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In the article Leanid Galubovich’s collection of poems “З гэтага свету” is analyzed. Their deep semantic content results from a dialog with the Bible. Various forms of perception of biblical material (poems directed to God, interpretation of biblical plots, motifs and images) are discussed.
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In the context of the study on dynamic typology and dialectal features of Belarusian folk songs, the paradigm of texts relating to the episode when the Bride parts with her parents is considered here. Such texts have the same lexical and poetic basis; are characterized by common type of incipit in different variants. All of these texts depict an dramatic for the Bride moment of “intrusion” into her backyard “an alien” family – the Groom’s family. Different versions of this incipit have been noticed within the large territory of Belarus and on the frontier (Latvia, Poland). Structural transformations of this type of incipits are manifested by reduction or, quite the opposite, by adding (affixation) syllables in verses. It is conditioned by non-verbal semantics expressed through vocalic rhythmic – the superiority of recitation elements or motor and somatic dynamics. Expansion of an incipit verses by adding to the initial word its rhymed synonym is also a typical phenomena. Diachrony of a given paradigm texts is also revealed by comparing the texts related thematically to the wedding moment mentioned above. A large number of these texts are abridged versions (a middle and a final part) of full texts of paradigm in question. A song in the abbreviated version begins with the culminative part and omits the metaphorical and descriptive initial part (such transformations can be observed in the periphery districts of a radical area). Accordingly, in such a case a different stanza fulfills the incipit function. The method of dynamic typology is applied while analyzing various texts that belong strictly to the same syllabic and rhythmic paradigm. It is a promising approach to study on linguo-musical dialects and diachronic changes in folk song language.
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In the article the philosophical problems of the classical and modern Belarusian dramaturgy are analyzed. The author reveals continuity and distinctness of aesthetics of a new generation of authors. She also analyzes the features of a director’s drama reading in modern Belarusian theater: directors preserve the tradition of psychological realism, develop the forms of national metaphorical theater, make use of the elements of post-dramatic theater.
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The article explores an artistic heritage of Nikolay Platonovich Kreydzich (1873–1938) – Belarusian priest and writer, born in the town of Myelnik. His name is practically unknown to a modern mass reader, but undoubtedly he and his literary works deserve special attention and study.
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The article discusses modifications in structures with omission and repetition of language components, common in the poetic works of the national poet of Belarus Maxim Tank and honored worker of culture in Poland Victor Shved. Incomplete simple sentences and compound parts of complex sentences with contextual omission of syntactic positions of subject and predicate, as well as constructions with repetition of a single word expressed by nouns, pronouns, adjectives, verbs and adverbs are analyzed.
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Przedmiotem artykułu jest oddziaływanie czynnika biograficzne go na twórczość literacką Łesi Ukrainki (1871-1913), a mianowicie his toria jej kontaktów z wpływowym działaczem rosyjskiej socjaldemokra cji na początku XX w., Białorusinem Siarhejem Mierżyńskim. Na tym tle analizowane są marksistowskie wątki w poezji oraz światopoglądzie pisarki. Wiele uwagi poświęca autorka społeczno-ideowym poglądom Ł. Ukrainki, w szczególności jej stosunkowi do tzw. rewolucji seksualnej. Obiektem analizy literackiej są wybrane, związane z pobytem Ł. Ukrainki w Mińsku, teksty liryczne.
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This paper shows the project of the Polish-Multilingual dictionary of False Friends of a Trans-lator. Such kind of a dictionary has never been made before. It is the first project of a dictionary of this type, including numerous examples from 14 languages. Some Polish-Belarusian interlingual homonyms have been described in detail in the article.
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The Author of the article is taking over the meaning of the words талерантнасць (eng. tolerance), памяркоўнасць (eng. reasonableness), цярплівасць (eng. patience), which are used for the description of the term tolerance in Belarusian language. The Author is looking after its appearance at the Belarusian language dictionaries, analyzing its etymology, comparing synonyms, antonyms and hyperonyms. At the same time the Author specifies the time range of specific changes of the form and content. It is necessary to pay attention to the question concerning to the subject of tolerance from a concrete person whose characteristic features are: the acceptance of other people, kindness, understanding, appreciation and respect towards other people, social groups (especially religious and national), up to the characteristics of abstract conceptions, ideas. On the other hand I should admit the absence at the vocabulary database of the content ‘understanding and respect for the different sexual orientation groups’, which begins to appear just at modern texts at the tern of the XX and the XXI century (so text researches as analyses of the questionnaires which will be carried out among Belarusian youth will be done by the Author in the nearest feature). At the Belarusian language dictionaries nation is minimally characterized by the concept tolerance (refers to the joint subject). At the article the Author has used the methodology of cognitive definition, proposed by Jerzy Bartminski.
