Академічний журнал "Слово і Час"最新文献

{"title":"Slovak Views of Ukraine (1880–1914)","authors":"Dana Huсhkova, Valeria Chernak","doi":"10.33608/0236-1477.2019.04.51-63","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.04.51-63","url":null,"abstract":"The Ukrainian themes appeared in the Slovak context of the period 1880–1914 within three thematic lines: 1) the Slavophilic line (a wide complex of ideological, historical, linguistic, ethnological, confessional and cultural issues concerning Russia and Eastern Slavs); 2) the documentary factual line (travelogue narratives); and 3) the literary line (translations of Ukrainian literary works and information about the Ukrainian literary life in the genres of literary journalism). These lines overlapped, but the first one, i.e. ideologically-based line of Slavic solidarity, was the most significant. This line substantially determined the nature of the Slovak views on the Ukrainian religious life, emancipation movement (in correlation ‘Little Russia’ – ‘Great Russia’), institutions, personally witnessed affairs and also the Ukrainian literature. In terms of the conservative national discourse, the Ukrainian independence movement was represented as a manifestation of separatism and the distinct Ukrainian nationality was rejected or questioned. Its acceptance was a matter of the later period. The interliterary contacts were sporadic and occasional. At the beginning of the 20th century, under the influence of the modernization and liberal attitude of the rising generation to the right of self-determination, the Ukrainian literature was primarily perceived as a literature of a close Slavic nation, which was, as well as the Slovak nation, in the position of an oppressed ethnic group lacking its own political independence.","PeriodicalId":413949,"journal":{"name":"Академічний журнал \"Слово і Час\"","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131757215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Controversy and Exhaustion of Postmodernistic Project","authors":"Y. Polishchuk","doi":"10.33608/0236-1477.2019.04.22-29","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.04.22-29","url":null,"abstract":"The main subject of the research in the present article is exhaustion of Postmodernism as a philosophical doctrine and aesthetical practice. Postmodernism failed to become a generally accepted phenomenon in the contemporary Ukrainian literature, which experiences a difficult process of getting out from the colonial dependence. It appeared in Ukraine in 1986–1991 as an answer to the outlook that was popular in the West. The author associates the end of this artistic trend with the events that took place in 2013–2014, when Ukrainian society and Ukrainian culture moved into a new phase of existence. The consequences of these events, reflected in the media, in public opinion and also in literature lead to rejection of the postmodern postulates. The author states that these postulates reveal a clear dysfunction. Postmodern play and general skepticism, as it turned out, not only may show the position of an independent intellectual person, but also be an imitation strategy that conceals a neo-imperial doctrine shown as a liberal project.  Sometimes it’s too difficult to distinguish one manifestation from another. \u0000          Thus, the author defines the boundaries of postmodernism clearly, showing the crash of its basic principles. In the course of time this phenomenon got quite different interpretation, that’s why the whole project now needs a systemic reset. From such point of view, the thesis about the death of postmodernism has its reasons especially in the East of Europe. In the Ukrainian case it looks like a real perspective due to characteristic intersection of time and place (the East of Europe) and puts the western project of postmodernism into a dead end, prompting us to search for alternative worldview and aesthetic models. However, this artistic trend can motivate a modern Ukrainian intellectual in a special way, opening new horizons of comprehending his own epoch.","PeriodicalId":413949,"journal":{"name":"Академічний журнал \"Слово і Час\"","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127868634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reminiscence from Essay by Leo Tolstoy in Taras Shevchenko’s Story","authors":"O. Boron","doi":"10.33608/0236-1477.2019.03.27-33","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.03.27-33","url":null,"abstract":"The paper attempts to prove that Shevchenko’s remark in the story “A Walk with Pleasure and Not Without Some Moral” about the fourth bastion during the defense of Sevastopol in the Crimean War derives from the essay by Leo Tolstoy “Sevastopol in December”, as it has been already supposed earlier. The author of the paper focuses on Shevchenko’s awareness of the works by Tolstoy investigating if the Russian magazines in which the works of the Russian prose writer were