The subject of this article is The grave stones of contributors o f Lavra (the author means the one in Kiev) which presents epitaphs as one of the characteristic genres of the European baroque literature. Being religiously artistic the baroque epitaph is deeply contextual to the art of the depicted period; it is bonded to the monumental forms of art in the form, and to the Christian ritual of burial - in the content. It is the specific ritualism of epitaph that becomes the source of connotative meanings. The analysis of The grave stones mirrors the whole spectrum of the Ukrainian baroque epitaph characteristics: multilingual versions (poets wrote them in Old Ukrainian as well as in Church Slavonic, ancient Greek, Latin, Old Polish and Old Russian); stylistic peculiarities (epic, lyric and drama); poetic structure. The latter which takes place in a number of texts in The grave stones can be defined as an „epitaph within an epitaph”. The author distinguishes some general patterns of the language of the Ukrainian baroque epitaph: a wide use of Evangelic and antique motifs, antique mythological onomastics, etc.
PL
Przedmiotem analizy w artykule są Nagrobki Fundatorom Laury, epitafia charakterystyczne dla literatury europejskiego baroku. Autorka analizuje je w kontekście ukraińskiego baroku, do chodząc do wniosku, ze w epitafiach ukraińskich spożytkowano motywy biblijne i antyczne.
100-th anniversary of Lesia Ukrainka’s death (1871-1913), which is the great Ukrainian poet, writer and author of poetical drams, was celebrated on 1 August 2013. Her literary works are the objects of research in Polish during more than 120 years. Lesia Ukrainka is reprezented in polish histories of Ukrainian literature, which were written by Bohdan Łepki, Ryszard Łużny, Marian Jakóbiec, Bogusław Mucha, from 1930 to 2000. Florian Nieuważny, Stefan Kozak, Ewa Nikadem-Malinowska, Eulalia Papla, Sylwia Wójtowicz, Marta Reda, Agata Korycka and other had analyzed the chosen aspects of Lesia Ukrainka’s literary works on the second half of XX and on the beginning of XXI century.
Comparative studies devoted to the work of Taras Shevchenko and Mikhail Lermontov began in the 1920s. However, there are still many unresolved problems in this area. An attempt at a comparative psychological-biographical analysis makes it possible to identify the exclusive spiritual kinship of the two poets.
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