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Egocentricism of Borrowings in Lesya Ukrainka’s Letters: Verbalization of Polish Linguoculture

Тетяна Космеда Olena Kowalewska
Slavia Orientalis | 2021 | vol. LXX | No 4 | 873-888 | DOI: 10.24425/slo.2021.138872
Keywords epistolary discourse Lesya Ukrainka’s letters Polonisms types and functions of borrowings
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Abstract

Lesya Ukrainka was well acquainted with Polish culture, spoke Polish, using Polonism in the spontaneous live speech of her epistolary. The writer forms Polonisms as barbarisms, using Latin graphics, actualizes Ukrainianized Polonisms in the Cyrillic graphics of the Ukrainian alphabet; she uses calques and half-calques. She distributes all types of borrowings: phraseological, semantic, lexical, semantic, phonetic, morpheme. There are representatives of all parts of speech among the borrowings: most of them are abstract and specific nouns, adjectives of different lexical and grammatical categories, verbs and adverbs, pronoun forms are rarely used, functional words are infrequently used. Polonisms perform a number of functions, among which (1) nominative – naming Polish realities, (2) expressing coherence through Polish discursive words and expressions, (3) using etiquette formulas to actualize phatic communication, (4) modeling epithets, paraphrases, enantheosemia and other artistic means for the purpose of ornamentalization of the text, (5) use of specific Polish and calqued phraseologies, precedent units, etc. for verbalization of emotions and expression, (6) representation of individual word formation for the purpose of attraction of the text. The writer reflected the natural process of functioning of Polonisms in the Ukrainian language.
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Bibliography


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Authors and Affiliations

Тетяна Космеда
1
ORCID: ORCID
Olena Kowalewska
2
ORCID: ORCID
  1. Вінниця, Донецький національний університет імені Василя Стуса
  2. Poznań, Uniwersytet imienia Adama Mickiewicza

The Gnoseological аnd Ontological Dualism оf Lesya Ukrainka’s The Forest Song

Petro Kraliuk Maksym Karpovets
Slavia Orientalis | 2021 | vol. LXX | No 2 | 331-345 | DOI: 10.24425/slo.2021.137513
Keywords Lesya Ukrainka gnoseology ontology transcendental knowledge civilization and nature
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Abstract

The article examines the gnoseological and ontological dualism of Lesya Ukrainka’s drama‑fairy tale The Forest Song (Лісова пісня) as a way of expressing the writer’s rational‑intuitive cognition of the world. The gnoseological dualism is expressed in the combination of intuitive and transcendent knowledge of the world with a practical, rational approach to the formal side of The Forest Song. This vision reflected the main ideological and intellectual movements of the time that influenced Lesya Ukrainka. The ontological dualism is connected with the dialectic of the civilized (profane) and natural (sacred) worlds, which are interconnected with each other on the basis of harmony and order. In the text, Lesya Ukrainka prefers the natural world, which prevails over the material values of civilization. The researchers suggest that such a philosophical and ideological component of the text is connected with the writer’s biography, in particular her correspondence with intellectuals and writers of that time.
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Authors and Affiliations

Petro Kraliuk
1
ORCID: ORCID
Maksym Karpovets
1
ORCID: ORCID
  1. Ostroh, The National University of Ostroh Academy

Lesya Ukrainka as а Critic of Polish Literature

Rostysław Radyszewśkyi
Slavia Orientalis | 2021 | vol. LXX | No 2 | 317-330
Keywords Lesya Ukrainka Polish literature romanticism populism‑positivism modernism Stanisław Przybyszewski
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Abstract

The article considers Lesya Ukrainka’s analytical and review work (born Larysa Kosacz – 1871‑1913) Notes about the Latest Polish Literature, published in the Russian magazine “Life” (1901, № 1). The writer chose not an analytical, but an analytical‑ironic “tone”, emphasizing the merits of Polish romantic poets headed by Adam Mickiewicz, as well as poets of the “Ukrainian school” of Polish Romanticism along with outstanding positivist writers (Bolesław Prus, Eliza Orzeszkowa, Henryk Sienkiewicz), without limiting these writers to populism, and stating their aesthetic tastes and ideological positions. The author pays most attention to the new Polish poetry, which had awoken “after thirty years of half sleep” in the age of modernism, in which she saw echoes of various “pessimistic movements” of world literature. At the same time, Lesya Ukrainka believed that Polish modernism had also its own ground, its appearance was prepared by the tragic contradictions of the Romantics, the collapse of the Polish szlachta ‘noble‑gentry’ ideals, and the degeneracy of positivist‑populist literature. The author pays most attention to the new aesthetics of Stanisław Przybyszewski and his manifesto of Polish modernism with its slogan of “art for art’s sake”.
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Authors and Affiliations

Rostysław Radyszewśkyi
1
ORCID: ORCID
  1. Kijowski Uniwersytet Narodowy im. Tarasa Szewczenki

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