http://hdl.handle.net/11320/12603 Mon, 01 Jun 2026 19:18:03 GMT 2026-06-01T19:18:03Z http://hdl.handle.net/11320/12671 Tytuł: Одеська тема в творчості Михайла Світлиці Autorzy: Szewczenko, Tetyana Abstrakt: In the article it is told about the book of essays by M. Svitliza Odessa’s essays. Its genre peculiarities are analysed. The author depicts the figures of new and old Odessa, studies their differences by contrast principle the way M. Svitliza sees them. Such types of Odessa people as real, outstanding and infinite are shown. By creating an image of Odessa, the author often calls it either ‘The Perl of Black Sea’, or the southern beauty, or untypically freewheeling, or ‘his’ territory. The analysis of collection „Odessa’s essays” has shown that the texts of Svitliza are full of such forms of irony, as irony denial and epic irony. Often on the base of this appear interesting and unexpected images, which fill up the author’s essays, as, for example, „torn out years” or „philosophy of Privoz”. Sometimes this irony is far from humour, as in the depiction of Greek Square, where the accent is made not on the architectural features, but on the renewal of the square in the XXI century, which according to the author, spoilt the charm of the city centre. Thanks to the accurately picked words for the description of special atmosphere, it is easier to imagine the space, the publicist is describing. However, in most of the cases the author is an optimist, and his irony is oriented on the critics of everything immovable, for example, on the struggle with the stereotypes; his irony can be called ‘epic’ that is ‘an objective subjectivity’. In the collection Odessa’s essays the city Odessa is shown to be a peculiar universum, topos-environment that is able to influence person and form their consciousness. The collection is straightly divided into two parts. Compositional slimness of the book shows the author’s reasoning of placing the elements, the existence of ‘conception’, the principles of uniting the texts, which is a definite sign of the collection’s quality. The image of the city is created both in fictional and publicistic manner. The works of Svitliza are also both documental and fictional. The publicist in his essays contemplates and makes the reader think the same way. And this is not only the wish, good intentions of the author – this is the result of goals, set by the author – to create his own image of Odessa in time and place distance, to show the unique attitude to the city that will always remain for the author ‘his’ city. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11320/12671 2016-01-01T00:00:00Z http://hdl.handle.net/11320/12670 Tytuł: «Голлівуд на березі чорного моря» в інтерпретації митців епохи Розстріляного Відродження Autorzy: Sajenko, Walentyna Abstrakt: The saying about Odessa being «Hollywood on the Black sea shore» is not only stylistic devise and metaphor, but the real image of an outstanding cultural centre, which in 1920’s was known throughout Ukraine for its creative might. Among the three of cultural capitals – Harkiv, Kiev and Odessa – the Southern Palmyre was unusual for being, as it was popular to say, the cinema capital, in which were assembled young and energetic representatives of creative professions − writers, play writers, painters, actors of different generations that wanted to share their knowledge with those who tried to master cinematography. The article studies the role of Odessa as the film making capital in the twenties of the XX century, the image of which was artistically interpreted by Rozstilyane Vidrodzhennya writers and artists. And this professional team urged to symbiotic reform of a new type of creativity, that having taken the best from different esthetical forms – literature, painting, architecture, theatre, ballet, music, photography – created cinematography. Owing blending of professional matters, which was carried on in Odessa mainly by Ukrainian cultural workers wasn’t separated from international influences of multicultural reality of Southern Palmyre. The main in the interpretation of the image of Odessa are the samples of Ukrainian prose and drama, among which the most illustrative are the novel «Master of the ship» by Yyrij Janowski and the lyric drama «Pathetic sonata» and plays “Zoná” and “Patetychna Sonata” by the prominent Ukrainian playwright of the XX century Mykola Kulish. The aesthetic discoveries by Olexander Dovzhenko are also subject to analysis, due to the fact that he started his creative searches in Odessa becoming the founder of poetic cinematography renown all over the world. The central book for the analysis in this article is the novel by Yuriy Yanovskyy in which the Sea and the City become rightful characters. In the novel the place and time of the events described are not mentioned. Odessa film factory in Franzuzkyy Boulevard, hotel “Londonskaya”, described in details downtown streets are depicted in a romantic rather than realistic manner as a city with the capital “C”, a fantastic and mysterious city which is at the same time well-known. The readers face an intricate phenomenon: characters mention real places (island Java and Pao, Genoa, Milan, Berlin), but while speaking and reminiscing are placed beyond the topos, in an abstract City, which has its geographical prototype, but seems to “forget” its name. As analysis