https://dspace.chmnu.edu.ua/jspui/handle/123456789/1216 2026-08-17T20:48:56Z https://dspace.chmnu.edu.ua/jspui/handle/123456789/3211 Title: Теоретичні і методичні основи виховання фізичної культури студентів вищих навчальних закладів у процесі позааудиторної спортивно-масової роботи Authors: Довгань, Н. Ю. Abstract: У дисертації здійснено теоретико-методичне узагальнення і запропоновано новий підхід до розв’язання актуальної проблеми виховання фізичної культури студентів вищих навчальних закладів у процесі позааудиторної спортивно масової роботи. Визначено концептуальні основи фізичного виховання студентів вищих навчальних закладів у процесі позааудиторної спортивно-масової роботи; здійснено культурно-історичну ретроспективу питання виховання фізичної культури особистості та розкрито наукові підходи (особистісно орієнтований, діяльнісно орієнтований, системний, середовищний) до виховання фізичної культури студентів у вищих навчальних закладах, що дало змогу схарактеризувати сучасні теоретичні засади фізичного виховання студентів у вищих навчальних закладах. The dissertation is devoted to theoretical, methodical generalization. It offered a new approach to solving the actual problem of university students’ physical education in the process of extracurricular sports-mass work. The conceptual foundations of university students’ physical education in the process of extracurricular sports-mass work are determined; the cultural-historical retrospective of the issue of the person's physical culture education was made and the scientific approaches (personally oriented, activity oriented, systemic, environmental) to the university students’ physical education were suggested, which enabled to characterize the modern theoretical principles of university students’ physical education. The conceptual completeness of university students’ physical culture education is substantiated; the essence and structure of the concept "physical culture of a student's 9 personality" is determined, which is considered as the reasoned need and ability of the individual for physical self-perfection, aimed at his/her comprehensive and harmonious development, covering the whole set of physical, mental, moral-volitional and spiritual qualities acquired in physical culture classes at higher educational institutions; psychological and pedagogical factors and regularities of university students’ physical culture education are established; the strategy of students’ physical culture formation is described. Description: Довгань Н. Ю. Теоретичні і методичні основи виховання фізичної культури студентів вищих навчальних закладів у процесі позааудиторної спортивно-масової роботи = Theoretical and methodical principles of university students’ physical education during extracurricular sports work : дис. … д-ра. пед. наук : спец. 13.00.07 «Теорія і методика виховання», 13.00.02 «Теорія і методика навчання (фізична культура, основи здоров’я)» / наук. консультант І. Д. Бех ; Нац. акад. пед. наук України ; Ін-т проблем виховання. Київ, 2018. 576 с. 2018-01-01T00:00:00Z https://dspace.chmnu.edu.ua/jspui/handle/123456789/1275 Title: Поетика романної прози Антуана Володіна Authors: Чуб, В. П. Abstract: Дисертація присвячена дослідженню поетики прозових творів А. Володіна на матеріалі романів «Малі ангели», «Дондог» і «Бардо or not Бардо». Феномен «постекзотичної» прози досліджено вперше в українському літературознавстві. Романний «триптих» проаналізовано як художнє ціле з погляду оновлення романної форми у французькому постмодернізмі кінця ХХ – початку ХХІ століття. Романи «Малі ангели», «Дондог» та «Бардо or not Бардо», які вбирають елементи фантастичного, історичного, політичного, оніричного дискурсів, наслідують та оновлюють традиції російсько-радянської прози ХХ століття (Є. Замятін, А. Платонов, Б. Пільняк, В. Шаламов та ін.), мають типологічну спільність із постмодерністською антиутопією (В. Пелевін та ін.), атрибутовано як постмодерністські метаутопії. Проаналізовано поетику метаутопічного наративу: специфіку нарації як наративної ризоми з притаманним їй розшаруванням і нестабільністю оповідної інстанції, метатекстуальними й трансгресивними оповідними прийомами (металепсис, мізанабім); художні функції мотивів деестетичного (ольфакторних, колористичних, предметних) і бестіарних образів у системі мортальної топіки романів А. Володіна; поетологічну специфіку хронотопу «постекзотичних» романів як «віртуального» часопростору. The thesis is dedicated to the research of the poetical dominants in the novels by A. Volodine "Minor Angels", "Dondog", "Bardo or not Bardo". The phenomenon of "post-exotic" prose is explored for the first time in Ukrainian literary studies. We analyze the novelistic "triptych" as an artistic whole that renovates the novel form in the French postmodernism of late 20th – early 21th century. A. Volodine`s poetics analysis revealed that