Suchergebnisse

The present article aims to examine the Black Sea / Kuban Cossacks' songs as one of the most important historical sources, which allows us to understand the important aspects of the history of the North Caucasus Ukrainian people'. This is primarily due to the new challenges needed to study the evolution of their identity, certain features of the mentality, and "survival strategies" characteristic for the Ukrainian population in the region. New questions put by historians require expansion of sources where song tradition, folklore, etc., can become invaluable material for comprehension and interpretation of the new understanding of the history process. The authors have based on the fact that in recent times there have been a fundamental change of attitude towards scientific issues and accordingly to sources, which scientists were based on. Strict approaches and requirements to sources which historians relied on during the period of "positivism" have become much more flexible and spread to the analysis of art, culture and folklore of certain social groups and historical periods. It has become possible to find new approaches to solving problems of scientific research and expand the range of issues which can already be answered. One of the unexplored phenomena, yet barely covered in the domestic science is the history of Ukrainian communities of the North Caucasus (Kuban) area. The authors propose to consider the peculiarities of mentality of this community through the prism of song tradition of the Black Sea / Kuban Cossacks that played a crucial role in all spheres of life.Besides, the features of song traditions of Ukrainian Cossacks (worth noting the important role of folk choreographic culture - Cossack dance) which react very quickly to current events of certain historical periods allows us to consider it as a very important indicator of community' response to new circumstances (social, economic, ideological) in which the community was. The approach enables us to view features of "history of mentalities" of the Ukrainian community in the region much more than focusing on official documents and political declarations. ; В статье рассматриваются песни черноморских/кубанских казаков как один из важных исторических источников, позволяющих понять важные аспекты истории украинского населения Северного Кавказа. Прежде всего это связано с новыми проблемами, которые необходимо решить для исследования эволюции идентичностей, особенностей менталитета и определенных "стратегий выживания", характерных для украинского населения этого региона. Новые вопросы историков требуют, соответственно, расширения источниковой базы, в которой песенная традиция, народные танцы, фольклор и т. д. могут стать бесценным материалом. По мнению авторов, песенная традиция украинских казаков, которая достаточно оперативно реагировала на актуальные события определенных исторических периодов, позволяет рассматривать ее как чрезвычайно важный показатель реакции сообщества на новые обстоятельства (социальные, экономические, мировоззренческие), в которых это сообщество оказалась. ; У статті розглядаються пісні чорноморських/кубанських козаків як одне з важливих історичних джерел, що дозволяють зрозуміти важливі аспекти історії українського населення Північного Кавказу. Насамперед це пов'язано з новими проблемами, які необхідно вирішити для дослідження еволюції ідентичностей, особливостей менталітету та певних "стратегій виживання", характерних для українського населення цього регіону. Нові питання істориків вимагають, відповідно, розширення джерельної бази, в якій пісенна традиція, народні танці, фольклор тощо можуть стати безцінним матеріалом. На думку авторів, пісенна традиція українських козаків, що досить оперативно реагувала на актуальні події певних історичних періодів, надає можливість розглядати її як надзвичайно важливий показник реакції спільноти на нові обставини (соціальні, економічні, світоглядні), в яких ця спільнота опинилася.

The article offers an analysis of previously unpublished folk wedding songs collected by the employees of the Donetsk Centre for Ukrainian Culture and Literature during the expedition to the Krasnodarskiy kray. Apart from texts of songs, the author singles out and examines common East Slavonic elements of wedding rituals and specific local features that are unique in Malynovi klyn. The scholar believes that despite complicated conditions and social, historical and political changes which have taken place in Russian Kuban' in the recent two hundred years, local Ukrainians persevere in national traditions and memory about the past of their ancestors. Traditions of Ukrainian wedding culture are also well preserved and passed on to following generations. Key words: wedding songs, wedding, ritual, Kuban'. ; У статті проаналізовано досі неопубліковані народні весільні пісні, які зібрали працівники Донецького центру української культури і літератури під час експедицій до Краснодарського краю. Окрім пісенних текстів, виділено та розглянуто спільні східнослов'янські елементи весільної обрядовості та специфічно місцеві, характерні тільки для Малинового клину. Дослідниця вважає, що попри складні умови для існування, соціальні, історичні, політичні зміни, які відбулися на території російської Кубані за двісті років, місцеві українці продовжують зберігати національні традиції та пам'ять про минуле своїх предків. Добре збереглися і традиції української весільної культури, які передають від покоління до покоління. Ключові слова: весільні пісні, весілля, обряд, Кубань.

