 90s. We probably met Strelbytskyi through Ivan Iov and Peter Soroka. I don't remember the details. However, since 2001 or 2002, we corresponded periodically until 2010. I did not find all the letters. In February 2007, to- gether with Stepan Protsyuk, we were invited to Vinnytsia by Viktor Melnyk, where we had a meeting in the regional library, then Timiryazev. Mykhailo Strelbytskyi came to this meeting with his technical university student Dmytro Shtofel. Strelbytskyi lived and worked in Vinnytsia since 1980. We even took a picture, maybe Dmytro kept this picture. Strelbytskyi, who still ran the «Impuls» (?) summer studio at the tech- nical university, had three favorites – Oksana Barbak, Serhiy Bilokhatniuk, Dmytro Shtofel. Mr. Mykhailo helped them publish the first collections and wrote prefaces to them. I reviewed these collections and then even wrote a complimentary material about the «Vinnytsia phenomenon». The phenomenon did not occur, and all the young neophytes disappeared. That is, they are somewhere and live, but they fell out of literature despite the teacher's sup- port. Anton Morgovskyi said that one talent is not enough in literature, char- acter is needed. Mykhailo Strelbytskyi sent his books regularly. I didn't quite accept his poetic visions. Strelbytskyi was a critic, as early as 1985, becoming a laureate of the Oleksandr Biletskyi Prize, which was awarded for the best critical book of the year (by the way, Volodymyr Panchenko became a laureate of this prize in 1998, and I in 1999). The best of his poetry books «Under the Sky Konovalyuk» (2001-2010, in 3 books), in which Mykhailo Strelbytskyi pre- sented his poetic impressions of the paintings of the artist Fyodor Konovalyuk (1897-1984). So far, as many as 7 letters from Strelbytskyi have been found to me. Correspondence period 2002-2003. There are letters without dates, they are probably from later years, 2005-2007. We are talking about literature, about Vasyl Fashchenko (1929-1999), his teacher, whom I indirectly knew, because Fashchenko was a member of the specialized academic council at the Institute of Literature named after. T. G. Shevchenko of the National Academy of Sci- ences of Ukraine and was at my defense in the fall of 1994. I even wrote short impressions about Fashchenko, which Strelbytskyi published in the Odesa newspaper «Dumska ploshcha», it seems. In short, Mykhailo Strelbytskyi was a literary-centric man up to fanati- cism. Of course, talented and whimsical. He died quietly, leaving Vinnytsia, and was buried in his native village of Maidan-Verbetskyi, Letychiv district, Khmelnytskyi region. Therefore, we submit the publication of Mykhailo Strel- bytskyi's letters to the critic and literary critic Yevhen Baran.
SOFIA YABLONSKA'S TRAVEL LETTER: BETWEEN DOCUMENTARY AND ART
This article examines the specifics of the travelogue genre in Sofia Ya- blonska's work. It demonstrates that the author's documentary observations are combined with artistic techniques and emotional imagery. The purpose of the article is to conduct a analysis of the specifics of the travelogue genre in the works of Sofia Yablonska, in particular, to establish and substantiate how the author's documentary observations are integrated with artistic techniques. The comparative-historical method, cultural studies method, interpretation method, and hermeneutic analysis were used. The scientific novelty of the re- sults obtained lies in the substantiation of the synthesis of the documentary and artistic as a stylistic dominant in Sofia Yablonska's travelo.
TO THE HISTORY OF THE PUBLISHING HOUSE "RECORD" BY MYKOLA KOVALIUK
The article examines the activities of the Kolomyia publisher of the interwar period, Mykola Kovaluk. This is the first study to highlight the work of the publishing house he founded, "Record", outline the subject matter and repertoire of publications, and analyze the publishing policy. The author of the article uses advertising materials for analysis, which he considers as a self-characteristic of the publisher. The thematic scopes of the main book series of the publishing house "Record" and periodicals of Mykola Kovaluk are outlined. The meaning of one of the publications of "Record" - a dictionary of foreign words by Oleksa Skalozub is revealed.
MEMOIR-INTROSPECTIVE SYNERGEN IN ULIANA KRAVCHENKO’S NOVELLA “CHRYSANTHEMUMS”
The article analyzes the memoir-introspective synergen as the dominant principle of the artistic organization of Uliana Kravchenko’s novella “Chrysanthemums.” The scientific novelty of the study lies in a systematic interpretation of the novella through the prism of memory, which makes it possible to reinterpret Uliana Kravchenko’s artistic world as the result of the interpenetration of textual and extra-textual factors. Particular emphasis is placed on the synergetic unity of personal, familial-genetic, national-mental, gender, and creative projections. The practical significance of the obtained results consists in their potential application in further literary-critical research on the problems of autobiographism, psychological prose, and women’s writing, as well as in academic courses on the history of Ukrainian literature of the late XIX and early XX centuries, literary theory, cultural studies and gender studies.
THE POTENTIAL OF IVAN BAHRIANYI’S WORKS IN SCHOOL EDUCATION
Annotation. The article explores the potential of Ivan Bahrianyi’s literary works, in particular his novel “Tyhrolovy” in shaping the personality of modern school students. Special attention is given to the slow reading technique, the use of innovative teaching methods, the organization of active dialogue during lessons, and the development of key student competences. The educational, moral, and worldview significance of Bahrianyi’s works is analyzed, particularly in fostering national consciousness, civic resposibility, and ethical values. Methodological guidelines for integrating Bahrianyi’s works into school literature education are proposed, promoting critical thinking, emotional intelligence, and creativity.