The monograph offers a look at the prominent Ukrainian writer of the 20th century, Vasyl Stus, through the prism of his interest in Russian literature, which was inevitable for the Soviet period in which he had to live. Based on the rich material, it is analyzed what he read, how he read, and how (on the example of numerous intertextual connections) what he read affected his own literary work. In addition to poetry, prose and translations of V. Stus, also were studied his epistolary, memories about him, literary and critical articles and manuscript materials of the writer. Russian literature, in particular, is considered in three aspects: as part of Stus’s lecture (from Alexandr Pushkin to Valentin Rasputin, Andriy Bitov, Aleksandr Solzhenitsyn and other contemporaries of the Ukrainian poet), as part of his translation work and as a possible source of influence and object of reinterpretation (rereading) in his own creative works. Accordingly, the book consists of three sections. In the first, the state of studying the literary heritage of V. Stus in the context of intertextual connections is outlined and a wide range of echoes of many writers in his works (Ukrainian, Russian, German, etc.) is presented. Based on the facts of the biography of V. Stus, it is suggested to look at the strategies of his choices as a reader through the prism of hard work, education and sacrifice. Thanks to the analysis of the epistolary of V. Stus, literary and critical works and manuscript materials, as well as numerous memories of his relatives, friends and acquaintances, a list of texts by Russian writers that he read is indicated, his reading impressions and evaluations are described, and the place of Russian literature in his lectures is determined. The second section highlights the translation activity of V. Stus, where special attention is paid to translations from Russian literature (poems by Ivan Bunin, Valery Bryusov, Nikolay Zabolotsky and Marina Tsvetaeva). Comparing the originals with the translations allows us to reveal the translation principles that guided the poet. The interweaving of the biographies and works of the famous triad: Rainer Maria Rilke—Boris Pasternak—Marina Tsvetaeva is also taken into account, in particular their importance in the life of the Ukrainian poet. In the third chapter, Russian literature in the work of V. Stus is considered as an object of reinterpretation. In other words, it is investigated how V. Stus — “one of the greatest Ukrainian poets of our century” (M. Kotsyubynska) — read Russian literature and how this reading affected his own work. Thus, his Russian-language script “Expectations” and Andrii Platonov’s prose are compared. Features of revealing the topic of childhood are made on the basis of a comparison of the poems of V. Stus and Ivan Bunin, the similarities and the differences between them are presented. Thematic echoes and compositional echoes are revealed in the comparison of the poetry of V. Stus with the poems of Aleksandr Blok and Vladimir Mayakovsky. Biographical and artistic parallels can be traced in connections with the works of Osip Mandelshtam and Boris Pasternak. The phenomenon of Hamletism in the work of V. Stus in its connections with the works of Pasternak and William Shakespeare is separately considered. Similarities and differences between Stus’s texts and the works of Russian writers are outlined at the thematic, image-motive, compositional, as well as phonic, lexical, and syntactic levels.
The article focuses on the coincidences in V. Stus’s and O. Mandelstam’s biographies and notes the psychological and typological similarities of their personalities as well as their fascination with the German language and natural sciences (biology, chemistry). Both writers’ literary interests were alike, they were especially focused on the works of such Russian authors as A. Pushkin, A. Herzen, A. Blok, B. Pasternak, N. Gumilyov, M. Lermontov, F. Tyutchev, and others). Among world classical writers, Stus loved the works of J. W. von Goethe most of all, and Mandelstam admired the works by Dante Alighieri. The paper also deals with Stus’s translations from R. M. Rilke and Mandelstam’s translations from F. Petrarca. The critical activity of Stus and Mandelstam is also mentioned, in particular, O. Mandelstam’s essay “Conversation about Dante” and V. Stus’s paper about P. Tychyna “Phenomenon of the Age (Ascension on Calvary of Glory)”. Stus’s letters and manuscripts reveal his attitude to the works of O. Mandelstam, whose poetry appeared in Stus’s life at crucial points. Stus referred to it during his imprisonment in the Soviet camps and tried to understand the problem of “poet and power”. A comparative analysis of the fragments from Mandelstam’s poems, cited in the works by the Ukrainian poet, and the original texts written by Mandelstam revealed сertain deviations. Stus used repetitions instead of the ‘forgotten’ words, which is a general characteristic of his own poetics. At the textual level, the poems of Stus and Mandelstam are future-oriented. It can be observed in the appeals to the reader used by each of them in a specific way: the Ukrainian poet speaks as a ‘son’, while the Russian one as a ‘teacher’, echoing the practice of Pushkin. Both poets loved their homelands very much and were attached to it; both of them could not imagine their life outside the motherland. In their texts, Mandelstam and Stus created the images of a dead city, a prison state, emphasizing the impossibility of the poet’s existence in his own country.