printed belonged to the reading scope of the Ukrainian writer. \u0000As L. Khinkulov’s version saying that the publication of “The Tale of the Sorrow-Evil” in the journal “Sovremennik” (1856, No. 3) served as the source of Shevchenko’s series “Parable of the Prodigal Son” has been reasonably rejected, the Ukrainian poet’s awareness of the story by Tolstoy “Snowstorm” printed in the same issue may be considered only as hypothetical. Bolshakov's statement that Shevchenko, while writing the story, drew the material from the direct participants of the Crimean War is denied: when he met them in Astrakhan in 1857, the first version of the work had been already written. The publication of the essay by Tolstoy in the newspaper “Russkiy invalid” also could not be the source of the reminiscence, as it contained only the first part where the bastion was not discussed. \u0000The author of the paper comes to the conclusion that the epithet ‘strashnyi’ (‘terrible’), used twice in Shevchenko’s story (the second time – in the comparative degree) and at least 4 times in different forms in the essay by Tolstoy, is the key to connecting Shevchenko's phrase with the essay “Sevastopol in December”. According to the researcher, this word came into the poet’s mind while reading the essay in “Sovremennik” and association emerged when he mentioned the fourth bastion in his story. Shevchenko thus enriched his own narration with additional associations and semantic overtones, freeing himself from the need of using detailed descriptions and explanations.","PeriodicalId":413949,"journal":{"name":"Академічний журнал \"Слово і Час\"","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133371155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cultural Transfer as New Methodology of Comparative Research on Cooperation of Cultures","authors":"Halyna Syvachenko","doi":"10.33608/0236-1477.2019.03.71-81","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.03.71-81","url":null,"abstract":"A theory of cultural transfer was the branch of comparative literary criticism, although this theory declared its sharp opposition against the mentioned tradition of study. The comparative studies in humanities are based on the ideas of specificity of every culture, even when one deals with the influence of one culture on another. Instead of this approach, the theory of cultural transfer promotes not only a simultaneous study of several cultural and national spaces but also a research on disseminations and transformations that appear at any rapprochement between cultures both in an influential culture and in a perceiving one. Consequently, it is not the binary opposition that must be taken into account in cultural transfer but two cultures, one of which is necessarily comprehended as a culture-recipient, although the whole scheme is much more complicated. Any transition from one cultural space into another easily may cause some transformation. \u0000Other ‘new element’ in the theory of cultural transfer is positioning the study of a cultural space periphery, i. e. connections with alien cultural space that every culture necessarily supports, in a center. This approach demonstrates that any phenomenon, no matter how specifically national it may be, actually is a complicated alloy of different cultures and influences. \u0000The objects of cultural transfer include the history of translation. Another priority direction is a comparative study of the national forms of comparativism related to the history of intellectual and spiritual relations between different countries and nations. During the transfer from one cultural situation into another any object gets into another context and acquires a new meaning. \u0000As focus of attention of a theory and studies of translation was shifting to the context of creation, operation and perception of translations, the research on the translated texts increasingly crossed the boundaries of the related disciplines that enabled learning this context – sociology, comparative studies, economics, history, cultural studies. The scholars aim to indicate the ways of manipulating the readers via translation, to explicate interests and values brought with every translation, to show how it forms the culture-receiver and values of society. The most attention is paid to the issues of ideology, economy and politics, the problems of ethnic responsibility of the translator. The object of cultural translation studies is the text in the system of literary and extra-literary meanings within the initial and receiving cultures. Cultural theory of translation raises the question of cultural prestige of the selected texts and determines the basis of this selection, the principles of forming and changing their status. One may focus also on the role of the commentator as an intermediary between the translator of the text and the readers to whom the translator wants to make his way through.","PeriodicalId":413949,"journal":{"name":"Академічний