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The anthology “State of War” is a fiction and documentary prose about the bloody war unleashed by Russia on Ukrainian lands, a prose in which the authors, through the prism of their own worldview, experience and emotions, offer the general readership the recorded tragedies of “timeless truth”, the facts of grave illegal crimes committed by the Russian occupiers. The article aims to examine the reception of martial law events in the anthology as non-fiction literature in contemporary Ukrainian prose. The object of the study is the texts of the anthology “State of War”, united by the subject of depicting military events in Ukraine in order to document the war in its various manifestations and tell the world about it in the “Ukrainian voice”. The study was conducted using elements of descriptive, structural and semantic, receptive and interpretive, and contextual methods of analysis. The anthology “State of War” is a genre transformation that combines “sophisticated fiction and the accuracy of documentary” (V. Sayenko), and is dominated by essays, narratives, and memoirs that have only recently been classified as fiction and documentary literature. The textual and social conclusions of “State of War” with an appeal to autobiographical memory made it possible to consider texts in the genre of “non-fictional prose” (T. Bovsunivska): they contain autobiography, the authors appeal to personal experience, indicate involvement in the events described, the narrative is in the first person and is based on a reliable fact, as in memoir genres. The core format of the anthology’s textual content is determined by the history of everyday life. The authors of the book (fifty of them), like the characters in the stories, are writers and public figures, journalists and scholars, volunteers and soldiers of the Armed Forces of Ukraine. Combatant writers, i.e., active military personnel – Oleksandr Mykhed, Artem Chapai, Artem Chekh – create stories not based on other people’s impressions but on what they have seen and experienced, proving that the problems of a soldier are not only related to fighting and defending positions, but also to the aesthetics of survival, to the belief in victory over the aggressor for the further development of society. The texts of the anthology “State of War” contain genre “inclusions” (“Siren-Hyena” by L. Taran, “Under the Bridge” by S. Povaliaiev, “After the Occupation” by V. Puzik) that organically fit into the author’s narrative, confirm significant events, and increase the recipient’s responsibility in the reading process. The semantic core of the narrative of “State of War” is determined by the titles: they influence architectonic expressiveness, inform the reader about the objective reflection of events, facts and phenomena, transform into message titles, decode the content (“Being a Teacher Under Occupation” by L. Denysenko, “My First Bomb Shelter” by I. Pomerantsev, “After the Occupation” by V. Puzik, “Roots Up, or Fear of Migration” by T. Gundorova, “Presentation with Stress” by Y. Vynnychuk).

The purpose of the work is to reveal the genre-stylistic and spiritual-content instructions of the German choral cantata and the peculiarities of its existence in the musical-historical tradition of the 18th-19th centuries. The methodology of the work has a complex nature and is based on a combination of the principles of interdisciplinary, historical-typological, hermeneutic, art history and genre-stylistic research methods. The scientific novelty of the work lies in the fact that, for the first time, it offers a generalisation of the poetic-intonational specificity of the German spiritual cantata of the 18th-19th centuries and its genre-stylistic metamorphoses in the specified period. Conclusions. The genre specificity of the German spiritual cantata is determined by its contact with the liturgical practice of the German Protestant church. This genre is directly related to the church sermon and therefore was called "sermon music", "motet", "concert", "dialogue", summarised by the concept of Hauptmusik ("Main music of the day"). The contact of the German spiritual cantata with its Italian analogues and opera did not exclude the presence of original features in it, among which the Protestant chorale, based on traditional for the 18th-19th centuries, dominates. polyphonic forms, on the significant role of the instrumental beginning. An essential feature of the genre can be considered its figurative and semantic focus on the reproduction of the sacred aspects of a person's life path, their spiritual ascent-transformation, interpreted in the context of the instructions of the Lutheran faith. The German romantic cantata, represented in the works of R. Schumann, F. Mendelssohn, R. Wagner, and J. Brahms, on the one hand, reflected a wide genre and style spectrum of the creative searches of the named authors, within the framework of which the cantata was synthesised with the typology of various genres - from chamber a vocal cycle, a leader's play up to an oratorio, a dramatic scene (in the works of R. Schuman). On the other hand, the romantics' appeal to the poetics of the choral cantata symbolised the revival of the German spiritual and musical tradition, summarised by the name of J. S. Bach, which was directly reproduced in the cantata compositions of F. Mendelssohn, R. Wagner ("The Brotherly Meal of the Apostles") and works of Y. Brahms. Despite all the differences in the textual basis of the works of the named authors and their aesthetic guidelines (Y. V. Goethe, M. Horn, T. Moore, paraphrases of biblical texts), their unifying quality is the "memory of the genre", focused on the reproduction of the individual's spiritual path and the high didactic and ethical meaning of their inner transformation. [ABSTRACT FROM AUTHOR]

In today's world, the rapid development of Chinese culture and its influence on the music scene underscore the necessity for systematic research into the Chinese piano chamber ensemble. The growing interest in this musical genre challenges many widely accepted notions about musical tradition and prompts a deeper understanding of its characteristics and impact on contemporary music art. The purpose of the research is to study and analyse the musical and cultural interrelationships within the Chinese piano chamber ensemble to better understand its essence and role in the modern music world. The research methodology is based on a comprehensive approach, incorporating analysis of musical material, historical and cultural methods, as well as comparative analysis. Modern theoretical concepts are applied to reveal the significance of the piano chamber ensemble in the context of cultural transformation and to examine the interaction and influence of national and non-national musical traditions on the formation of the musical genre, as well as its role in cultural exchange and interaction between different cultural traditions. The scientific novelty of the research lies in the first attempt to systematise and analyse the musical-cultural interrelationships within the Chinese piano chamber ensemble, which opens up new horizons for further understanding of musical culture and processes of cultural exchange in the contemporary world. The conclusions of the research testify to the importance of the Chinese piano chamber ensemble in contemporary music culture and its potential as a phenomenon of musical art. It not only reflects the interrelationship between national and non-national musical traditions but also serves as a significant factor in cultural exchange and interaction between different cultural traditions. [ABSTRACT FROM AUTHOR]

The purpose of the research is to reveal the deep image-sound layers and features of the Irish bardic tradition in the work of M. Tippett through the prism of the work for orchestra and soprano "Byzantium". The methodological basis of the research is historical-conceptual, hermeneutic method and comparative analysis of factual data based on the works of Thomas Weiskel, David Clark, Edward Venn, and Meirion Bowen. Scientific novelty. For the first time in the Ukrainian art history segment, M. Tippett's work for orchestra and soprano "Byzantium" was analysed with an emphasis on the dramaturgy of the composition, cyclical elements, metaphorical sound images, symbolism and characteristic features of the musical and poetic tradition of Irish bards. Conclusions. Biographical collisions of M. Tippett influenced his creative aspirations and attitude to the surrounding world. M. Tippett's aesthetic views are a dialogue between romantic aspirations and sceptical realism of the modern era. Michael Tippett's musical language absorbed both tradition and the entire palette of accumulated world musical experience, as well as duality of meanings, symbolism, imagery and conflict. The work analyses the composition for orchestra and soprano "Byzantium" by M. Tippet, which is based on the mosaic of images, the logical sequence of musical motifs, and cyclicity. It is necessary to highlight the fragmentary nature of musical sections, variable motifs, the presence of contrasting material, the symbolism of magical, changing life force as secular ephemerality, the destruction of the musical text using the technique of expansion and fragmentation. Thus, the composition "Byzantium" is a reincarnation of Irish cultural nationalism in the aspect of traditional forms of bardic poetry. The musical language of M. Tippett in the work "Byzantium" is based on the forms crystallised by the work of L. Beethoven and updated by the musical context of modern and postmodern. [ABSTRACT FROM AUTHOR]

The purpose of the work is to reveal the poetic-intonational spiritual-symbolic aspects of the organ symphony "Noël" by P. de Malengro in the direction of stylistic and spiritual-philosophical searches of the Franco-Belgian culture of the second half of the 19th and early 20th centuries. Research methodology. An interdisciplinary, genre-stylistic, historical-cultural approach was essential for this work, allowing to explore the factors contributing to the discovery of the spiritual-semantic specificity of the concept of "symphony" in all its variety of meanings. The scientific novelty of the work is determined by the introduction into musicological use of materials from the organ symphony "Noël" by P. de Malengro, the poetics of which was formed at the intersection of the artistic, spiritual and musical traditions of the Northern Renaissance and French modernism. Conclusions. An overview of the use of the term "symphony" in the cultural-historical and spiritual practice of different eras testifies not only to the breadth of its semantic and applied meanings, but also to the presence of general semantic indicators, in accordance with which a symphony ultimately implies a certain integrity in which merge, different numerous components are combined. A symphony as a musical work is an equally complex and comprehensive concept that represents the most diverse "models" of this genre. The organ symphony "Noël" by P. de Malengro represents the typology of the "spiritual symphony". Its expressiveness, related to the biblical mystery of Christmas, is strengthened by the composer's appeal also to the masterpieces of the Northern Renaissance (Rogir van der Weyden and the van Eyck brothers). Symphony "Noël" is a free composition (4 parts) of the suite-variation type, a "symphony-mystery", the thematic basis of which is Gregorian chants, as well as the corresponding principles of their texture and mode-intonation development (monody, heterophony, various forms of polyphonic development, reproduction of the spiritual and vocal practice of discanting of the Notre Dame School). The poetics of such a "symphony-mystery" is significantly supplemented by an appeal to the timbre qualities of the so-called "symphonic organ", the universalism of performance, dynamic and timbre-intonation capabilities of which turned out to be literally correlated with the universalism of the symphony genre as such. [ABSTRACT FROM AUTHOR]