The purpose of the article is to analyze the Olympic ceremonial costume of the XVIII Winter Olympic Games "Nagano-1998" and set the components demonstratively symbolizing the national identity in the design of clothing of the Olympic ceremonial costume. Methodology. Heuristic methods in art analysis were used to solve the set tasks, namely: visual observation; description; an attempt to establish components demonstratively symbolizing national identity in the design of Olympic ceremonial costume clothing; logical generalization of the obtained results. Scientific Novelty. According to the results of the art analysis of the Olympic ceremonial costume of foreign teams participating in the competitions (USA, China, Greece) of the XVIII Winter Olympic Games "Nagano-1998", one of the determinants of artistic and informational identification of the Olympic ceremonial costume was established for the first time and its components, which demonstratively symbolize a national identity in the design of clothing. Conclusions. Art analysis of the Olympic ceremonial costume, the reflection of socio-political influences of the historical context on its formality and informational compliance with the principles enshrined in the Olympic Charter [5, p. 11–12] competitions, give us reason to establish for the first time a demonstrative symbolization of the national identity of the design of clothing of the Olympic ceremonial costume as one of the determinants of artistic and informational identification. Given the ceremonial guidelines for identity in costume, which have been followed by all teams since 1936, the most important manifestation in this period (1998) is the semiotic accent in costume. Expression of their state independence, national identity, as well as the importance and identity of their culture at the turn of the era, with the help of such demonstratively symbolizing national identity in the design of Olympic ceremonial costume components, such as 1) Construction - the formation of the suit and the material used are tectonically displayed on the figures of athletes. By designing items of clothing, a visual image is built, which allows obtaining a silhouette identifying result; 2) Sign - stylization of the sign/signs is done by applying a pattern, graphic elements, combinations of graphic elements, embroidery, and possibly other creative innovative stylizations on clothes and accessories. Signs visually identify athletes, allow you to read the underlying meanings of the semantic information content of the costume; 3) Color – appealing to the colors of the national flag and reproducing with the help of color images of well-known objects of cultural heritage are the most popular methods of identifying the country during the Olympic parade. However, when choosing a color and its outflow, its compliance with the values in the host country and the prevailing trends overtime is taken into account. 3) Color – appealing to the colors of the national flag and reproducing with the help of color images of well-known cultural heritage sites are the most popular methods of identifying the country during the Olympic parade. However, when choosing a color and shade of color, its compliance with the values in the host country and the prevailing trends of the time is taken into account. It is worth noting that the visual image that translates national identity can be obtained by combining these components in the design, both together and separately, which was found during the art analysis of the Olympic ceremonial costumes of sports teams of the United States, China, and Greece. Key words: design, costume, Olympic ceremonial costume, identity, identification, symbolization, demonstration.
In a typological way, the paper considers the problem of preservation/loss of the writer’s individuality, with a focus on the national identity as its essential component, on the example of the self-published texts of Ukrainian and Polish literature, in particular the essay by Czesław Miłosz “Alpha, or Moralist” from the book “The Captive Mind” and literary-critical research work by Vasyl Stus “Phenomenon of the Age (Ascent to Calvary of Glory)”. Both for Vasyl Stus and Czesław Miłosz the native language is a matter of special importance as well as their attachment to the homeland, which is expressed in the awareness of the impossibility to fully realize their talents abroad. In the context of the totalitarian system, which perceived art as a means of asserting ideology, the paper analyzes image features of a famous prose writer Jerzy Andrzejewski and outstanding poet Pavlo Tychyna in the texts of their contemporaries Cz. Miłosz and V. Stus. The main issues are the motive of disguise and pretending to be another, the peculiarities of creative work aiming at pleasing the authorities as a conscious apostasy from one’s own “I”. The role of a state writer leads to the destruction of the writer’s individuality, in particular his national identity (in the “Phenomenon of the Age”), turning the artist into a ‘dead’ person-function. V. Stus and Cz. Miłosz are similar in their desire to understand the writers represented in their texts, to interpret them as victims of the system. Attention is drawn to the difference in the narration of the compared texts: if Cz. Miłosz presents the story about J. Andrzejewski keeping some emotional distance, V. Stus is deeply concerned about the loss of P. Tychyna’s poetic individuality, and with it – national identity, perceiving the tragedy of Ukrainian literature as personal harm. б e question of national identity in the work by Cz. Miłosz is not actually raised, while in V. Stus’s one it is presented quite clearly in its historical continuity as a fundamental problem of the Ukrainian culture.
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