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The economic industrialization in the 1920s and 1930s influenced the structure of the society. It was also present in fiction, particularly in poetry. In understanding women the concept of progress had certain peculiarities, since it was associated with the changes of social roles women performed. Just examine the works of Z. Bandaryn, E. Pflaumbaum and other authors of Eastern Belarus. They are an evidence that understanding progress was connected with: a) development of science and technology; b) changing (or at least declaring such changes) gender roles and strengthening the position of women in society (in the party) and in literature. However, in female poetry of this period there is lack of reflection, a critical attitude towards the changes in women’s lives, especially with regard to the results of these changes. Progress was understood and portrayed unilaterally without analyzing women’s social status and their position in society.
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This article examines the question of the national liberation of Belarusians in connection with their social liberation during the First Russian Revolution (1905–1907) in the Russian Empire in the pages of the first Belarusian-language newspaper “Nasza Dola”, published in Vilnius in September − December 1906. All articles dealing with this issue are analysed. “Nasza Dola” publicists began work on the formation of the national and social consciousness of Belarusians, emphasizing the need to unite workers and peasants of all nationalities in the struggle for national and social liberation in Belarus and Lithu-ania, as well as throughout the Russian Empire. For comparison, examples of journalism from the first issues of the newspaper “Nasza Niwa”, which were published at the same time as “Nasza Dola” are analysed.
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Historico-genetic and functional-semantic research devoted to mythosemantics and functionality of the dog’s image in Belarusian folklore has showed that “the dog’s text” cannot be clearly identified. In the system of zoological imagery the dog personifies loyalty, friendship, vigilance, omniscience, protection, masculinity and is positively evaluated. But the dog also symbolizes uncleanness, danger, betrayal, evil, etc. The dog in the mythological model of the world is located at the boundary between the living world and the world of the others. The dog is attributed to such features as mediation, chthonism, demonism, the ability to neutralize negative manifestations of other worlds as well as to clear the world of men.
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An interview with Kasia Syramalot, author of The Belarus Book – a visual story of Belarus over the past decade. Interviewer: Anastasia Starchenko
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Питање је, да ли ико може са сигурношћу да објасни, када су и због чега настале бајке. Свако објашњење, на овај или онај начин, упада у непосредну зависност од тога, како ће се у основи интерпретирати функционална природа бајки и главна њихова намена. А то је, ипак, изванредно универзални и изузетно развијени жанр усменог словесног стваралаштва свих народа света, независно од нивоа културе писмености.
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The cultural-political status of the Belarusian language has always been very problematic. The long history of dominations resulted in the lack of a strong national consciousness and of a national élite and, therefore, in a difficult nation building. ‘Belarusianness’ and Belarusian language are not necessarily connected: one can regard themselves as Belarusian without speaking the Belarusian language in everyday life. Today, Belarus is still predominantly Russophone. Nonetheless, poetry in the Belarusian language has been trying to profile itself as a national literature by tackling the language question. As I argue, two fundamental aspects characterize the linguistic reflection in Belarusian poetry: autoreferentiality and performativity. On the one hand, poetry reflects upon itself when questioning the language of which it is made. On the other hand, the linguistic reflection is an antagonistic strategy that stages the power of language. The texts examined here oscillate between these two poles. Connecting autoreferentiality and performativity, Janka Kupala (1882-1942) articulated the idea of an immortal language with an extraordinary immanent force which can (and should) guide the national community. Soviet poets like Nil Hilevič (1931-2016) and Pimen Pančanka (1917-1995) complained about the difficulty to write as ‘national’ poets in a strongly Russified republic. In staging the ‘melody’ of their native language, they faced unsolvable individual and collective dilemmas. Post-Soviet poets like Val’žyna Mort and Julija Cimafeeva problematize the marginalization of those who (like them) dream of a cultural and political reorientation. Their oxymoronic and self-de(con)structive poetry attempts to settle the poet(olog)ical and subversive force of Belarusian language exactly in its absence and ontological negativity and to articulate a new idea of linguistic and cultural renaissance.