Background. Latin baroque literature of Ukraine represents inheritance and unique interpretation of classical and medieval plots. Ukrainian poets and Ilarion Yaroshevytskyi, in particular, demonstrate their literary mastership and cultural reception of the time. His poem reflects the baroque worldview of distorted world and struggle of good and evil, spirit and flesh, Christian and pagan views, ascetic and secular life. The goal of the article was to conduct in-depth analysis of linguopoetic peculiarities of the poem in order to present the author's embodiment of the baroque worldview by the language means. Methods. The following methods were employed: method of linguostylistic and linguopoetic analysis, method of cultural interpretation, contextual and interpretative method, classification, systematization and generalization. Results. Analysis of the elegiac poem revealed the following linguopoetic peculiarities: 1) at lexical level – the use of mythological names denoting divinities and their epithets (Mars / Gradivus, Venus / Diona / Cypris / Erycina, Artemis, Lar); mythological characters (the Meduse Gorgon, Daedalus and Icarus, Eryx, Charybdis); 2) at syntactic level – parallel constructions / chiasm; inversion of the three types; 3) at stylistic level – direct speech; irony; repepetitions; comparisons; 4) at conceptual level – the oppositions of war and peace; secular and ascetic life; christian and mythological worldviews; spiritual and corporeal love. Conclusion. Latin elegy, represented in a poetic course "Cedrus Apollinis", contributed to the development of the genre in Ukrainian baroque literature and corresponded to the classical Latin samples. The poem demonstrates the author's awareness of mythological and medieval plots and their bizarre combination in elegiac genre.

The purpose of the article is to study the stage word, in particular its intonation component in acting works of the 40s and 50s in the noir genre, as well as the influence of the US ideology on cinematography of that period. The research methodology consists in the application of the method of historical retrospection, which is used to analyse the stage word in acting works in Hollywood cinematography of the 40s and 50s in the noir genre; the culturological method is used to study the influence of the US ideology of the 40s and 50s on the sociocultural environment through the stage word; the using of the method of role analysis makes it possible to analyse the work of actors on the speaking component of the roles created in the 40s and 50s in the noir genre. The scientific novelty is that, for the first time, a comprehensive study of the features of stage speech in acting works of the 40s and 50s in the noir genre was conducted, as well as their dependence on the current ideology of the US government. Conclusions. The intonation component of acting works, in particular male and female images in Hollywood cinema of the 40s and 50s in the noir genre, is considered. The influence of the US ideology on the artistic and aesthetic component of Hollywood cinematography, in particular on the stage word, is revealed. The features of the intonation image of the femme fatale in Hollywood cinematography in the noir genre are considered. The features of the intonation portrait of antagonists and protagonists in the Hollywood cinematography of the 40s and 50s of the noir genre are analysed. [ABSTRACT FROM AUTHOR]

Application of the principles of Text World Theory to texts of diff erent genres gives us a clearer idea of the diversity of roles performed by the same discourse technique. In this study, we look into the technique of changing temporal parameters of the basic text-world which can involve the appearance of new entities and the relocation of setting in discourse. The analysis shows that temporal world-switches in three texts of diff erent genres – an excerpt from a novel, a free verse poem, and an archival project review – transfer a reader mostly to the past. Yet in each text, temporal world-switches are put to a diff erent purpose. In the excerpt from a complex psychological detective novel they are aimed at foregrounding the role and place of a particular enactor in the network of motives and events; in the free verse poem they serve to convey the theme; in the review of archival papers, temporal world-switches bind together the facts of the past and their contemporary interpretation. The results of the current study suggest that temporal world-switches are polyfunctional, their role depending largely on the genre of writing.

Laws are classified as texts of offi cial business style, which is used in the fi eld of offi cial public relations. Within the framework of the offi cial business style, the communicative infl uence on the participants of communication is carried out in a directive form with the help of regulatory documents – laws, prescriptions, instructions, regulations, etc. The general features that defi ne the offi cial business style are stylistic neutrality, impersonality, concreteness and objectivity. Regardless of the specifi c genre, they are all characterized by ahigh frequency of professional terminology, brevity and standardization of the presentation and structuring of the material. The syntactic organization of the genre of “law” in German is analyzed based on the material of the Civil and Criminal Codes of the Federal Republic of Germany. It has been confi rmed that this speech genre belongs to the offi cial-business style with typical features of a generalized representation of events, an instructional-informative type of text, a neutral presentation and a specifi c language design. The offi cialbusiness- style is characterized by saturation with professional terminology, brevity of the presentation, standardized form and structuring of the material. A genre is defi ned as a thematically, compositionally, and stylistically established type of messages, united by a number of characteristic repetitive features. The law as a genre is characterized by a set of linguistic and non-linguistic features that are reproduced and repeated in the laws of various types of German law. This concerns the structuring of the text of the law, the repertoire of specifi c designations – articles, paragraphs, paragraphs and sentences, fonts, as well as purely linguistic representation at the lexical and syntactic levels and the specifi city of stylistic devices. Typical syntactic features of the text of German laws are the presence of a large number of verbs, substantives, prepositional groups, modal verbs (können, dürfen, sollen), passive constructions, etc. These linguistic units contribute to the condensation of the text and allow avoiding complex sentences, and clearly convey the modality of permission or prohibition. Other structural features of laws are the productive use of anaphora, defi nitions, and syntactic parallelism, which form a special architecture of the “law” genre and distinguish it from related genres of legal discourse. Possible further research is the analysis of the lexical features of the genre of “law”.

The aim of the article is to analyze the dedication entries that the authors put on books donated to Władysław Orkan. They all come from his private library donated by the writer's family to the Podhalan House in Ludźmierz. The acquired dedication texts were considered in terms of their place in the genre field of the dedication, taking into account canonical, alternating and adaptive patterns. In addition, the implementation of the strategy of positive politeness inscribed in individual texts was considered. In addition, the dedications were treated as a contribution to the reception of the person and work of Władysław Orkan by his contemporaries.