журнал \"Слово і Час\"","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127888577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shevchenko’s Grateful Readers from Dnieper Ukraine: Volodymyr Antonovych and Mykola Lysenko","authors":"R. Kharchuk","doi":"10.33608/0236-1477.2019.03.33-41","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.03.33-41","url":null,"abstract":"This paper outlines the portrait of Shevchenko’s reader from the Dnieper Ukraine in the first half of the 19th century based on the example of two prominent figures of Kyiv (Old) “Hromada” Volodymyr Antonovych and Mykola Lysenko. The first one represented the intellectuals from the Right Bank Ukraine, the second one ‒ from the Left Bank part. Under the influence of the Ukrainian national renaissance Volodymyr Antonovych became de-Polonized. He was the first political Ukrainian who understood the significance of Shevchenko’s poetry for the formation of Ukrainian national identity (this is evidenced by his memoirs and promoting Shevchenko’s works). According to M. Starytskyi, Mykola Lysenko perceived “Kobzar” passionately. Not only did he become de-Russificated under the influence of Shevchenko’s poetry, but also made the music to “Kobzar” a matter of his life. \u0000The author of the paper emphasizes that Shevchenko’s works urged the intellectuals from the Right and Left Bank Ukraine, disconnected after the Truce of Andrusovo, to unite in “Hromada” movement. At the same time the Left Bank intellectuals dominated in “Hromada”. On the researcher’s opinion, this fact may be explained by the high level of education in the Cossak Hetmanate Ukraine. “Kobzar” was a cornerstone for the educational program of Ukrainian ‘narodnyks’ and this whole intellectual movement was based on it. Shevchenko’s works essentially contributed to spreading the Ukrainian idea in Galicia. \u0000There is an opinion, that it was the Galician people who separated the Ukrainian national identity from Russian, while in the Left Bank Ukraine both of these identities coexisted. The author of the paper believes that the intellectuals in both parts of Ukraine in 1860s-1870s had an indistinct national identity. Unlike the Galicians the intellectuals from Ukraine under Russian rule, in particular Volodymyr Antonovych, could not speak openly about Ukrainian self-sufficiency. However Shevchenko (born in the Right Bank Ukraine) was first among Ukrainian intellectuals to voice a thesis about the separation of Ukrainians from Russians, about the distinctive Ukrainian history, language and literature that differ from the Russian ones.","PeriodicalId":413949,"journal":{"name":"Академічний журнал \"Слово і Час\"","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123019771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Aeneid” by Anatolii Bazylevych: Picturesque Mythologization of Poem by Ivan Kotliarevskyi","authors":"Valentyna Narivska","doi":"10.33608/0236-1477.2019.03.92-103","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.03.92-103","url":null,"abstract":"The article analyzes 120 drawings by A. Bazylevych, the outstanding Ukrainian artist of the 20th century, created for the editions of “Aeneid” by I. Kotliarevskyi in 1969 and 1970. The subject matter is a look at the drawings in the status of a picturesque author’s myth. The skill of ‘visual intelligence’ of the artist is demonstrated in the picturesque original reading of the poem by  Kotliarevskyi as a phenomenon of the Baroque with expressive literary methods of ‘image turning’ that contributed to this process and acquired the significance of historical and literary classics. The assumption as for the artist’s mastering of the Baroque concept of Chyzhevskyi that was popular in the 1960s as well as the single-stage development of the Italian-Ukrainian culture of laughter (according to M. Bakhtin) and appreciation of picture poesis (poetry as painting, according to L. B. Alberti) are suggested. This interaction lined up the picturesque myth of Bazylevych through the artistic transformation techniques of ‘image turning’, burlesque travesty of ‘booklore’. This produced the formation of the mythological image of Aeneas as a ‘black knight’ (in the edition of 1969) in the traditions of Western European literature. The view of life through mythological red colour founded by the legendary book cover reveals the content of the ‘red Aeneas’, being signified with red clothing items, shoes, and above all the red Cossack heraldry on the flag, combining Aeneas with Trojan-Cossacks, representing the ‘red world’. Aenei-myth is considered as a Cossack Sorcerer due to the suffix specificity of H. Cohen and physical plastic with folk content that unite the Trojans-Cossacks with the gods.","PeriodicalId":413949,"journal":{"name":"Академічний журнал \"Слово і Час\"","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114980410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ivan Franko’s Sketch of Drama “To