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The Belarusian literary market, understood both as the market for books in the Belarusian language and, in a broader sense, in the meaning of the German term 'Literaturbetrieb', has so far received little critical attention. This market grew at a surprisingly rapid speed immediately after the Russian Revolution of 1905 as part of the Belarusian national movement. In a very precarious political environment, however, it quickly went through a phase of stagnation and then developed in opposite ways after 1921 within two antagonistic systems (rise and decline in the Belarusian Soviet Socialist Republic; stagnation and revival in Western Belarus, part of the second Republic of Poland). This article condenses the results of an extensive archival analysis conducted from the theoretical perspective of the literary field (Bourdieu) to study the institutional and organisational profiles of the Belarusian literary market between 1905 and 1932. Its quantitative aspects are considered and a description of its legal context is provided, with a focus on the specific institutions and strategies of material production, symbolic production and distribution between 1905 and 1915, as well as in the 1920s (BSSR). These observations on the Belarusian literary field aim to show how the literary market could not function independently and was destined to remain, at best, a 'hybrid market'.
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At the beginning of the 21st century, the societies of the post-Soviet countries are still faced with the problem of determining its position in relation to the Soviet past and selfidentification of national identity. The popularity of the nostalgic narrative about the lost socialist world order, actively supported by official propaganda in some countries, led to a paradoxical metamorphosis – the project of the future socialist society has become a symbol of conservative values and a glorious heroic past. Since the beginning of the 40s of the 20th century in the literature of the medium memory a mythologizing vision of the Second World War has become subjected. The subject of the article is the analysis of the drama of contemporary Belarusian writer Nikolai Rudkovsky “Дожить до премьеры” (“Live to See the Premiere”). Exploring the theme of war, the playwriter shows the evolution of the perception of a memorable event: from the high rank of a historical fact to the experience of an individual, doomed to operate in a warlike reality. The playwriter interprets collective memory and the Soviet, Russian and Belarusian literary canon in reference to various types of metatexts corresponding to the theme of war.
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The poetry of Viktar Siamaška brings a strong and radically new contribution to the literary heritage of the Bielavieža group of Belarusian writers in eastern Poland. His mainly short, even minimalist, verses strike fresh and unconventional notes, rich in wordplay, euphony, anaphora and palindromes in all the themes he tackles, such as family, ageing and death, religion (particularly his Catholic faith), urban and rural life, the latter including many fantastic, personified images; his view of the city is dyspeptic from Moscow to Paris with Miensk in the centre. Musician and journalist as well as avant-garde poet, his five books to date (2010–2023) are both challenging and stimulating. Adventurous in form on the page, their lexical range is broad, not least in the use of non-standard, previously taboo words. A whole study could be made of Siamaška’s fantastic imagery and metaphoric structures, but the present study is devoted only to an overall picture of his poetic achievement to date.
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W artykule dokonano analizy kontekstów z rzeczownikami, które w języku białoruskim określają koncept ojczyzny – radzìma, ajčyna, bac'kaǔščyna. Główne znaczenia tych słów to 'miejsce urodzenia, mała ojczyzna’ i 'kraj ojczysty, ojczyzna’. Brane są pod uwagę teksty białoruskich emigrantów i osób represjonowanych w różnych okresach XX – XXI wieku. Koncept ojczyzny w tych tekstach rozwijał się i zmieniał na przestrzeni ostatnich stu lat. W pierwszej połowie XX w. dominowało bac'kaǔščyna, na przełomie XX i XXI w. – synonim radzima, a najczęściej używano imienia własnego Belarus. Najrzadziej był i jest używany rzeczownik ajčyna, należący do stylu wysokiego. Ajčyna i bac'kaǔščyna w literaturze emigracyjnej znaczyły 'kraj ojczysty’, jedynie leksem radzima mógł oznaczać 'małą ojczyznę, miejsce urodzenia’. Autorka artykułu zwraca uwagę na znaczenie historii kraju i nauk historycznych dla kształtowania się konceptu ojczyzny.
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Artykuł poświęcony jest obecności wątku ojczyzny w korespondencji prowadzonej przez białoruskich emigrantów, chcących osiedlić się po II wojnie światowej we Francji. Odbiorcą korespondencji był Liavon Rydleuski, białoruski działacz emigracyjny. Listy przechowywane są w archiwum Biblioteki i Muzeum im. Franciszka Skaryny w Londynie. Zastosowaną metodą badawczą przez autorkę była jakościowa analiza treści. Pozwoliła ona na sformułowanie wniosku, że wątek ojczyzny pojawiał się w badanych listach w sposób nieoczywisty (niebezpośredni).
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