The article is examined R. Kipling’s “Epitaphs of the War” (1919) appeared as a summing up of his experience during the First World War. The work reflects the writer’s feeling of tragedy and grandiosity of that historical event. Kipling himself witnessed many episodes of the war and survived his personal tragedy – the death of his son John in 1915. The article aims to analyze the genre originality of the epitaph in the context of R. Kipling’s anti-war theme. Although this part of Kipling’s creative heritage remains less well-known, it is attracting the attention of Ukrainian literary critics and translators now. To reveal the specificity of that poetic work, the comparative and historical-literary methods are applied. The original form of the epitaphs is presented as an epigram which allows one to hear either a voice of a perished soldier or of someone who is reading the epitaph. This manner – not to depict and explain but to transcribe reality – is very recognizable of Kipling’s “masculine style”. In such a manner the first English laureate of the Noble Prize creates a diverse picture of the War in a variety of its tragic episodes and men’s destinies. Thus, a universal picture is born and the main conclusions of the author become transparent. Kipling creates a generalized image of the War by depicting those incredible variants of death “in which life may be extinguished” (J.M.S. Tompkins). Among the dead – “the beginner”, who didn’t realize yet that the war was a reality, not a game as well as the 18 years old soldier of the Royal Air Force (“R.A.F. (Aged Eighteen)”); the sentinel who falls asleep on his post (“The Sleepy Sentinel”); the one who was afraid to face death (“The Coward”) and was severely punished for that by his own combatants and many other tragic stories of the war. The climax of the cycle is the one epitaph in which Kipling formulates his main conclusion about the war – it is “Common Form”. The very title of this epitaph could be interpreted as a “generally used form of explanation” which in Kipling’s ironical presentation is identical to “the main conclusion”. His personal summing up of the event is formulated in the final words: “If any question why we died / Tell them, because our fathers lied”. Namely in these words personal and universal meet. Kipling had feelings of guilt about pushing his son to go to war. At that time, he was captured by patriotic illusions as well as many writers of his country. The perception of the War as a great battle for national and human freedom was the ground on which the main pathos of the War was formed. It penetrated the literary works, the mood of people and resulted in the main myth that appears at any war. Conclusion. The voices of the perished in the First World War that sound in Kipling’s epitaphs create not only the general image of that historical event but a penetrating image of any military confrontation of people, in which human victims, losses and tragedies are inevitable. His epitaphs, without doubt, are relevant in our modern context as well. In addition, they demonstrate different sides of writers’ possible participation in the event in dynamics: from war propagandist to quite another estimation of the war due to one’s personal experience. The poetological peculiarity of Kipling’s epitaphs is in his return to the antique tradition of genre interpenetration of epigram and epitaph. That is what makes the writer’s style recognizable as well as his intention not to depict or comment but to “decipher” the living reality in many shades out of which the wholeness of the world is created. In the interpretation of death, the emphasis is shifting from the philosophical to humanitarian and social-political one. Instead of memento mori (transient of earthly existence), Kipling focuses his attention on the violent death during the war (correlating and identifying the image of war and the image of death) which is presented as a vain sacrifice in the name of someone’s interests. Instead of the idea of equality of death and sacrifice or traditional philosophical meditations about death as an eternal peace, a stay in eternity, Kipling gives a whole spectrum of emotional-expressive connotations connected with his perception of the war – fear, horror, murder, sensation of shock got of imagining what the dead thought and felt at the last moment of their life. Kipling’s epitaphs present the dead soldiers’ voices addressed to contemporaries and descendants containing not only their personal experience of some concrete episodes of the war but a generalized summing up of the war with its senseless sacrifices and by that giving a kind of warning to those who are alive. The theme of lies and far-fetched ideals and their illusory character as well as the theme of false patriotism dominates in Kipling’s epitaphs adding the traces of civic lyrics to that genre. The structural basis of epitaphs is a couplet close to the epigram and a quatrain with a philosophical generalization. Irony is recognizable key artistic modus of Kipling with the help of which he creates a certain character type of the real world simultaneously giving his estimation of the emerging concept of the world which he obviously rejects.

The aim of the article was to study the specifics of the interfaces of the U.S. university websites as multimodal heterogeneous texts that synthesize elements of educational, scientific and advertising discourses. The overall objectives to achieve the established goal were as follows: to identify and distinguish the types of multimodal means on the U.S. university website, which contribute to its genre mixing and genre embedding; to establish the nature of the interaction of verbal, non-verbal and para-verbal components of the U.S. university websites, and to determine their pragmatic features. The methodological basis of the research was a complex of the following methods: analysis (to study multimodal components of the university website as a specific multimodal text), synthesis (to identify the features of the integration of multimodal means of the websites of American universities), observation (for the selection of fragments with verbal means that actualize the visual content and the selection of visual fragments to actualize the verbal content), the method of discourse analysis (to highlight specific fragments of websites that arouse the interest of the authors of this articleб and have a meaningful content), structural method (to analyze the university website as a whole structure, which is provided by separate means of cohesion), functional method (to clarify the pragmatic potential of multimodal elements of the university website, which are means of communication between the university and the reader of its website). It also employed the system functional (drawing on the provisions of linguistic metafunctions, and focusing on the categories of the grammar of visual design) and the socio-semiotic (grounding on the interrelationship of modes, their compatibility and social needs for which they serve, making meanings) approaches. The chosen methodology made it possible to conduct a study of the multimodality of the websites of the U.S. universities, realized as a symbiosis of verbal, non-verbal and paraverbal resources. The multimedia corpus of the research consists of the websites of five American universities (Massachusetts Institute of Technology, Harvard University, University of Pennsylvania, Yale University and Рrinceton University). The main conclusion that can be drawn is that the complex discursive nature of the websites under study is determined by the features inherent in advertising (the benefits of services to influence the choice of the recipient), educational (the talk about the educational process and educational services) and scientific (information of a scientific nature is provided) discourses. All universities under study employ semiotic landscapes at their disposal to portray attractive brands on their websites. Being the most important way to ensure fast and effective communication of educational institutions with their target audience, the discourse of university websites has a pronounced pragmatic orientation. The purpose of the analyzed type of heterogeneous discourse is to create an image of an “ideal” educational institution, attract potential students, researchers, sponsors, and disseminate the latest achievements in the field of science and education. The concept of multimodality of the websites of the analyzed U.S. universities as specific multimodal texts is manifested in visual content through a number of paragraphemic and infographic elements, the synthesis of which is due to the combination of language tools, visual content and web technologies of modern website construction. The most common visual content exploited on the U.S. university websites embraces: unique photographs and “color” mode (photos of the university and its students, classrooms, laboratories, events, etc.), which helps to clearly illustrate the educational services offered, and give the desired emotional mood; infographics and data visualization, which is an effective way to combine text, pictures and design to present complex information (infographics do not always completely replace the text, more often it is its addition or retelling); video interviews with students, graduates, videos about studying at a university are one of the means to convince potential students to make an admission decision. Using video is a fairly popular form of visual content. With the help of video, the universities can not only diversify the content of their websites, but also satisfy the needs of those users who prefer visual content. Placing various videos on website pages allows solving the problems of reinforcing textual content, strengthening the arguments “for” admission and attracting applicants to university educational programs. In such a way, on the basis of the interaction of different discourses (advertising, educational and scientific) and various semiotic systems, a single visual-structural and functionally complete image of an attractive and popular university is achieved among readers of its website.

The purpose of the work is to outline the peculiarities of transcribing the French lute tablature into modern notation and to develop recommendations for arrangements of lute music of the Baroque period for modern academic instruments, due to the growing interest of performers and listeners in the instrument itself and in expanding its semantic, stylistic, and interpretive possibilities. Research methodology. The problems associated with transcribing the French lute tablature into modern notation require a multidisciplinary approach that combines historical scholarship, practical performance experience, and theoretical knowledge. The main methods used in the article are historical, theoretical, and musical-textual. Scientific novelty. For the first time in Ukrainian musicology, the historical background and evolution of transcription of French lute tablature into modern notation are considered. The conditions of transcription of lute music are examined in detail according to the following parameters: the peculiarities of the structure of the lute of that time are first outlined; the issues of the structure - Renaissance vieil-ton and Baroque nouveau-ton - are considered; the peculiarities of deciphering rhythmic notation are analysed, highlighting the specifics of notation of different rhythmic durations, fingering for the right and left hands and the peculiarities of ornamentation, in particular apogiatura and achaccature. It is noted that all of the above notations are deciphered quite freely, based on the composer's intention and talent and the performer's skill. Conclusions. The present study outlines the concept of tablature, considers the issue of the structure of instruments for which musical works were recorded using the French tablature, and provides a brief description of rhythmic notation and ornamentation. When translating, it is important to rely on primary sources, musicological research, and performance practice. Summing up the observations made, it should be noted that the French lute tablature goes beyond notation in the modern sense (a way of writing notes) - it serves rather as a guide to interpretation, inviting the performer to the process of creating music, using the composer's "sketch". [ABSTRACT FROM AUTHOR]

The anthology “State of War” is a fiction and documentary prose about the bloody war unleashed by Russia on Ukrainian lands, a prose in which the authors, through the prism of their own worldview, experience and emotions, offer the general readership the recorded tragedies of “timeless truth”, the facts of grave illegal crimes committed by the Russian occupiers. The article aims to examine the reception of martial law events in the anthology as non-fiction literature in contemporary Ukrainian prose. The object of the study is the texts of the anthology “State of War”, united by the subject of depicting military events in Ukraine in order to document the war in its various manifestations and tell the world about it in the “Ukrainian voice”. The study was conducted using elements of descriptive, structural and semantic, receptive and interpretive, and contextual methods of analysis. The anthology “State of War” is a genre transformation that combines “sophisticated fiction and the accuracy of documentary” (V. Sayenko), and is dominated by essays, narratives, and memoirs that have only recently been classified as fiction and documentary literature. The textual and social conclusions of “State of War” with an appeal to autobiographical memory made it possible to consider texts in the genre of “non-fictional prose” (T. Bovsunivska): they contain autobiography, the authors appeal to personal experience, indicate involvement in the events described, the narrative is in the first person and is based on a reliable fact, as in memoir genres. The core format of the anthology’s textual content is determined by the history of everyday life. The authors of the book (fifty of them), like the characters in the stories, are writers and public figures, journalists and scholars, volunteers and soldiers of the Armed Forces of Ukraine. Combatant writers, i.e., active military personnel – Oleksandr Mykhed, Artem Chapai, Artem Chekh – create stories not based on other people’s impressions but on what they have seen and experienced, proving that the problems of a soldier are not only related to fighting and defending positions, but also to the aesthetics of survival, to the belief in victory over the aggressor for the further development of society. The texts of the anthology “State of War” contain genre “inclusions” (“Siren-Hyena” by L. Taran, “Under the Bridge” by S. Povaliaiev, “After the Occupation” by V. Puzik) that organically fit into the author’s narrative, confirm significant events, and increase the recipient’s responsibility in the reading process. The semantic core of the narrative of “State of War” is determined by the titles: they influence architectonic expressiveness, inform the reader about the objective reflection of events, facts and phenomena, transform into message titles, decode the content (“Being a Teacher Under Occupation” by L. Denysenko, “My First Bomb Shelter” by I. Pomerantsev, “After the Occupation” by V. Puzik, “Roots Up, or Fear of Migration” by T. Gundorova, “Presentation with Stress” by Y. Vynnychuk). [ABSTRACT FROM AUTHOR]

