http://hdl.handle.net/11320/10769 Mon, 01 Jun 2026 16:11:38 GMT 2026-06-01T16:11:38Z http://hdl.handle.net/11320/10541 Tytuł: Морская тематика в произведениях Александра Марданя Autorzy: Sibirnaja, Mariya Abstrakt: The literary traditions, which came into existence in the turn of the 19th and the 20th century, have found the proper continuation in Odessa literature life. Nowadays, one can hear about the Odessan atmosphere, which has continued to inspire the modern writers. Aleksander Mardan is not the native inhabitant of Odessa, nevertheless his literary work has become the part of Odessan dramaturgic tradition. The fact that proves the Odessan atmosphere influence on the author's plays and novels is the manner of speaking of some of the characters, their statements indirectly referring to the Black Sea and the author's stage direction. The text is full of characteristic Odessan aphorisms. In the characters’ language one may notice the manifestation of their Odessan sense of humour. The author shows the personality and mentality of Odessan man, or the habitant of the marine city. Both the prose and plays of Mardan contain marine subject area, which stimulates the image of the south, provincial town and southern mentality. These emphasise the particular stereotypes in characters' mentality, which reflects the cultural environment where they live. The provincial subject area in Mardan’s drama and prose seems to create the picture of ‘the little homeland’. The picture shows the association of man and society, also self-awareness formulated by the the local ethno-cultural traditions and natural-geographical environment. Mon, 01 Jan 2018 00:00:00 GMT http://hdl.handle.net/11320/10541 2018-01-01T00:00:00Z http://hdl.handle.net/11320/10540 Tytuł: Художні варіації образу Чорного Моря в ліриці Дмитра Шупти Autorzy: Tkaczuk, Olena Abstrakt: In the article was reviewed marine motifs and artistic originality of lyrics from Dmitry Shupty. Analyzes the poetry collection „Megin (Middle of the summer),” in which comes out very clearly the image of the Black Sea as the basis of artistic conception of the poet. It was found that the studied work typical use „cosmic” images: sky, moon, sun, earth, clouds, forces of different nature, but they are often subject to the philosophical understanding of the world and warning that people should live in harmony with nature, take care of the ecology of the environment. Landscape paintings often have a philosophical meaning. Contemplation of changes in nature grows into a life experience, all this raises philosophical meditation on the transience of human life, loneliness, conscience, evil and good. The very name of poetry „Book of the Sea” focuses on the author's global vision in the stories of anthropological and natural as a whole. The Book of art in a Dmitry Shubty reception – this is nature, universe, the way of implementation of it. In general, the poetry collection „Megin (Middle of summer)” are a kind of mosaic of impressions, moods and feelings, is a kaleidoscope of pictures in motion, each subsequent poetry is like a continuation of the previous one, reveals a facet of the life of the sea, because of that the poems do not seem the same. We observed plenty of scenery, a variety of them by time of day (morning, afternoon, evening, night), they reflect season (spring, summer, autumn, winter), geographic location (bay, estuary, the Black Sea) it show the enormous opportunities for talent of the poet. He, in addition to visual observations of artistic conviction, also uses auditory, tactile, visual and tactile impression. The semantics of the text from author has its own psychological background, philosophy of life, gaining special importance of marine motifs combining with public motifs. Dmitry Shubta often builds his texts circulated parallels of fluidity of human existence and extinction processes of nature. Describing his impressions of Sea forces, by intensifying feelings and imagination, resorting to comparisons, metaphors, epithets produces unexpected associations, which are material for the creation of new poetic meanings. The article notices an application of achievements of realism (which is based on actual Ukrainian mythology) and impressionism. The poet is experimenting over with the tropics, diversification, and uses archetypes, cosmic images. Mon, 01 Jan 2018 00:00:00 GMT http://hdl.handle.net/11320/10540 2018-01-01T00:00:00Z http://hdl.handle.net/11320/10539 Tytuł: Городской текст в художественном мире Семена Кесельмана Autorzy: Spodarets, Nadezhda Abstrakt: The article deals with the collection of poetry „Glass Dreams” (Steklyannye