Подается история создания одного из самых популярных произведений П. Чубинского. Среди множества научных трудов, которые оставил после себя Павел Чубинский, особой бессмертной славы он заслужил созданием торжественной песни борцов за свободу, которая за полтора века стала Государственным гимном независимой Украины. ; Problem statement. The fortune of many patriotic songs is very similar to the fortune of Ukrainian nation. Every time when the nation revived, its dongs revived and resurrected as well. When Ukrainian nation was depressed with bondage, spiritual slavery, the national soul also got silent although never died. Many various patriotic songs continued their existence illegally, always filling the hearts of Ukrainians with hopes for better future. A song is the soul of the nation, national anthem is the highest appearance of its freedom-loving desires, spiritual-patriotic aspiration. Having lost its greatness of authority, Ukraine had not had its national anthem for several centuries; patriotic songs, often of regional character, which did not cover the fortune of the entire nation divided by the borders of Austro-Hungarian and Russian empires, had replaced it. Analysis of publications. National-spiritual heritage by P.Chubinski has been explored by different scientists, for instance, A. Zil'[1], V. Miyakovski[4], N.Ship[6], I.Kolyada[2] etc. The period when P. Chubinski lived and worked is qualified by scientist as the second stage of Ukrainian national revival. Ukrainian intellectuals established linkage between the prospective of Ukrainian liberate movement and the necessity of self-identification of Ukrainians through establishing uniqueness of the language and culture of Ukrainian nation. Pavlo Chubinski was a lawyer by profession, ethnographer, poet and folklorist by calling, passionate patriot by convictions. Bright manifestation of patriotic-national feelings of Ukrainians of our united land was appearance of the poem by Pavlo Chubinski «Shche ne vmerla Ukrainy» (Ukraine Has Not Yet Died). There is no other piece of writing in the Ukrainian literature with such a magnificent and tragic fortune. Magnificent because it embodied the eternal dream of the nation to become sovereign, obtain freedom; it reflects the unbeaten belief in Ukraine's revival. Tragic because for more than a century the anthem-song was persecuted, forbidden. They tried to kill it but did not manage to. Creation of Ukrainian anthem rises from the beginning of the autumn 1862. The reason to remember all these old events is the recent event of the international scale. On 30 September 2013 UNESCO World Heritage Centre recognized Ukrainian anthem as the best in the world. It was informed by Interfax-Ukraine referring to the UN News Centre [http://www.un.org/russian/news/]. The rating included national anthems of 193 countries of the world. The anthem of Ukraine won the first place in the general rating. Four characteristics were considered, in two of which Ukrainian anthem got the highest point. They are euphony and harmonious combination of musical and lyrical parts. High point was also obtained for originality of musical decision and integrity as well as for content-richness of the text. Ukraine was the only European country in the top-five, in general in the top-ten best national anthems there were included the ones of New Zealand (2 place), South Africa (3 place), Australia (4 place), the USA (5 place), Canada (6 place), the United Kingdom of great Britain and Northern Ireland (7 place), Spain (8 place), France (9 place) and Japan (10 place). This year Ukraine and Ukrainians celebrate 150 anniversary of the prominent poet who presented us the magnificent piece of art, which has become the symbol of uniting the state. At last under the influence of alarming events every Ukrainian citizen perceived the immortal text as the symbol of freedom, will and new hopes. It is pleasant to watch all the Ukrainian people singing the anthem of their country. Today in conditions of formation of democratic state the anthem of Ukrainian state became uniting factor, the patriotic element without which any country of the world cannot exist. Therefore, among numerous works in Pavlo Chubinski's heritage the one, which brought him the immortal fame, was creation of solemn song of fighters for freedom that for a century and half has become the National Anthem of independent Ukraine.