In 2023, the publishing centre of the Kyiv University of Culture published an interesting and perhaps unusual mono­graph by Khrystyna Batalina entitled The Child as the Embodiment of Evil in Horror Films of the Twentieth and Twenty- First Centuries. This scholar’s study of children’s images in the world and Ukrainian works of audiovisual art in the horror genre will help to reveal the deep aspects of human psychology and cul­tural stereotypes associated with the depiction of children in horror films as the embodiment of evil and its acciden­tal carriers. While babies are mostly as­sociated with innocence and safety, they can also sometimes represent threat and fear, particularly in the context of verbal and on-screen narratives.

This article discusses the uniqueness of communication texts, ensuring the creation of stylistic speech, in accordance with its functional features, considering that in the journalistic speech reveals the actual subjects of public interest. The authors present the main idea of the future of journalistic statements as writer must keep in mind that the overall purpose of style is implemented in a specific task of the genre. Genres differ primarily its purpose. journalistic works are of extraordinary breadth of topics they can relate to any topic that falls to the center of public attention, underwater diving technology. This undoubtedly affects the linguistic features of this style: it is necessary to include a special vocabulary, self-explanatory, and sometimes detailed comments. A variety of topics is constantly in the public eye, and the vocabulary related to these themes becomes journalistic coloring. As part of the language of the dictionary is formed by a circle of lexical items specific to the journalistic style. Thus, the task of the article is to explain the analysis of related events. [ABSTRACT FROM AUTHOR]

The purpose of the article is to reveal the peculiarities of the coverage of piano art by the first Ukrainian professional musicologists in Galician journalism of the 1930s. The methodology of the study is based on the application of special historical (source, comparative and historical-typological), epistemological and generalising methods of analysis. The scientific novelty is that for the first time in Ukrainian musicology an attempt was made to analyse the thematic journalistic work of the first Ukrainian professional musicologists of a certain historical period. They promoted Ukrainian musical culture, explained to the general public the stylistic features of piano composition and the "secrets" of performance. For the first time, the object of attention is studied as a separate typified phenomenon in the context of the development of science in the first third of the twentieth century. Сonclusions. The analysis of the publicistic legacy of S. Liudkevych and N. Nyzhankivsky, dedicated to the piano art, has shown that its authors, reacting to events and analysing creativity and performance, showed a greater (the former) or lesser (the latter) breadth of topics (in addition to creativity and performance, S. Lіudkevych often touched upon educational problems), different types of presentation of thoughts (analytical and descriptive, respectively), different degrees of coverage of the topic (phenomenon, portrait), different types of expression (calm, attentive to details, principled in critical remarks, or pictorial - expressive, emotionally uplifting), showed different criteria for assessing the phenomenon (from the standpoint of social and artistic utility or personal taste/impression). Thus, they demonstrated the versatility of Ukrainian piano journalism and a new (professionally dictated) level of critical analysis, which has emerged in this period of development of scientific and critical thinking. [ABSTRACT FROM AUTHOR]

The article studies the process of changing of the style tendencies in Lesya Ukrainka's prose. The titles of the short stories, and the inner focus of the short stories and prose of the early period of Lesya Ukrainka's artwork at the beginning of the 20th century are analysed. The features of impressionism on the basis of realism in the analysed short stories are identified. The conclusion about the new way of describing reality in the short stories by Lesya Ukrainka is made: her prose is concentrated on the inner world of the character, and evolves away from the simplified determinism. [ABSTRACT FROM AUTHOR]

The purpose of the article is to identify the peculiarities of formation and the main trends in the development of children's musical as a popular genre of Ukrainian stage art in the 1960s-1990s. Research methodology. The historical and cultural method was used to summarise the factual material related to the time of creation and the logic of development of the children's musical in the Ukrainian stage art of the 1960s-1990s. The methods of art historical and genre-stylistic analysis were applied to help identify specific artistic and aesthetic, genre and stylistic features in the productions of children's musical on the stages of Ukrainian theatres. Scientific novelty. The history of the formation and development of the Ukrainian children's musical in the stage art of the 1960s-1990s is studied; its musical, artistic, staging and performance features are revealed. The chronological sequence of writing the most significant in the context of the development of the genre of the first national children's musicals is presented. The contribution of Ukrainian composers (Zh. Kolodub and L. Kolodub, O. Bilash, I. Poklad, S. Bedusenko) and directors (P. Kolisnyk, M. Lukavetskyi) in the formation of the national musical for children's audiences is revealed. Children's musicals by Ukrainian composers included in the "golden fund" of national stage art are analysed ("Fox Mykyta" (libretto by R. Kudlyk) and "Tom Sawyer" (libretto by M. Petrenko based on Mark Twain's novel) by B.-Yu. Yanivskyi). Conclusions. The process of integrating the musical genre into the Ukrainian stage art of the last third of the 20th century took place in accordance with the peculiarities of the socio-cultural space of that time, socio-political events and artistic trends. The creative rethinking of content and structural features of the Western genre invariant in the 1960s-1990s became the basis for the formation of the national Ukrainian children's musical as a factor in the internationalisation of the world music and stage culture. At the same time, the formation of the Ukrainian children's musical is connected with the process of nationalisation of the genre, as evidenced by the reliance of the libretto on stories from folklore and traditional Ukrainian culture, the introduction of traditional principles and techniques inherent in the stage art of Ukraine. The peculiarities of the formation and further development of children's musicals in Ukraine were conditioned by the creative searches of domestic composers (B.-Yu. Yanovskyi, I. Poklad, S. Bedusenko, Zh. and L. Kolodub, E. Lapeika, O. Kolomiitseva, A. Bondarenko) and theatre directors. The productions of children's musicals from the 1960s-1990s allow us to talk about the rethinking of the Western archetype of the genre and the beginning of the formation of a national Ukrainian musical. [ABSTRACT FROM AUTHOR]

The article under studies deals with the issue of regeneration of genre forms of science fiction literature through its evolution. In the context of topical issues of poetics, it outlines the genrological status of science fiction and fantasy in terms of genre modifications – genre, genre variety, sub-genre, mega-genre, and meta-genre. Particular emphasis has been placed on the fact that the evolution of science fiction into a meta-genre format is due to a number of factors, such as the simulative nature of the chronotope of possible and parallel worlds, the change in the anthropological vector of texts, and the involvement of samples of other art forms (intermedial components). In addition, the activation of intertextual narratives in the personosphere (which becomes an important parameter of the meta-genre) has been identified as a marker of the genre evolution of fantasy. The creative activity of the American classic of science fiction prose Clifford Simak (1904–1988) may be regarded as a typical example of how science fiction writers appeal to “other authors’ texts”. This research relies on the analysis of his novel “Shakespeare’s Planet” (1976), in which the reader’s attention is mainly focused on the intertextual parameters of the personosphere, which significantly expands the hyper-real chronotope of the science fiction world. The works by William Shakespeare are identified as the prototexts for fantasy texts. Interpreted by Simak, the Shakespearean imagological narratives are implemented through quotations, reminiscences, anthropological allusions (the use of Shakespeare’s characters’ names), as well as through the introduction of the figure of Shakespeare himself into the fantasy personosphere. What is more, the figure of the English classic occasionally appears as the very center of the personosphere, its confocal axis. It has been determined in the article that the mystified and ironic story of Shakespeare’s timeless existence ferments the internal content of the fantasy text. Besides, the personosphere of a fantasy novel with several fictional narratives also includes the classic’s texts, such as “Hamlet”, “Twelfth Night”, “The End Praises the End”, “The Comedy of Errors”, “King Lear”, “Macbeth”, “Othello”, “Pericles”, “The Taming of the Shrew”, “Richard III”, and “Titus Andronicus”. In this case, in Simak’s “Shakespeare’s Planet”, they perform the function of additional (implicit) narratives, and, consequently, as a particular (intertextual) link in the personosphere. In conclusion, the article claims that the consistent generation of new literary genre formats in the field of the cultural continuum is an immanent feature of the complex literary process, which can be fully realized only with the help of the reader’s rich receptive background.