the writer`s positioning of his novels as «alien» to the French context is an element of the provocative literary game. He continues the tradition of French literature of the 20th century: he inherited from surrealists the formal experimentation tradition and oneiric discourse elements, from the Nouveau Roman tradition – the emphasizing on problems of «writing», and then reinforced these trends by his socio-political engagement and stylistic hyperbolization. His novels, accentuating auto-reflection, deny the allegation that it is impossible to "tell stories in the twentieth century". Poetical dominants of the novels by A. Volodine appear as the combination of elements of historical, political, science fiction discourses, aimed to represent the irreal world as the possible one. Within the aesthetic space of postmodernism, A. Volodine develops the reflection on the problem of relations in the triad of human/society/civilization in a fictional form. This original genre form combines various utopian modus elements: anti-utopian one in the denial of the utopian project and showing the individual`s impersonality and social decline in the conditions of utopia ("Minor Angels"), dystopian one – in the negative reality representations similar to the modernist detachment and «black novels» ("Dondog"), counter-utopian one – in the ironic interpretation of the 20th century utopia/dystopia tradition in terms of postmodernist mindset ("Bardo or not Bardo"). Such modifications resulted in the attribution of A. Volodine`s postmodernist novels as meta-utopia that is the architextual form based on the utopian canon, a kind of parody and rethinking of the utopia. A. Volodine`s prose reactualizes the tradition of "Russian anti-utopia" by E. Zamyatin and A. Platonov (socio-political reflection and the specifics of narrative tools); it reconstructs the B. Pilnyak`s artistic constants (ornamental and poetical character, main motifs, author monologue form, appearance of the implicit instance of «over-narrator» and so on); redefines the discourse of «camp prose», in particular its «existential» trend developed by V. Shalamov (his motifs of human depersonalization in the boundary state, the interpretation of the sense of being are combined to the A. Volodine`s representation of the society as a concentration camp, substitution of real facts for imaginary ones, auto-fictional modus); has typological convergences with the novels by V. Pelevin (escapist trip as the plot core, oneiric chronotope, fractionation of narrative authority). In the prose of A. Volodine, the self-reflection comes to the foreground (interpretation of the problem of writing, creativity, collective memory in the conditions of defeat of utopian ideals). In the "post-exotic" narrative, there is no distinction between the narrative "I" and the imaginary "we". Narrative voices in Volodine`s novels are impersonal, de-centralized, and de-psychologized; in «post-exotic polyphony» they sound «unison» and embody the author's ideological position. The dissembled change and the presence of multilevel narrators allow simulating an anti-utopian reflection. Evening the narrator personal status, accentuating the subject instability, introducing numerical meta-textual elements attest the writer`s meta-fictional strategy. It takes the form of the author`s comments, transgressive narrative constructs (metalepsis and mise en abyme), favoring the elimination of boundaries between the fictional and the real world. The transgressive fictional reality of the novels "Minor Angels", "Dondog", "Bardo or not Bardo" is constructed mainly by means of de-aesthetic poetics. The analysis of the olfactory, corporal, coloristic, objective motifs reveals the dynamics of the mortality mood. Absorbed in darkness and silence, color and acoustic accents appear as dreams within the oneiric and escapist topoi. The de-aesthetic motifs in the "postexotic" novels metaphorize the total decline of the "human project". Numerous manifestations of bestial discourse in the prose by A. Volodine (animalistic images, zoomorphic parallels, metaphors, and idioms, werewolf motifs, loss of human aspect) actualize polar meanings. On the one hand, they appear as means to identify characters in the post-apocalyptic society, whose inhumane practice depersonalizes the human being and reduces it to the lower stages of evolution (mancockroach, birdman). On the other hand, animals/"non-human"/"Untermenshen" in A. Volodine`s novels appear as a symbol of exclusion from the majority, and their social organization – as a positive counter-model of humanity undergoing a bloody collapse of egalitarian utopia. Zoomorphic motifs as a part of the morality topoi metaphorize the human depersonalization and actualize ontological and eschatological issues. Universals of the "post-exotic" chronotope are the «anti-utopian» loci as last civilization