Brazil”: from History of Unfinished ‘Emigrational’ Text","authors":"M. Hnatiuk, O. Shostak","doi":"10.33608/0236-1477.2019.03.53-64","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.03.53-64","url":null,"abstract":"The paper provides an analysis of I. Franko’s unfinished drama “To Brazil” that deals with the first wave of the Ukrainians’ emigration, especially events of Brazilian Rush in 1895–1897. Since the literary text is based on important historical process, the authors characterize the special features of emigration from East Halychyna to the South American country at the late 19th and early 20th centuries. The research explores I. Franko’s participation in emigration movement and outlines the background of the author’s interest in creating literary work on the theme of emigration. Franko’s sketch of emigrational drama is not lengthy. It contains the list of characters, the author’s stage instruction describing the place of the first action (tavern), the first scene, and the beginning of the second. However based on the first fragment the features of conflict between two contrary characters’ groups are already noticeable. These groups are presented by peasants as eventual emigrants and their antagonist agent Podorozhnyi who acts in cooperation with a subagent Jew renter Moshko. It looks like in the play “To Brazil” the writer intended to highlight only key issues of the problem, in particular the emigrational agitation. Franko’s unfinished drama about the emigration contributed to appearance of the poetic cycle “To Brazil” (1896–1898) where its traditional topoi became somewhat transformed (the characters of peasants-emigrants, the agent, the Jewish subagent, archduke Rudolf, and motive of cheating). The mentioned cycle has an evident theatrical tone due to the dominance of role characters in lyrics. However, in the authors’ opinion, the drama, if it had been finished, could have offered more significant psychological analysis and enriched the presentation of Brazilian discourse in I. Franko’s literary works about emigration. \u0000I. Franko’s unfinished drama is interpreted not only within the author’s ‘emigrational’ text but also in the general context of the Ukrainian literature at the turn of the 19th and 20th centuries dealing with emigration in Brazilian direction (L. Lopatynskyi’s dramas “Mother-in-law” (1899) and “To Brazil”; A. Chaikovskyi’s story “Brazilian Welfare” (1896); T. Borduliak’s short story “Ivan the Brazilian” (1899); D. Markovych’s short story “Brazilians” (1896), etc.). The mentioned works have their basis in traditional narrative with its fixed images (agent, emigrant, homeland, outland) and motives (departure agitation, travel obstacles, hard work abroad, comeback).","PeriodicalId":413949,"journal":{"name":"Академічний журнал \"Слово і Час\"","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132500210","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Genealogy of Shevchenko’s mother Kateryna Boyko","authors":"Halyna Karpinchuk","doi":"10.33608/0236-1477.2019.03.3-26","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.03.3-26","url":null,"abstract":"The article explores the genealogy of Shevchenko’s mother Kateryna Boyko based on archival materials of the Central State Historical Archive of Ukraine in Kyiv, the State Archive of Kyiv Region and the State Archive of Cherkasy Region. The author investigated this family tree starting from the end of the 18th century and until 1859, when Shevchenko visited Ukraine for the last time. In particular, the history of the poet’s family in connection with his grandfather Omelian Boyko was analyzed. The assumption that family line of Shevchenko’s mother originates from Carpathian rebel and contemporary of Oleksa Dovbush Ivan Boyko was rejected. Some details about the closest relatives of T. Shevchenko, namely his uncle Pavlo, aunts Dariya, Yevdokiya and Anna, have been clarified. Information about two unknown writer’s aunts Varvara and Motria has been found. \u0000The assertion that the mother’s family line lacked descendants was refuted. The surnames in marriage of the five Shevchenko’s aunts, having maiden surname Boyko, have been determined. They were Varvara Kryvenko, Motria Zavaliy, Dariya Diachenko, Yevdokiya Diadenko, Hanna Shkurup. By now we have information about forty nine poet’s cousins, seventy four nephews and three great-grandchildren of his aunts. The comprehensive analysis of the archival materials allows the researcher to deny the existence of Ahafiya Yakymivna Boyko, the alleged poet’s mother according to some media reports. \u0000The article also refers to the administrative structure, nature and geography of the village Moryntsi in the first half of the 19th century. The life of Ukrainian peasants is discribed based on the story “Kniahynia” (“Princess”) by T. Shevchenko as well as archival documents and research works by V. Hrabovetskyi, V. Orlyk, L. Pohylevych, O. Stepanyshyna.","PeriodicalId":413949,"journal":{"name":"Академічний