The purpose of the article is to define the genre features of Patrick Süskind’s novel as a postmodern work. The task is to determine the artistic components, which will serve as a basis for establishing the genre affiliation of the analyzed work. The study employs the elements of formal and cultural-historical methods of analysis. It is emphasized that the peculiarity of this novel is its genre eclecticism. It is noted that the work actualizes the Faustian image of the human/superhuman, who is marginal and disadvantaged, rejected by society, extremely talented, but has no moral values. The work consists of four parts referring to different periods of life and the work of Jean-Baptiste Grenouille (childhood and learning the craft; self-reflection in the cave and return to people; the culmination of activities as a perfumer and criminal in Grasse; his death). Each part falls into the canons of several genres; while intertwined quite chaotically, the elements of genres form a holistic picture nonetheless. It is established that the events of the novel are tied to the events of the 18th century; the historical background is outlined both through specific dates of the protagonist’s life, important milestones in his life and career, tied to individual historical events and processes, and also through artistic descriptions of guild manufacturing, the social hierarchy of the society, urban life in Europe. However, Süskind’s work cannot be considered a historical novel in the classical sense of the genre (the plot is not centered around a historical event or a historical figure), thus literary critics rightfully interpret the work as a pseudo-historical novel. Detailed descriptions of the specifics of the social and domestic life of a child, adolescent, and apprentice signify the social and domestic novel, however, the protagonist’s life and his actions can hardly be considered typical. The plot of Süskind’s work develops conforming to the genre canon of the crime novel. We draw your attention to the fact that, according to the marketing definition, the analyzed work is defined as “a romantic detective”. Yet in accordance with the detective genre canon, the protagonist must be a detective, who unravels the crime and finds the killer. In Süskind’s novel, the main character is a criminal, and the detective is not even formally represented, which gives us a reason to classify the analyzed work as a crime / noir novel. Gothic elements (the topos of the cemetery, the pervasive motif of death, the protagonist living in gloomy places, one way or another connected with death, etc.) also point to the genre of a crime novel. The novel describes in detail the features of the craftsmanship, and the life of the apprentice, and thus the text acquires a distinct quality of the occupational novel. Despite the fact that a significant part of the text is devoted to the description of the profession of a perfumer, the analyzed work is still difficult to label as an occupational novel, because it lacks the motif of work for the benefit of society, and the image of the main character being a genius perfumer-killer is far from the positive image of a worker, which is determining for a genre of occupational novel. Philosophical motives are an integral part of Süskind’s novel. The worldview and system of moral and ethical values are implicated and in a rather ironic context presented through references to famous scientists and philosophers of the Enlightenment, which in one way or another refer to the scientific picture of the world, criticism of the church, atheism, freethinking. The canon of the parable used in the second chapter enables the artistic presentation of the spiritual transformations of the main character and the formation of his axiology. As the hero stays in a cave, dreaming in the position of the embryo, it is perceived as his death and rebirth, the time spent in there (“seven years”) is similar to the time of the Divine creation of the world and, respectively, implicitly marks the protagonist’s Faustian claims to the role of Creator. In Süskind’s novel, there are also elements of an educational novel, the conventions of the picaresque genre. The transformation of Grenouille’s execution into a collective orgy is presented in the manner of the parable genre with elements of the absurd. The fourth part of the novel, in which Grenouille returns to Paris, corresponds to canons of the genres of horror and parable. Written in accordance with various genre canons, the parts are implicitly enraged by the motif of Faustianism as a desire to know the mysteries of the world, messianism, and apostasy.

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The article deals with the study of the peculiarities of linguistic expression of the category of assessment, which as a universal language category operating at different language levels, plays an important role in the choice of native speakers and, consequently, culture, language means of information and is equally important for mental processes of perception, comprehension and acceptance or non-acceptance of this information. The publications in the scientific literature on various aspects of the study of the category of evaluation in terms of language have been reviewed. The analysis of the peculiarities of verbalization of the category of evaluation is carried out on the material of fictional and dramatic discourse, which is a productive language environment for studying the category of evaluation, because through verbalized national-cultural ideas and stereotypes are reflected the conceptual and linguistic pictures of the world. First of all, this category is manifested in the language and characteristics of the characters. Special attention is paid to the characters of a (chynovnyk, pan, a pani, a panna and a cossack, verbalized in the fictional and dramatic discourse of the XIX century. Evaluative characteristics, which are the elements of language modeling of fictional images, served as a basis for distinguishing the following types of evaluation: positive and negative evaluation in the structure of the text narrative, neutral evaluation, hidden positive evaluation, author's evaluation, evaluation by other characters. A positive evaluation in the language of fiction is shown by the linguistic means of creating the character of a cossack. Negative assessment was found in the linguistic means of creating the image of the pan (landlord), the images of the pani and panna are ambivalent. Evaluation is present both in the language of the characters and in the author's characteristics or comments. The object of evaluation in the fictional and dramatic genres can be both internal and external characteristics of the characters, and external characteristics are often marked by positive evaluation, while internal features have either negative or ambivalent evaluation characteristics. It was found that the ways of realization of positive or negative evaluation in the language of fiction are quite diverse. They depend on the literary and fictional methods, the creative manner of the writer and reflect his worldview.

The interest to literary works of I. Babel has not decreased for the last few years. However, the problem of the author’s main book is not solved yet because the history of writing “Konarmiya” (“Cavalry Army”) proves that the initial discrete character of the composition turns the standard situation which leads to formation of the unique genre of Babel’s book. The aim of the article is to analyze the plot composition of “Konarmiya” (“Cavalry Army”) and define the character of its composition uniqueness and genre of this literary work, applying the comparative approach and using elements of the hermeneutic method, and also structural and functional methods. The episodes, included in the best book of the writer, were initially published as separate stories and novellas in varied newspapers and magazines mostly in 1923-1924. If we make a comparative analysis of the episodes sequence, taking into account the date when they were published and the configuration done by the writer in the final variant, it will become obvious that the order of publishing does not correspond to either the dates, or their order in the traditional variant of some editions of “Konarmiya” (“Cavalry Army”). The discrepancy of the episodes sequence according to every position can indicate that their final configuration is the result of not a random but a conscientious choice based on the specific composition design. The examples to testify the aforementioned view on the creation of “Konarmiya” (“Cavalry Army”) can be the following episodes, such as “A Letter”, “Crossing the Zbruch”, “The Church at Novograd” or “Betrayal”, “Argamak”, “A Kiss” because their position in the book is strictly determined and not accidental. Another example of how important the composition structure of “Konarmiya” (“Cavalry Army”) for its content is the presence and position of the episodes related with the topos of movement. There are a few episodes in the book, namely “Crossing the Zbruch”, “The Chief of Konzapas”, “The Road to Brody”, “Discourse on the Tachanka”, “The Story of a Horse”, “Konkin”, “The Story of a Horse, Continued”, “Argamak”. Thus, having analyzed the composition uniqueness of “Konarmiya” (“Cavalry Army”), we can state that first, the book by I. Babel is the result of long, controversial, stressed, and often painful search of the appropriate form to depict the artistic idea which is the basis of this literary work. Second, the composition of “Konarmiya” (“Cavalry Army”) is not an arbitrary or random selection of works but a thoroughly built and tightly bound structure, every part of which, becoming a part of the whole, almost loses its “independence” and “autonomy” because it is determined and in its turn determines other parts of the book. Finally, third, the discrete, interrupted character of the composition of “Konarmiya” (“Cavalry Army”) does not deny that this literary work is integral but only indicates a different way to organize artistic space, a novel one in particular, and establishes the possibility of divergent form of the novel or a «discrete» novel. It is such a genre variety which is based on the principle of interrupted continuity and negation of linear development of events while depicting the characters and building the text composition.

The purpose of this research is to analyze the main features of the author's programs on modern television. The research methodology includes such methods as analysis and synthesis (the presence and significance of author’s programs on Ukrainian TV channels are analyzed), generalization (based on the analyzed literature and real air product the factors, features, peculiarities that reveal the essence of author's programs are summarized), systematization. The scientific novelty consists in the detailed analysis of signs of author's programs and their features on television; in an attempt to create their classification by type, depending on the genre format, the contribution of the author’s “ego”, the scope and forms of work on the material. Conclusions. During the study of foreign author’s programs, their features on Ukrainian channels were analyzed in the literature of theorists and practitioners of film and television. It was found that there are few author’s programs created by leading authors in Ukraine and most of them are narrowbranch. The types of this genre of programs have been studied. The peculiarities of the author’s programs on modern television have been generalized.

