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EN
In this paper the authors compare the two versions of the poetic dedication to P. A. Vyazemsky written by E. A. Boratynsky, the first one appeared in Pushkin’s “Sovremennik” magazine in 1836, the other one was published in Boratynsky’s book of verse “Sumerki” in 1842, and the untitled poem by V. V. Mayakovsky which appeared first in the book “Ya!” in 1913 and then in “Prostoe kak mychanie” in 1916. The transformations of the poems changed not only the meaning of the text but its function and played an important role in constructing of the artistic entity of the books. The authors pay attention not only to the minor changes of the text but also to the editorial and book printing details which are not less important for the meaning of the whole book.
EN
The article is devoted to the journalistic heritage of one of the most prominent representatives of the Ukrainian community in the South of Ukraine, who is rightly considered a lawyer, translator, bibliographer, compiler of dictionaries, and public figure Mykhailo Fedorovych Komarov (1844–1913). He was the author of over sixty articles in the literary-critical, socio-political, and biographical context. In his works he often reported on his own experience in a particular case. And in these personal comments or recollections elements of memories of the figure are shown. The purpose of this article is to find out what personal memories the Odesa figure contained in his articles, the objective is to identify memories, determine their thematic direction and value. During the research, it was found out that M. Komarov’s journalism mainly concerned the issue of the arbitrariness of the Russian government in relation to Ukrainian culture and book publishing. His testimony, given the small amount of literature published in the late nineteenth century, is important in many political and bibliographic contexts. The coverage of theatrical life, which the activist joined as a spectator and bibliographer, was of popularizing importance, although it also contains some new facts, for example, regarding the desire of the Ukrainian Coryphaeuses Theatre to tour abroad. Among the new facts that reveal articles about the activities of M. Komarov himself: his pedagogical experience and his books were banned by censorship. Various recollections of biographical stories, both in the context of Taras Shevchenko and other figures, convey both the perception of these personalities at the turn of the century and add new evidence of them.
EN
In this paper, I focus on the changed dynamics of the book publisher-reader relationship. I built my argument on the assumption that, in parallel with socio-technological changes, the previous role of book publishers as necessarily invisible workers of Literature has changed. In newly defined public arenas on social networks, publishers discuss their books with readers, share their successes, challenge and persuade each other. The present study is of qualitative design with regard to data and analytical procedure used. That is, I work with pictures and conversations from book publishers’ official profiles on Facebook, as well as information gathered by semi-structured interviews with publishing professionals. In my analysis, I assess the proportion of personalized photos, investigate various ways books are presented, and focus on how publishers address their readers lexically. I offer interpretation regarding which publishers’ strategies could be read as a sign of literary discourse marketization, or its democratization, and why.
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