Problem statement. The fortune of many patriotic songs is very similar to the fortune of Ukrainian nation. Every time when the nation revived, its dongs revived and resurrected as well. When Ukrainian nation was depressed with bondage, spiritual slavery, the national soul also got silent although never died. Many various patriotic songs continued their existence illegally, always filling the hearts of Ukrainians with hopes for better future.A song is the soul of the nation, national anthem is the highest appearance of its freedom-loving desires, spiritual-patriotic aspiration. Having lost its greatness of authority, Ukraine had not had its national anthem for several centuries; patriotic songs, often of regional character, which did not cover the fortune of the entire nation divided by the borders of Austro–Hungarian and Russian empires, had replaced it.Analysis of publications. National-spiritual heritage by P. Chubinski has been explored by different scientists, for instance, A. Zil' [1], V. Miyakovski [4], N. Ship [6], I. Kolyada [2] etc.The period when P. Chubinski lived and worked is qualified by scientist as the second stage of Ukrainian national revival. Ukrainian intellectuals established linkage between the prospective of Ukrainian liberate movement and the necessity of self-identification of Ukrainians through establishing uniqueness of the language and culture of Ukrainian nation. Pavlo Chubinski was a lawyer by profession, ethnographer, poet and folklorist by calling, passionate patriot by convictions.Bright manifestation of patriotic-national feelings of Ukrainians of our united land was appearance of the poem by Pavlo Chubinski «Shche ne vmerla Ukrainy» (Ukraine Has Not Yet Died). There is no other piece of writing in the Ukrainian literature with such a magnificent and tragic fortune. Magnificent because it embodied the eternal dream of the nation to become sovereign, obtain freedom; it reflects the unbeaten belief in Ukraine's revival. Tragic because for more than a century the anthem-song was ...

Over the centuries, genres and forms that highlight society's fundamental problems and needs have been developed in the Ukrainian culture. The prolonged absence of independence and difficult political circumstances in the life of the Ukrainian ethnic group led to the distinction of national and patriotic themes in various artistic manifestations. This is especially evident in folk songs and legends, which are well remembered and most quickly passed on in oral practice. With the development of musical art, the spiritual song also developed. The process of inception and development of spiritual songs in Ukrainian culture was long-lasting. The most powerful stage fell on the Baroque era; however, even after the decades of Romanticism, the spiritual music remained an essential component of Ukrainians' national religious and musical culture. This was probably due to the intimacy of the form to the ordinary folk songs and the current content, which reflected the pressing problems of society, the most important historical events, and liturgical holidays or Christian symbols. Therefore, the article deals with some aspects of the content of Ukrainian spiritual songs of the 17–18thcenturies. For the analysis were selected such songs: spiritual songs "Zlyi Tataryne" ("Evil Tatar"), written not later than the third quarter of the 17thcentury, and "Veselo Spivaite, Chelom Udariaite" ("Sing Merrily, Hit with Your Forehead"), written in the late 17th– early 18thcenturies. These two songs are the most common examples of prayers to God, saints, and the Mother of God for intercession from conquering neighbors and Arians. The appeal to the Holy Virgin, glorified in one of the spiritual songs as "The Immaculate Virgin, Mother of the Ruthenia", was significantly often heard.1And this tradition was established in the poetic texts of Christian hymnography. It was found that spiritual songs combine religious and historical motives aimed at reflecting social needs alongside traditional prayers. The analysis of the selected songs is carried out, indicating the lexical parallels of hymnography chants and spiritual songs. This emphasizes the continuity and relevance of the liturgical chant practice in the Baroque era. Thus, the Ukrainian culture combined the traditions of ritual church services and the Western European Catholic-Protestant experience of spiritual chants. This emphasizes the importance of the Ukrainian spiritual song in the national artistic treasury. ; У статті розглянуто окремі аспекти змісту українських духовних пісень XVII–XVIIІ ст. Виявлено, що в окремих піснях поєднуються релігійні та історичні мотиви, спрямовані на відображення суспільних потреб поруч із традиційними молитовними зворотами. Підкреслено роль духовної пісні у педагогічно-виховному контексті, що особливо важливо в контексті тяглості музично-поетичних текстів від бароко до середньовіччя. Відтак проведено аналіз вибраних пісень, який свідчить про лексичні паралелі гимнографічних піснеспівів і духовних пісень. Підкреслено тяглість і актуальність в барокову добу півчої літургійної практики. Це зумовило поєднання в українській культурі традицій обрядових богослужінь і західноєвропейський католицько-протестантський досвід духовного співу. В такий спосіб увиразнено і обґрунтовано вагомість української духовної пісні в мистецькій національній скарбниці.