Stable interest of readers in the autobiographies of famous people encourages authors to find different ways of presence / absence of the author-narrator in the text, to balance the relationship between biographical truth and fiction in contradictory living conditions, etc., which gives rise to metagenres in literature. The study of the origins of autobiographical writing and the clarification of the actual genre specificity of works of an autobiographical nature, obviously, should be sought in the array of classical literature. Works that are debatable in defining the genre need special attention. Domestic and foreign researchers have repeatedly drawn attention to the distinction between the specifics of genres containing autobiographical data: a novel / the story is an autobiography, memoirs, a confessional novel, an autofiction, essays, diaries, etc., but the autobiography of Charlotte Brontë`s novel “Jane Eyre”, originally called “Jane Eyre. Autobiography”, needs clarification. Therefore, the aim of the article is to clarify the genre specifics and elements of biographical writing in Charlotte Brontë`s novel “Jane Eyre”. Defining the genre of Charlotte Brontë`s novel “Jane Eyre” is problematic, as it is difficult to call it autobiographical, given that the author herself defined the genre of the work in the original title and, accordingly, was guided not so much by literary criteria as by her own understanding. All this determined the formulation of the purpose of the article to find out the genre specifics and elements of biographical writing in Charlotte Brontë`s novel “Jane Eyre”. The paper widely presents the positions of various scholars on the genre features of autobiographical writing, analyzed their coincidences in the novel “Jane Eyre”. Attention is emphasized to the fact that we have a number of indisputable facts-memories about the author’s childhood in a piece of writing, but they are most likely a method of rethinking and self-knowledge of the writer, although there are moments of authorial openness in the main character. It turns out that it is impossible to determine definitively that the novel “Jane Eyre” is an autobiography. However, this term is important for establishing theories about the biographical content of Ch. Brontë in her novel. Newer genres, such as autofiction, have helped to define the process by which real aspects are represented by fictional facts. Given the various theories of research on the genre features of autobiography in a piece of writing, including the relationship between author, character and narrator, the pact between reader and author allows us to consider certain passages of “Jane Eyre” as a first-person narrative by Ch. Brontë

The main tendencies of the development of Ukrainian landscape are dealt with in the article. The priorities of the stylistics’ genre, the system of the expressive means are underlined on the basis of the analysis of the work of the modem craftsman.

Book review

Elements of culture of popular laughter (Mikhail Bakhtin) in the "Knyzhka" of the Ukrainian polemicist were the object of study in the works of Ivan Franko and Mykhailo Hrushevsky. Researchers have not yet distinguished between the concepts of humorous, ironic, and satirical. The third chapter of the "Knyzhka" is called by the Ukrainian historian the forerunner of Ukrainian comedy due to its humorous elements and simple language. However, Hrushevsky calls the descriptions of the image of a layman either ridicule or humor. Carnival elements are closely related to the nature of the genre. Polemical literature is mainly a synthesis of genres. Vyshensky's texts were called syncretism (Igor Eremin) and the synthesis of genres (Petro Bilous). Bilous attributed most of the chapters of the "Knyzhka" to the genre of invective due to the dialogism and excessive expressiveness. According to Mikhail Bakhtin's definition, a genre is representative of creative memory. Serio-comic genres, elements of which we explore in the "Knyzhka", contain elements of carnival culture. In our opinion, such traces of carnival culture in the polemist's texts include heterogeneous dialogic structures - "Socratic dialogue" and dialogue constructed on the type of catechism. And also these are methods of familiar everyday speech and vulgar common parlance (swearing, quarreling), active wordformation, considerable attention to the body, "grotesque realism" (according to Bakhtin's definition). We trace in the "Knyzhka" the features of the ancient genres of diatribe (the genre of moral preaching) and mennipea. Similar techniques were used in medieval literature, for example in the works of Francois Rabelais. However, it is worth noting the complete difference between the goals set by the French writer and the Ukrainian polemicist. In Rabelais, artistic methods were aimed at restructuring the picture of the world, the liberation of the body. Instead, Vyshensky's image of the body is no longer ambivalent, it belongs to a new canon, where the body has an individual character and is subject to church dogmas, and the connection with the universe is lost. Laughter's elements in Vyshensky's texts also lose its ambivalent character and become aspects of condemnation. Therefore, the archaic of seriously funny genres is preserved at the formal level, not at the semantic level. [ABSTRACT FROM AUTHOR]

The article reveals the combination of factors (Polish, Belarusian, Lithuanian, Russian, and most deeply - Ukrainian) that played a crucial role in the life and creative work of Stanisław Moniuszko. He was the father of Polish national opera. Emphasis was put on the place of Ukraine in the biography of Polish creative figures - Adam Mickiewicz and Karol Szymanowski, whose lives were closely connected with the region of Cherkasy. The activity of the creative tandem: Moniuszko - Mickiewicz is also analysed, as well as relations of the Polish composer with the Russian ones of Ukrainian or Polish origin. The variety of genres in Moniuszko's musical heritage and the forms of its presentation in Ukraine were also discussed. [ABSTRACT FROM AUTHOR]

In the works of Bukovinian writer Mykhailo Ivasiuk, the main array consists of novels. However, poetry has always attracted him. In fact, it was through poetry that M. Ivasiuk entered the world of art in the 1930s. His literary destiny was especially connected with poetry after the tragic loss – the death of his son, the talented composer Volodymyr Ivasiuk. Among the poetic genres that became the basis of the poet's work after the tragic April 1979, it was the elegy that proved to be the most relevant, as it originally meant a song over the dead, expressing mourning and sorrow. This genre of poetic work of Mykhailo Ivasiuk was not in the field of view of literary critics, which led to the relevance of the article. The aim of the study. Having delved into the world of Mykhailo Ivasiuk's author's elegy, we analyzed the poetic features of this genre. Research methods. The main methods were cultural-historical, biographical, as well as comparative, due to the specific objectives and specifics of the analyzed material. The scientific novelty lies in the fact that for the first time the genre of elegy in the works of M. Ivasiuk was systematically analyzed. Specific markers of the figurative system of the elegiac work of the Bukovinian poet are described. The main motives of M. Ivasiuk’s poetry are also commented, in particular the motive of memory, the motive of time. Conclusions. It is proved that the world of Mykhailo Ivasiuk’s elegy is based on the author’s existence connected with the irreparable loss – the death of his son, composer, legend of Ukrainian song culture of the 70s of the XX century Volodymyr Ivasiuk. The poet's appeal to the genre of elegy is fully motivated, because the elegy researchers refer to the song genre, which reflects the longing and was originally used in the burial of the deceased. Elegy in the poetic works of Mykhailo Ivasiuk appears in renewed manifestations, it is characterized by stylistic polyphony and various genre intonation. The sophistication of the author's poetic language led Paraphrasing the origin of the name "elegy", we can say that Mykhailo Ivasiuk chose his own musical accompaniment to perform elegies for his son.

Venice as a bridge between different After many centuries, Venice became a meeting place fordiverse cultures and a point of contact between traditions of theWest and the East. This style is admired by the authors of twomodern monographs Katya Margolis and Dmitry Bavilsky. Everyone does it with same language tools, but in different waysin an era of the Internet. Our task is to explore the style of theauthors. Dmitry Bavilsky unexpectedly and boldly draws aparallel between a venetian aesthetics and a socialist dream ofthe “City of the Sun”. During Venetian utopianism studies, Bavilsky describes the mythological images of the city. Themeeting place of cultures is Biennale, which unites the culturalproject. And the place of acquaintance with the current culture. In the book by Katya Margolis the intersections of Russian andVenetian cultures are described through cinematic interests, themain role is played by the human factor, communication witherudite people, education as a bridge between cultures.