and comparison show Ukrainian creative personalities of the twenties were bound by specific atmosphere of friendship and mutual understanding – the friendship of young Mykola Bazhan and Yuriy Yanovskyy, Olexander Dovzhenko and Mykola Kulish, Amvrosiy Buchma and Gnat Yura, Mayk Yogansen and Kostyantyn Paustovkyy, filled with books by Gogol and great expectations. One of the components of Odessa atmosphere was the romance of the sea, which was especially attractive for the inhabitants of the steppe regions, coupled with the youth as the period of love. That is why the article studies differences in the romance of the sea and Odessa atmosphere interpretation in works by the authors mentioned. As it turns out the terminological metaphor of “Hollywood on the Black Sea shore” is justified to the full extent for the understanding of golden age of Ukrainian culture in multicultural surroundings of Odessa and, broader, Ukraine. This metaphor is the symbol of spiritual uplift experienced by Ukrainian culture when exploring the new art – film making in Odessa in the twenties of the XX century. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11320/12670 2016-01-01T00:00:00Z http://hdl.handle.net/11320/12669 Tytuł: Топологія Одеси у часових вимірах в романі Максима Мікліна «Прості речі» Autorzy: Iwanowa-Georgijewska, Nelli Abstrakt: Maxim Micklin novel „Simple Things” is a part of „Odessa” literature and bears the mark of the author's personality. The purpose of this article is to find the mythological structure of the art world of the novel and show how urban toposes filled with meanings that are constituted by residents in different periods of life in Odessa. Maxim Miсklin’s novel embodies mythological understanding of the world order. The image of Odessa is formed as an integral orderly world, as a space. The city world is considered as different regions of the universe that in its turn is being constituted by the consciousness – and not only material things, but the whole set of the ideal life. The Space of the city not only belongs to the reality around characters in the novel but also serves as is an instrument of ordering the outer world. The heroes of the novel walk into the catacombs three times and losing a landmark under ground, each time miraculously find themselves in a different time period: this is the WWII, the beginning of the 60s and 1916 year. They get out of the ground, get to know the city streets, but feel different semantic content of these toposes when the some time events form the historical and cultural space, filling it with different meanings. A variety of meanings can meet, talk, fight or do not recognize each other on the territory of one of the place. The novel reproduces a syncretic universal mythological structure of cosmos, where the space’s vertical layers contain the signs of time, and the time-space always incorporates the order of the human destiny. In the city, which is usually organized as a heterogeneous structure, each of the levels and neighborhoods has its semantics and performs a specific function within the system of the whole. Thus, the Opera House’s roof becomes the sacred center of the world from where we can comprehend all topos and events in a new way. The catacombs do not only embody the archaic idea of Hades, but also implement the events of the World War II into the art world of the novel. Many toposes in the book perform a communicative function: there are different cafes, pubs, Squares, Port as a place of Max’s work in 1916, and so on. And of course, this is Odessa’s yard as a space where certain order formed and validated characters, many of whom are almost gods, determining by their opinions and influences the meaning of the life for all the neighbors. Maxim Miсklin’s novel disclosed communicative function even of such a topos as a public toilet. Another important topos of Odessa in the novel is the sea It is multifunctional, and the au thor feels its semantic diversity and implements it in the novel. Understanding of the space of Odessa by the characters of the novel becomes a way of implementing the way mythologem. In the novel „Simple Things”, a real and a fictional worlds live according to the laws of the traditional carnival atmosphere, in which every event and character can not only acquire a new play, but also be perceived as a celebration of life, which carries the death and rebirth, when the beauty of the space order suddenly opens the horror of the primordial chaos. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11320/12669 2016-01-01T00:00:00Z http://hdl.handle.net/11320/12668 Tytuł: Від топосу до образу одеси в поезії Дмитра Шупти Autorzy: Isajenko, Lubov Abstrakt: W artykule rozpatrywany jest problem obrazowania artystycznego w liryce Dmytra Szupty. Obiektem badań stał się zbiór wierszy Dmytra Szupty zatytułowany Oko kurzego Boga. Jak się okazuje obraz Odessy w twórczości poetyckiej Szupty nie jest stereotypem, lecz jest to zupełnie osobna, własna wizja wchodzenia w świat miasta z jego ulicami i dzielnicami, parkami i portem, bliższymi i dalszymi okolicami. Odesska przestrzeń otwiera się w chwili czystej kontemplacji, która pozwala odnaleźć intymny związek pomiędzy człowiekiem a miastem, prowokuje uczucia liryczne, które żywią się odeską przestrzenią. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11320/12668 2016-01-01T00:00:00Z