The structure and the main characteristics of the multi-purpose soil database “Ukrainian Soil Properties”, de- signed on the basis of the data of long-term soil studies comprisin, analysis of the samples and mapping of the soils are presented. The attributive data for the 2,075 soil profiles are ranked and grouped into nine separate thematic tables. The key field of each table is the indexing number for the soil profile. It ensures a genuine link between the profile sets of attributive data and the cartographic units on the soil maps in the different scales, on the map chart of economic and agricultural zoning and the administrative map of Ukraine. The main indicators of the soil properties were determined; the legends of both Ukrainian and the WRB classifications were used to code the names of soils. The main results of scientific research were listed, including the ones, obtained in the framework of international projects, implemented using the mentioned database.
The aim of the article is to study the specific features of the narration in Paul Verlaine’s prose poems. Historical and genetic origins of prose poems were analyzed. We observed that poems in prose became extremely popular at the turn of the XIX–XX centuries, meeting the demands of modernism regarding the change of the aesthetic canons through the renewal of artistic systems and types of narration. The prose poems sketches are characteristic of subtlety in reproducing the personal experience, in subtle play of the colours and chiaroscuro which create impressions, moods and association. The exterior details, landscapes, nature become the means of conveying ambivalent emotional process. The research describes, analyzes and generalizes the narrative models of the prose poems by Paul Verlaine, on the material of his “Mémoires d’un veuf” (“The Memoirs by a Widower”). Research methodology is based on integrated use of systematic, philosophical aesthetic approaches; cultural-historical, contextual, biographic methods; theoretical studies carried out with narrative typologies and methodological analysis of the main narrative strategies as important components of the artistic storytelling in the text. We define narration as the system of principles of constitution of the text at the deep level of its formation in complete agreement with the nature of the narration featuring the following components: specific traits of the organization of the chain of episodes; way of presentation of the writer’s theme; presentation order of events; focalization as a condition node, that affects the perception and reproduction of events; presentation type of statements and opinions of characters in the text. The basis of the model division of narration types in prose poems is the syncretic nature of the genre, which involves interpenetration of epic and lyrical principles, «superimposement» of some modifications. Depending on the dominance of certain genealogical elements and stylistic dominating idea of the work, the contexture of the narration is prevailed by epic-realistic or lyrical-impressionistic components. It has been found that according to the plot-compositional structure, the works of the epic-realistic block are divided into two categories: the first category has the dominance of the linear principle, the second – of the fragmentary construction principle with the strengthening of aestheticization and intellectualization. The works of the lyrical-impressionistic model contain an internal psychologized plot, attention to feelings and changes in emotional state, stylistic syncretism, an appeal to «eternal themes». The position of the lyrical hero, personal authorial experience, is closely connected with lyrical semantics.
The assimilation of Byzantine culture in the Slavic lands was accompanied by the exegesis of the New Testament and the formation of the phenomenal value of symbolic images, which were part of the literary and artistic consciousness of that time. The force field of Christian archetypes has preserved a long tradition in the Ukrainian literature. Christian archetypes of the Resurrection and the Crucifixion in Shevchenko’s painting and literary work are studied with modern approaches to comparative literature and theological exegesis, taking into account artistic Christology, philosophical and aesthetic approach to art, and key ideas of archetypal interpretation. It is found out that, in Shevchenko’s poetry, the archetypes of the Resurrection and the Crucifixion are manifested in a number of modifications, where resurrection / crucifixion has a symbolic meaning in the sense of the resurrection / crucifixion of Ukraine, the resurrection / crucifixion of the people, the resurrection / crucifixion of a lyrical hero, etc. In painting, Christian archetypes are directly related to the transmission of the New Testament history.
The article deals with adoption of Christian tradition in poetry of Taras Shevchenko. Theoretical basis includes methodological principles of hermeneutics, the philosophicoaesthetic approach to art, cross-cultural methods. On the one hand, the sources of the creative components by Shevchenko’s ethics and aesthetics are related in Christian tradition. On the other hand, as a result of cordocentrist intention of the Ukrainian ethnos, Christian canon was deprived of the big part of rigorism in Old-Kyiv period. Shevchenko’s aesthetic theology is insufficiently investigated but it characterizes the absence of stark categories, dogmas and rituals. It gives an opportunity to speak about the apophatic approach in Shevchenko’s dialectic of God-seeking which appears in the apophatic approach of individual style which also you can find in Old Kyivan authors’ works. The outcome of our investigation proves that the Shevchenko’s adoption of Christian tradition shows the priority of aesthetic and cultural landmarks of Kyiv Christianity.
У статті розглядаються історіологічні та міждисциплінарні ракурси теорії травми. Увагу зосереджено на дослідженні природи травми, її трансляції та репрезентації у літературі. Простежено шлях формування концепцій основних шкіл та методик теорії травми. Виокремлено західну теорію травми, засновану на психоаналізі Зигмунда Фройда та постколоніальну теорія травми. Сьогодні в постколоніальних дослідженнях травма визнається дуже складним явищем. Травма не тільки розуміється як гостра, індивідуальна, але також як колективна і хронічна. Травма може послабити окремі осіби і спільноти, але вона також може призвести до посилення почуття ідентичності та відновлення соціальної згуртованості. Постколоніальні літературні дослідження відображають і реконструюють складність травми в її специфічних культурних, політичних та історичних контекстах.
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