sny) by Semen Keselman – the Odessa poet of the Silver Age – and it focuses on the peculiarities of the author’s conceptualization of the city image and on the literary explication of different urban text models. During his early creative stage Keselman organically included allusive images of the Symbolist Petersburg text in the development of his conception and the textual model of this city. The poem „The City” (Gorod, 1910) is characterized by a balance between content and expression, artistic and aesthetic consistency, meeting the format of the symbolist discourse, though it embodies in the process of text-creation the author’s interpretation of the image of St. Petersburg. While developing the Odessa text model in the poem „In the Red House” (V krasnom dome, 1913) Keselman relied on the decisional in the Silver Age and significantly presented in A. Blok’s poetry image of the city as a product of civilization, which ‘swallows’ humanity and is therefore „alien” to it. But Keselman – as a poet of the modernist consciousness – creatively adapts Blok’s literary prototext images and symbols to the topology and the poetics of his own literary world. Keselman’s Odessa text as well as Blok’s Petersburg text illustrates the existance of the democratic environment; they can be distinguished by the pathos of existence, which is motivated in case of the Odessa poet by the topographic factor of the southern sea and the desire to overcome the universalism of the symbolist world with the daily living factography. By getting involved in the creative dialogue with maitres of the modernist poetic culture, Keselman illustrated the ability to verify his own literary solutions. The analyzed urban texts from the volume of poetry „Glass Dreams” allows us to conclude the signs of the original author’s world. Mon, 01 Jan 2018 00:00:00 GMT http://hdl.handle.net/11320/10539 2018-01-01T00:00:00Z http://hdl.handle.net/11320/10538 Tytuł: Город и море в поэзии Семена Кесельмана Autorzy: Jaworska, Olena Abstrakt: Semen Keselman (pen name Eskess) is one of the writers of Odessa literary school 1920-th years whose name was forgotten for a long period of time. Yury Olesha (1929), Zinaida Shishova (1936), Alexandr Bisk (1947) mentioned the lines from his poetry. In 1977 Valentin Kataev depicted him in his book „My Diamond wreath”. Kataev named Keselman „eskess”, described his life in details and cited the lines of the most well-known poems „Winter engraving”, „Agnessa”, „Saint Nicholas”. After the novel was published Odessa researcher Sergei Luschik restored the biography of the writer and published the book of his poems „Glass dreams” (2013). Semen Keselman was born in Odessa in 1899. He finished the fifth Odessa gymnasium with gold medal and graduated from New Russian University (the faculty of law). In gymnasium he started to write poems and to draw. His first manuscript is dated by 1914. His first poems were published in local newspaper „Odessa mail” (1911). In 1911-1912 he was a contributor of Odessa comic magazine „The Crocodile”. In 1914 Semen Keselman and Petr Pilskii started the circle of young poets. Among the members of the circle were Eduard Bagrickij, Valentin Kataev, Anatolij Fioletov. In that year Keselman’s poems were published in two literary miscellanies „The Sun way” and „Silk lights”. During the Civil War the poet published his poems in next magazines: „he Southern Flicker”, „The Flickers”, „The Figaro”, „Melpomene”. He also participated in literatures evenings. In 1922 he stopped writing poems, explaining that the New Power doesn’t need his poems. He died in 1940. His lyrical poems were signed „Eskess”. In lyrical and in ironic poems the city landscape plays an important role. He described the past of Odessa (side-street Red), and the present (Autumn country-side, The Spring, The night city, The barrel organ). He depicts two contrary images of the city: the past is joyful and bright, the present – slush, sadness, decay and despair. In his ironic poems (In caféshantan, The lyrical stanza, The view from the window – the same picture of vulgarity and sadness. The Sea is opposite to the city. All the poems about the Sea are lyrical and signed „Keselman”. The contrast of the Sea and the city (The evening city, In red House), sea landscape, tragic destinies of the sailors (The Barks, The Ship’s song, The landslide). The most popular poems about the Sea are two poems of the same name „Saint Nicholas” (The serf got subsided, 1913 and Where the miracles on The Black Sea, 1917). Keselman was sure that they are the best. Mon, 01 Jan 2018 00:00:00 GMT http://hdl.handle.net/11320/10538 2018-01-01T00:00:00Z