debris: post-apocalyptic city, devastated, endless natural spaces (steppe, taiga). The U-topos is re-interpreted in these novels: traditional prison/camp loci are represented with the nostalgic mood for utopia, and their negative traits are spread throughout the fictional world, stipulating the mortal character and predicting the antiutopia. The mythic non-life space appears as a rethinking of the utopian motif of the "ideal otherness". In the time-space coordinates of the fictional world numerous are the allusions to real geographic names and historical events; therefore, the unreal chronotope acquires signs of a possible, virtual one, becomes an instrument for opening the fictional form into the reality that is an attribute of post-modernist anti-utopia. To conclude, the philosophical, socio-political and historical problems in A. Volodine`s novels are actualized in combination of diverse discourse elements, referring to the literary phenomena of different periods and national cultures, as well as auto-reflective mood, transgressive narrative constructs and depersonalized narrative forms, de-aesthetic character of the fictional world, combing signs of fictional and real in the chronotope. The revealed poetical dominants prove that "post-exotic" novels update the literary context and enrich the poetological tools and meanings within form of the postmodernist "meta-utopia". Description: Чуб В. П. Поетика романної прози Антуана Володіна = Poetics of the Novel Prose by Antoine Volodine : дис. … канд. філолог. наук : спец. 10.01.04 «Література зарубіжних країн» / В. П. Чуб ; наук. керівник Ю. А. Ващенко ; ХНУ ім. В. Н. Каразіна , ЧНУ ім. Петра Могили. Харків, 2018. 281 с. 2018-01-01T00:00:00Z https://dspace.chmnu.edu.ua/jspui/handle/123456789/1273 Title: Версифікація Миколи Вінграновського (метрика, ритміка) Authors: Семчишин, Д. В. Abstract: У дисертації досліджено віршування Миколи Вінграновського в аспекті метрики й ритміки. Вперше в українському літературознавстві на основі комплексного аналізу поетичних творів митця 1955–2003 рр. проаналізовано метрико-ритмічну організацію його поезії. Здійснено спробу визначити основні періоди поетичної творчості автора і простежено динаміку розгортання віршових форм протягом цих періодів. З’ясовано співвідношення класичних та некласичних форм у поезії митця, виявлено типологічні риси основних віршових розмірів у його творчості. Особливості версифікації М. Вінграновського осмислено в контексті українського віршування другої половини ХХ століття. Creation of theory of Ukrainian verse is a topical task of Ukrainian verse studies. It includes studies of versification of the highly-talented poets who made a strong impact on their followers. The thesis investigates versification of Mykola Vinhranovskyi in the metrical and rhythmical aspects in the context of versification in the second half of the 20th century and as the important factor of his individual creative uniqueness. Versification peculiarities of Ukrainian poetry in the 20th century are considered. The period between late 1950s and 1960s when verses by Mykola Vinhranovskyi appeared in literary journals for the first time is characterized as the important stage in the development of intellectualism, search of different poetic means, forms of classical and non-classical verse. The dissertation focuses on the literary discussion of the early 1960s, which dealt with works by young poets, problems of tradition and innovation and had intensive ideological element. The poetic corpus of Mykola Vinhranovskyi was determined by means of examination of the poetic books, selected works, and publications in literary journals. It also helped to define time frames, to discuss difference in the versions of some texts, is to divide poetic works chronology into several periods in order to describe dynamics of verse forms. Verse structures by Mykola Vinhranovskyi are characterized in the aspect of correlation of classical and non-classical verse forms and dynamics of their use. Mykola Vinhranovsky’s poetic form is characterized by increase of accentualsyllabic forms and a shift within classical and non-classical verse forms. Accentual-syllabic meters in the poetic works by Mykola Vinhranovskyi undergo deep analysis. It allows to clarify the classification of the poet’s most widely used iambic meters, so-called «long iambs» (combinations of iambic pentameter and hexameter), to distinguish free iambic verse and transitive forms between free iambic verse and iambic pentameter, free iambic verse and heterometric iamb (with regular alternation of feet of different length), and the similar forms of other accentualsyllabic meters. The dissertation discusses poet’s inclination to experiments with metrics and rhythmics within accentual-syllabic system. Poet examines five classical meters, breaks metrical inertia by means of insertions