журнал \"Слово і Час\"","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127935531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Parabolic Structure of Essay/Short Parable Story “Za Hotar” by Olha Kobylianska","authors":"V. Antofiichuk","doi":"10.33608/0236-1477.2019.03.65-70","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.03.65-70","url":null,"abstract":"The paper deals with the story “Za hotar” (“Beyond the Boundary”) by Olha Kobylianska from the point of view of modernist sacral aesthetics, since, as it has been observed, its architectonic structure comprises the parable of the Good Samaritan. It is proven that the relationship between the parable and the story is displayed at different levels of the literary text. \u0000The plot of the story “Za hotar” has many obvious parallels with the Christ’s parable, down to the coincidences in the image of a merciless priest. The modernist sacral perspective of the literary work by Olha Kobylianska makes it possible not only to observe the presence of hidden signs of the New Testament parable, but also to interpret the possibility of a genre shift. This procedure allows denoting this literary work not as an essay, but as a short story, since the parable of the Good Samaritan has a characteristic feature of a short story (its main idea is represented in showing mercy by one of the Samaritans, who in biblical times were considered as people lacking any sympathy towards strangers). \u0000The work by Olha Kobylianska provides an extremely powerful and philosophically deep insight. The plot includes the death of a daughter. On the one hand, it is perceived as quite substantiated (the child ran outdoors undressed in winter), but in terms of the mystical perspective it becomes a symbol of Christian mercy, or even a Christian self-sacrifice. \u0000Thus, the literary work “Za hotar” by Olha Kobylianska is based on the architectonical ground of the parable about the Good Samaritan. From the realistic perspective it may be interpreted as an essay revealing the mental traditions, everyday life, ideological foundations of the Bukovynian village contemporary for the writer. Although it becomes a parable in the modernist sacral perspective, which hides the fundamental gospel basis behind a realistic plot.","PeriodicalId":413949,"journal":{"name":"Академічний журнал \"Слово і Час\"","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130685441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“And the Word of Truth and Love” (Shevchenko’s Truth and its Christian Essence)","authors":"V. Yaremenko","doi":"10.33608/0236-1477.2019.03.42-52","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.03.42-52","url":null,"abstract":"The paper focuses on the motive of truth and its unique representation in the works by Taras Shevchenko. The topicality of the issue is explained by the needs of its deeper exploration in the context of present time when the term “post-truth” appeared and informational war is going on. Using abundant references to Shevchenko’s and biblical texts, the researcher indicates the features that characterize “truth” in Shevchenko’s works as a basic concept with Christian meaning. In particular, the word “truth” is often used by the poet with such lexemes as “light”, “love”, “glory”, “power”, “will” that involve a strong association with God in the Bible. According to the researcher, Shevchenko’s texts contain obvious and direct indications proving that the poet understood truth as Christ Himself or His teaching revealed in Gospel explanations.The analysis provides considerations which may help to interpret Shevchenko’s works or some fragments in them. In order to show the unequivocal Christian understanding of the category of truth by Shevchenko the author repeatedly refers to the thoughts of Christian theologians. Shevchenko’s “truth” is likened to the concept “will” in the sense of personal and social freedom, but even more it means the Christian freedom of choice for a man and related human efforts and actions. A powerful motive of sacrifice in Shevchenko’s works testifies that he noticed the essential feature of the Christian religion which was reflected in the definition of truth. The paper has a comparative nature as it gives the examples of using the word/concept of truth by Shevchenko’s predecessors. The poet’s attitude towards truthfulness as a virtue is also considered. Based on the diary entries and correspondence of Shevchenko, as well as the memories about the poet, the researcher tries to explore how much this virtue was inherent to him. Shevchenko’s historiosophy is also taken into consideration. The conclusions explain why Shevchenko filled the concept of truth with the Christian content exactly.","PeriodicalId":413949,"journal":{"name":"Академічний журнал \"Слово і Час\"","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130665026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}