The article considers successful examples of modern fabulous creativity (Vlad Malenko) and samples of “unfabulous” products from the Internet. For analysis, selected works by well-known and little-known authors, who posted their fables on copyright sites, as well as on the sites of Poetry.ru, WePishem.ru, Bizona.ru. Attention is drawn to the principles of creating a «modern fable» and its correspondence to the channels of the traditional fable as a genre. Аnalyzed the work of Vlad Malenko (actor and director of the Moscow Theater on Taganka, a member of the Union of Writers and the Union of Theater Workers of Russia, laureate of the literary prize named after AP Chekhov “For the revival of Russian satire”). Basically, Malenko’s book “Cheese fell out ...” and its individual fables “Glamorous Shrimp”, “Mole in the binge”, “Muskrat in the theater”, “Iron and meat grinder”, “Pops”, “Money Theater” were mainly analyzed. Samples of modern fable creativity are also analyzed, their authors do not belong to a recognized writer audience, but they are active participants in the “reanimation” of a modern fable. Vladimir Olishevsky (Alekbort. Online magazine) “Modern fable “Be polite on the roads”. “This author replaced the wellknown poetic form of the fable, replaced it with a prosaic version, expanded the plot, enriched it with details, added lyrical sarcasm as digressions. Vladimir’s fables were also analyzed. Shebzukhov’s “Scientific Work”, Boris Oznobishin`s “Elephant, Bison and Pug (political fable)”, “The Fable of the Invisible World” by Dudley Phoenix (“Bison.ru”), Svyatovit Kuzelnikov “The Demon Climbed”, Alexander Illarionov “Taught the Chicken, EggIgor Krasavin’s fable “Cabbage” covers the topic of business, which speaks about the politics, morality of modernity. Sergey Prilutsky’s fable “Just like a puddle,” Alexander Schneider “Menagerie” and others. Modern fables of the Internet space that adhere to the principles of building the old genre, They are amenable to modern trends. Their works have a different theme, the emphasis is on private events of today. In their style there is a lot of colloquial, everyday, and roughly reduced vocabulary. These fables have a lot of irony, sarcasm, allegory, hyperbole and morality. Morality, as always, mainly at the end of the text, sometimes there is even a separate word “morality”. On the Internet there are a huge number of fables that are not fables, but they are so named by the authors – “The Fable of the Invisible World” by Dudley Phoenix. I agree with this name if we take into account that the etymology of the very word “fable” is “bati”, which means “to speak”, “to buy”, it means “bike”, “tale”, “story”, “history”. Often, modern authors, creating worthy examples of poetic art, do not pay attention to the absence in their texts of the fundamental principles of a fable as a genre, replacing them with aphorism, metaphor, while not taking into account the obligatory allegory and didactics. Basically, Malenko’s book “Cheese fell out ...” with individual “Glamorous shrimp”, “Mole in a binge”, “Muskrat in the theater”, “Iron and meat grinder”, “Pops”), “Money Theater” was analyzed. Also analyzed are the samples of modern fable creative work, the authors of which are not classified as recognized writers but are active participants in the “reanimation” of the modern fable. Vladimir Olishevsky (Alekbort. Online magazine) “Modern fable Be polite on the roads”. V. Olishevsky replaced the wellknown poetic form of the fable with a prosaic one, he expanded the plot, enriched it with details, accompanied it with lyrical sarcasm in the form of digressions. Vladimir Shebzukhov’s fables are also analyzed “Scientific work”, Boris Oznobishin “Elephant, Bison and Pug (political fable)”, “Fable of the invisible world” by Dudley Phoenix (“Bison. ru”), Svyatovit Kuzelnikov “The Demon Climbed”, Alexander Illarionov “Taught the Egg Chicken”, Igor Krasavin “Ka mouth” covers the topic of business, correlated with the politics, morality of modernity. Sergey Prilutsky’s fable “Just like a puddle”, Alexander Schneider “Menagerie”and others. Modern fables of the Internet space, following the principles and instilled an old genre, are amenable to modern trends. their works change the theme, more emphasis is placed on specific private events of today, their style is full of colloquial, everyday sometimes rudely reduced vocabulary. A striking artistic feature of such fables was irony, sarcasm, allegory, hyperbole and the inherent presence of morality, mainly at the end of the text, which is sometimes accompanied separately by the word “morality”. There are also a huge number of fables that are not fables but are named by the authors as “The Fable of the Invisible World” by Dudley Phoenix. I agree with the author’s name of a philosophical poem only on the basis of the etymology of the very word “fable” – “bati”, which means “to say”, “to buy”, in fact, it is a “story”, “tale”, “story”, “story”.

The article is devoted to the analysis of the concert for piano and symphony orchestra by the modern Azerbaijani composer R. Agababayev. The article is very relevant from the point of view of identifying ways to implement classical traditions in a modern piano concerto of the 21st century. It must be said that in this issue we have found many such stylistic features that testify to the strong reliance of Azerbaijani composers on classical traditions. This article is devoted to the study of identifying the stylistic features of R. Agababayev’s piano concerto in the context of the historical development of this genre. Research methodology. The choice of the methodological basis for this study is due to the above goals and tasks that we set ourselves in the framework of this work. Based on the subject matter of the article, the methodological basis of this scientific work is a complex analysis, which implies the interaction of several research methods at different levels. The basis for the analytical analysis of the piano concerto was a theoretical approach, in which such aspects of the work as the problem of form formation, stylistic features of individual elements of the musical language are subject to research. The scientific novelty of the research lies in the fact that for the first time as special research work is the study and detailed analysis of R. Agababayev’s piano concerto. Conclusions. The main conclusion of our scientific research was to determine the stylistic features of the Azerbaijani piano concert created in the 21st century. Based on the data obtained during the analysis, we were able to determine the main trends and ways of development of this genre at the present stage of the development of Azerbaijani academic music. One of the important, if not decisive, aspect in achieving this kind of goal is to identify issues of preserving and transforming traditions, as well as innovative tendencies in the composer’s solution of a particular work. Single-movement piano concertos have become widespread in academic music since the beginning of the era of romanticism. And in the Azerbaijani one-part piano concerts, connections with romantic traditions are deeply felt. Moreover, in each specific work, these traditions are reflected especially. Since the concert by R. Agababayev demonstrates an interesting and original one-part interpretation, combined with an inner poly-part one, this is a typically romantic tendency associated with the composers’ desire to compress the cycle.

Висвітлено роль письменницьких поколінь у генераційному романі, а саме покоління 68-го та 89-го років. Покликаючись на сучасні літературознавчі праці вчених (А. Ассманн, Д. Чугунова, Н. Леонгард, Х. Кеніга та ін.), досліджено, що належність німецькомовних письменників до різних поколінь проявляється у відмінних поглядах на пережите, зокрема на Другу світову війну та націонал-соціалістичне минуле Німеччини. Кожна з цих генерацій по-своєму усвідомлює виклик історії та прагне переосмислити найсумніші її сторінки, опираючись на власний досвід та переконання. На основі аналізу генераційних романів М. Марон (нар. 1941 р.) „Листи Павла” та Т. Дюкерс (нар. 1968 р.) „Небесні тіла” виявлено, що письменниці належать до різних генерацій, проте в обидві задаються питаннями пам’яті поколінь, відповідальності та вини німецького народу в скоєних злочинах під час Другої світової війни, ставлячи при цьому різні акценти. Застосовано культурно-історичний та порівняльний методи, важливе місце відведено біографічному аналізові.

The article investigates the phenomenon of growing popularity of art-house cinema in the twentieth century. The possibilities and success of art-house cinema as an instrument of research of socio-cultural problems of the past, present and future are considered. The formation of contemporary art house cinema and the growing interest in it by various social groups determine the relevance of the art house. It is this direction of cinema that affects the most acute socio-cultural transformations of modern society, in parallel contributing to the establishment of new social interactions, the formation of behavior models and values of the audience. The urgency of the socio-cultural study of the phenomenon of art-house cinema determines the need for the development of a conceptual apparatus that can serve as a tool for further theoretical and practical research. Art cinema is considered as a practice of leisure and consumption of a cultural product, as an institutionalized social practice, and an artistic film - as a means of existence and translation of normative-value content. The result of the socio-cultural analysis of the arthouse was the discovery of the main factors that influence the choice of the individual of a certain type of cinema. Identifying and analyzing these factors, for example, arthouse and mainstream, as well as studying a number of interdisciplinary approaches to studying the cinematic preferences of the audience, allowed us to propose a scheme for explaining the demand for various cinematic trends, which combines individual, institutional and socio-cultural factors, the definitions of which can reveal trends in cinematic preferences of the studied community, and vice versa, information about the cinematic flavors of the group under study makes it possible to make n ypuschennya it on such factors as education, income and so on. As an example of the development of Ukrainian cinema, the trends of the art house during the Independence period were analyzed, on the basis of which the features of the country’s exhibit in elite circles were determined.

Based on the books by O. Bogdanova, L. Frizman, and others, the article under studies deals with the issue of the modifications of the genre of view due to the upgrade of scientific narrative in Russian and Ukrainian Literary Studies of the early XX century. The order of the monographs, for their genre analysis, may be substantiated by two factors: 1) the genre of view is the term, introduced by the authors – a) directly (O. Bogdanova, L. Frizman), b) the choice has been stipulated by the fact that the genre of O. Bogdanova’s and L. Frizman’s monographs is defined as view by their authors, whereas in the works by E. Vasyliev, B. Egorova, and V. Musiy its genre features are distinctly revealed as a discourse; 2) the genre of view is determined – a) by the presence of genre signs in the very discourse (E. M. Vasyliev, T. Hundorova, B. F. Egorov, I. V. Kozlyk, V. B. Musiy, A. A. Stepanova and others), b) implicitly (S. M. Koznacheev). Particular emphasis has been laid on the association of critics with human experience (M. Mamardashvili), as well as on the enhancement of personal vision that absorbs the respective experience of a generation. It is essential that, for example, T. Hundorova presents the author’s ego in the form of a philosopher comprehending the post-Chornobyl literary-philosophical world perception.