or fragments of another measure, cutting the line and varying caesura, uses different rhythmic forms of binary meters, varies rhythm of word division within ternary meters, makes some experiments with additional (extra-pattern) stress, intensifies this effect by means of lexical and syntactic repetitions, enjambments etc. Metrical and rhythmical peculiarities which determine lyrical expression of the texts are interpreted. Non-classical verse forms such as dolnik, hexameter, ternary meter with variable anacrusis, vers libre, and folk song syllabic meters are analyzed, their rhythmical peculiarities are revealed. Accentual-syllabic meters have an influence on poet’s vers libre and accentual meters. So, Mykola Vinhranovskyi uses those rhythmic forms of dolnik which slightly break inertia of ternary meters (the 3rd and the 1st forms) as well as the 1st rhythmic form of dactylic hexameter. Among his free verse there are the texts with accentual-syllabic insertions and transitive metrical forms. Transitive metrical forms which include classical and non-classical meters are considered and classified. They are divided into two types: the forms which combine accentual-syllabic meters and dolnik, and the combinations of classical meters and free verse. Some of them are the unique experiments in the history of Ukrainian poetry that offer resistance to the scientific classification of verse forms. The rhythm of syllabic meters by Mykola Vinhranovskyi corresponds to folk poetry tradition, where trochaic and amphibrachic metrical inertia is revealed. Poet consciously modifies some formal characteristics of these meters. Having learnt the folk-lore principles of depicting the world he is able not to imitate the folk song but creates original poetic texts by means of homosyllabic and heterosyllabic meters. Polymetry by Mykola Vinhranovskyi is a phenomenon that deals with interaction of different versification systems within separate poetic texts and within intersystem combinations (lyric cycles). The thesis defines the most used meters of the polymetric structures and considers their alternation in connection with lyrical expression. It observes semantic auras of accentual-syllabic meters, hexameter and folk song syllabic meters. They represent constant complexes of themes and motifs associated with some meters. Poet gets into the dialogue with different traditions of versification: Ancient Greek (dactylic hexameter, elegy), Roman (sonnet, crown of sonnets (a wreath of sonnets), a wreath of stanzas, triolet, romance), Eastern (lyric miniatures similar to Japanese haiku), Ukrainian folk poetry (folk song meters). He is influenced by poets-predecessors (T. Shevchenko, M. Rylskyi, V. Sosiura, A. Malyshko etc.). His versification, image, and subject also correspond to the texts of the world poets (G. Byron, A. Pushkin, M. Lermontov, N. Baratashvili, Federico Garcia Lorca, V. Maiakovsky, S. Esenin, Nazym Khikmet). Poet does not imitate classical patterns but has personal attitude to the expressiveness of different verse forms; he intentionally transforms some canon techniques (meter, rhyme) and performs not as avant-garde artist but as an experimentalist-within-tradition. So, Mykola Vinhranovskyi finds an ideal combination of coexistence of «traditional» and «innovative» in his poetic works. Description: Семчишин Д. В. Версифікація Миколи Вінграновського (метрика, ритміка) = Versification of Mykola Vinhranovskyi (metrics, rhythmics) : дис. … канд. філолог. наук ; спец. 10.01.06 «Теорія літератури» / Д. В. Семчишин ; наук. керівник І. І. Даниленко ; ЧНУ ім. Петра Могили. Миколаїв, 2018. 262 с. 2018-01-01T00:00:00Z https://dspace.chmnu.edu.ua/jspui/handle/123456789/1271 Title: «Роман про митця» у творчості Дж. М. Кутзее (на матеріалі романів «Фо», «Митець Петербурга», «Елізабет Костелло») Authors: Пшенична, М. С. Abstract: Дисертація присвячена аналізу поетики й проблематики трьох романів («Фо», «Митець Петербурга», «Елізабет Костелло») Дж. М. Кутзее, написаних у різні роки творчості письменника, які ідентифікуються як постмодерністські модифікації роману про митця. Виявлено естетичну домінанту й основні елементи змістової форми цього жанрового різновиду: герой-митець, конфлікт між життям і мистецтвом, специфічний хронотоп (три форми часу й простору відповідно), тричастинна сюжетно-композиційна структура, яка складається з життєпису митця, його творів та роздумів про мистецтво. У романі про митця ХХ-ХХІ століття відбуваються зміни самої жанрової форми: зміщення акценту на один складник сюжетнокомпозиційної структури й тенденція постмодерністської літератури до жанрової конвергенції приводять до утворення нових гібридних форм – модифікацій роману про митця: роману-біографії, роману про роман, романуесе. Результатом проведеного комплексного аналізу обраних творів Дж. М. Кутзее є визначення жанрової природи романів «Митець