Over the centuries, genres and forms that highlight society's fundamental problems and needs have been developed in the Ukrainian culture. The prolonged absence of independence and difficult political circumstances in the life of the Ukrainian ethnic group led to the distinction of national and patriotic themes in various artistic manifestations. This is especially evident in folk songs and legends, which are well remembered and most quickly passed on in oral practice. With the development of musical art, the spiritual song also developed. The process of inception and development of spiritual songs in Ukrainian culture was long-lasting. The most powerful stage fell on the Baroque era; however, even after the decades of Romanticism, the spiritual music remained an essential component of Ukrainians' national religious and musical culture. This was probably due to the intimacy of the form to the ordinary folk songs and the current content, which reflected the pressing problems of society, the most important historical events, and liturgical holidays or Christian symbols. Therefore, the article deals with some aspects of the content of Ukrainian spiritual songs of the 17–18thcenturies. For the analysis were selected such songs: spiritual songs "Zlyi Tataryne" ("Evil Tatar"), written not later than the third quarter of the 17thcentury, and "Veselo Spivaite, Chelom Udariaite" ("Sing Merrily, Hit with Your Forehead"), written in the late 17th– early 18thcenturies. These two songs are the most common examples of prayers to God, saints, and the Mother of God for intercession from conquering neighbors and Arians. The appeal to the Holy Virgin, glorified in one of the spiritual songs as "The Immaculate Virgin, Mother of the Ruthenia", was significantly often heard.1And this tradition was established in the poetic texts of Christian hymnography. It was found that spiritual songs combine religious and historical motives aimed at reflecting social needs alongside traditional prayers. The analysis of the selected songs is carried out, indicating the lexical parallels of hymnography chants and spiritual songs. This emphasizes the continuity and relevance of the liturgical chant practice in the Baroque era. Thus, the Ukrainian culture combined the traditions of ritual church services and the Western European Catholic-Protestant experience of spiritual chants. This emphasizes the importance of the Ukrainian spiritual song in the national artistic treasury. ; У статті розглянуто окремі аспекти змісту українських духовних пісень XVII–XVIIІ ст. Виявлено, що в окремих піснях поєднуються релігійні та історичні мотиви, спрямовані на відображення суспільних потреб поруч із традиційними молитовними зворотами. Підкреслено роль духовної пісні у педагогічно-виховному контексті, що особливо важливо в контексті тяглості музично-поетичних текстів від бароко до середньовіччя. Відтак проведено аналіз вибраних пісень, який свідчить про лексичні паралелі гимнографічних піснеспівів і духовних пісень. Підкреслено тяглість і актуальність в барокову добу півчої літургійної практики. Це зумовило поєднання в українській культурі традицій обрядових богослужінь і західноєвропейський католицько-протестантський досвід духовного співу. В такий спосіб увиразнено і обґрунтовано вагомість української духовної пісні в мистецькій національній скарбниці.