The main problem of researching the semantics of free verse and its translations is that every literary critic is free to look at this intricate genre, choosing one’s own set of tropes and figures to interpret it in written form. These facts were considered in this study of original Ukrainian free verse works and their interpretations, regarding the specific treats of languages to use. The anthology Вільний вітер. Волен вятър published in Kharkiv in 2017 became a material for this research. This issue makes a good opportunity for one reader to get acquainted with Bulgarian culture, and for another to actualize their knowledge about this country on Black Sea coast. The 20th century free verse writing represents quite active and flexible use of natural philosophical imagery in the artistic texture of the poems. These are different functions for it to fulfill (from decorating the lyrical narration up to expression of an essence of the work), stylistic means, and formation of the new connotations on the base of traditional meanings. Studying the interpretations of traditional genres and their poetics in compositional and lingual dimensions of both Ukrainian and Bulgarian free verses (those included into Вільний вітер) allowed seeing the fact: the more the author gets into the internal world of the character and one’s relationships with nature, the wider becomes the circle of meanings for the cultural conceit, image, and symbol. Furthermore, the larger research field gets opened for comparison of aforesaid meanings in various languages, not only Ukrainian and Bulgarian.

Although movies representing pandemics can be tracked at least to Die Pest in Florenz / The Pest of Florence (Otto Rippert, 1919, Germany), discussion of pandemic movies as a (sub)genre of its own are quite recent. Moreover, the academic work that does exist has mostly seen pandemic movies narrowly, usually as subgenres of existing categories like horror or science fiction. And even when researchers treated the films as genres, they almost exclusively focused on English-language productions despite the international status of the phenomenon. The introduction, therefore, agitates for a need to expand the analysis to other countries and offers the special issue as an early response in that direction.

Only in the 2000s, after the decades of Independence, Ukrainian drama managed to declare its existence as contemporary literature original phenomena in the first anthologies and monographs. Despite the striving for uniqueness in Ukrainian dramatic writings, the impact of atheistic Soviet culture provides its consequences. The outcome is mostly evident in the references of Ukrainian playwrights to the most profound places in the Bible. Non-canonical apocryphal works are considered to be the most popular among Ukrainian playwrights. (The Cursed, Chyrkov O. S.). Playwrights are also engaged in looking for logical explanations of unknown details concerning mysterious "the third force" placed amidst the good and the evil (Mark Fabius’ Mistake E. Bogush), partly due to the influence of Mikhail Bulgakov's novel The Master and Margaret. In both plays, there is an attempt to explain logically events of sacred significance through the introduction of profane factors when proposing arguments based on causal relationships. The plays deal with the ability to manipulate the opinion of the majority, question the trust in the “facts” transmitted by the tradition and suggest the need for an own interpretation of phenomena and events important for our culture without blind faith in the canonical explanation.

Цель исследования. В статье рассматриваются ститворные произведения С. Воробкевича первого периода твор- чества (1863–1867) в аспекте генерики. Методы исследования: формальный, который часто базируется на основе использования статистики, количествен- ной обработки материала; сравнительный, описания, сопоставление для анализа, синтеза и обобщения научных теорий, а также методики литературоведческого наблюдения, классификации и систематизации. Научная новизна. Впервые системно представлено основные особенности генерики стихотворных произведений С. Воробкевича указанного периода, выяснена специфика жанровой организации поэтических произведений писателя, показано активное использование поэтом разных жанров. Выводы. В лирических произведениях этого периода засвидетельствованы такие жанры: песня, дума, элегия, стихо- творение-посвящение, стихотворение-призыв, идиллия; в лиро-эпических – поэма, баллада, стихотворение-новелла и другие. Также сделано обобщение относительно типологических признаков лирики и лиро-эпики, а именно: аутопсихо- логической (70%) / ролевой (30%), медитативной (65%) / суггестивной (35%); тематического анализа: интимной (36%), пейзажной (11%), социальной (35%), культурологической (11%) и других; исходя из эмоциональной тональности опреде- ляем минорную и мажорную, героическую и комическую, драматическую и другие.The article deals with the works of S. Vorobkevych (1863–1867) in the aspect of generics by the publication of O. Makovey. Research methods: formal, often based on the use of statistics, quantitative processing of the material, comparative method, descriptive, com- parison for the analysis, synthesis and synthesis of scientific theo- ries, as well as methods of literary observation, classification and systematization. Scientific novelty. The main features of the genre of poetry works by S. Vorobkevych of the mentioned period were systemati- cally present, the specificity of the genre organization of poetry works of the writer was determined, and the poet's active use of various genres was show for the first time. Conclusions. Combined approach, aimed to provide a comprehensive study of lyrical poems by S. Vorobkevych are used taking into account the themes, com- positional features, forms, etc. Therefore, in our study, we synthe- size these three criteria. In the lyrical works of this period, the fol- lowing genres have been certified: song, thought, elegy, poem- dedication, poem-call, idyll; in the lyro-epic – a poem, a ballad, a verse novel, etc. A generalization of the typological features of lyric poetry and lyrical epic is also made, namely autopsychological (70%) / role (30%), meditative (65%) / suggestive (35%); thematic analy- sis: intimate (36%), landscape (11%), social (35%), culturelogical (11%), etc. ; we define minor and major tonality from the point of view of emotional tonality, heroic and comic ones, dramatic, and others.

The purpose of the article is to determine the genre-style and performance features of the saxophone J.- M. Londaks and their importance in the educational process of young musicians. The methodology of the research is based on the use of methods: textual and source studies – when developing music sources on a selected topic; style and intonation analysis – to determine the genre-style and performance features of the analyzed sketches. The scientific novelty of the work is the updating of the notographic material, analyzed for the first time, and outlining the expediency of its use in the educational establishments of the art profile of Ukraine. Conclusions. Etudes for saxophone by J.- M. Londaks are aimed at mastering young musicians of all sorts of technical, articulatory techniques inherent in, in particular, violin music. The miniatures are diverse, featuring a rich dynamic palette, cover different registers of the saxophone, revealing its timbre potential, designed for students to master all the tonalities. The analyzed sketches enriched the instructive repertoire of saxophonists, started in my time by M. Mull, and used in the educational process of Ukrainian performers. [ABSTRACT FROM AUTHOR]

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Copyright of Doxa / Doksa is the property of I. I. Mechnikov Odessa National University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The active process of transformation of music genres began at the beginning of the twentieth century. The changes were primarily associated with attempts to overcome the traditions of late romanticism at all structural levels of the work. The article discusses the main signs of genre updating and identifies factors that influenced the process of genre modifications: innovative interpretation of traditional genres; combination of different genres; inclusion of elements from other forms of art in the musical work and involvement of new technologies. It is proved that the festival "Two days and two nights of new music", thanks to its unique format, contributed to the process of emergence of new genre invariants in the works of contemporary composers. Due to its focus on the interaction of various types of art and its unique format with conceptual and dramatic structure, the festival "Two days and two nights of new music" contributes to emergence and development of modern forms of artistic communication and representation of works. [ABSTRACT FROM AUTHOR]

The category of space in the emigre period of I. Brodsky’s creation According to Brodsky, a poet is a traveler, because the destiny gave him an opportunity to move in the space. After years of travelling, the poet has found several places, where he felt at home. One of them became Italy. He visited Italy for the first time in 1973, there was Rome. The poet felt himself comfortable despite not knowing the language. The architecture reminded him his native city. While analyzing the most important Brodsky’s poetic theme – space, we can assume that the main tradition, which he followed, was the tradition of the Baroque. In 1995, Brodsky appealed to the publishing house “Ardis” with a new collection of poems named Landscape with a flood. In the small poem called Island of Procida, which was written in 1994, Brodsky paints a picture of the kingdom of inanimate objects – Landscape with a flood is endowed with a craving for humanization. There is spatial sketch in this lyrical narrative, fixing internal state. A distinctive island of Procida is a carrier of the examples of medieval architecture. For the film The Postman which was released in 1994, its director Michael Radford chose the Bay of Naples. In the film there are the same motives and the same space as in Brodsky’s poem. This fact lets us suggest that after the picture was released, I. Brodsky caught an idea of going to the island of Procida – a poetic space, where there is a particular form of the rest.