Петербурга», «Фо», «Елізабет Костелло» як постмодерністських модифікацій роману про митця – роману-біографії, роману про роман й роману-есе відповідно – основними характеристиками яких є інтертекстуальність, надмірна «літературність», певна «штучність» й саморефлексивність. The thesis presents an analysis of poetics and problems of three novels (“Foe”, “The Master of Petersburg”, “Elizabeth Costello”) by J. M. Coetzee which were written in the different creative work periods of the writer and identified as postmodernist modifications of the novel about an artist. The aesthetic dominant of the novel about an artist has been determined as well as the main elements of intentional form of this genre variety: the main character-artist, the conflict between Life and Art, specific chronotope (three forms of time and space respectively), three-parted plot structure that consists in the life-story of the artist, the work of art and the reasoning about art, the latter becomes the subject of the author’s reflection and self-reflection. According to the critical works about this genre variety, it can be ascertained that the novel about an artist usually appears at the turn of the historical ages, one of which is the Age of Postmodern. In the novel about an artist of the 20th -21st centuries the genre form itself has been changed: both, the displacement of an emphasis on the one of components of plot structure and the postmodernist tendency to genre convergence, lead to the formation of new hybrid forms – modifications of the novel about an artist: a novel-as-biography, a novel about the novel, a novel-essay. The main features of the postmodern novels about an artist are self-reflexivity that reveals the creative process and intertextuality that appeals to the reader, provoking him/her to active work in getting all meanings out of the novel. All three modifications of the novel about an artist are singled out in J. M. Coetzee’s novels (“Foe”, “The Master of Petersburg”, “Elizabeth Costello”) as it is confirmed by the complex analysis of the author’s works. “The Master of Petersburg” is a novel-as-biography, (a term by P. M. Kendall), because the artist’s biography is put on the foreground and the “literary element” is used in the construction of a life-writing, displacing the genuine biography. In this novel the emphasis is transferred from the life-writing to the process of creativity and creation of the “new world”. The novel “Foe” is centered on the creative act, namely the process of writing the novel which we are reading. Studying this novel, we have marked out a two-plan structure: 1) narration about the characters (novel of characters); 2) narration about an act of narration (the world of literary creation, the process of creating a “novel of characters”) – metastructural level, indicating such a modification as a novel about the novel. The boundary between both “worlds” can be transcended only by the author-creator of the text – Susan Burton, the main character in Coetzee’s novel. In “Elizabeth Costello” the writer shifts the focus to the reasoning about art in the form of insertable texts (essays), and due to this fact the novel about an artist is transformed into the novel-essay. The integrity is kept by an interlacing of the novel and essay plans which supplement each other and organize a complicated, combined artistic and philosophical structure of the work. It has been revealed that the ontological conflict of the novel about an artist between Life and Art (Artist and Human, Artist and Society or God) in the novels “Foe”, “The Master of Petersburg” and “Elizabeth Costello” by J. M. Coetzee changes under the influence of the concept of “Death of the Author” according to which the impersonal text rather than an independent author becomes the source of the statement. Now the author turns into a scriptor, and the main role is played by the reader, that unites all the possible meanings of the text in the process of reading. In the postmodernist novel about an artist, the characterization of the artist changes: the character acquires the same features that modern world has – unreliability, instability, uncertainty. The character of the artist becomes a quotation, reminiscence, and sometimes even a simulacrum which is the incarnation of a worked copy, a literary stamp. The whole system of images has the nature of artificiality because the characters constantly emphasize their “book” status, accentuating their creativity and falsehood. Instead of focusing on the life and personality of an artist, in postmodernist novels contemporary writers stress on the creative consciousness of the artist, in which there are metamorphoses that do not depend on the will of the author: the surrounding reality is transformed into the world of art, and reality is perceived as a literary text. In the analyzed novels the whole system of motifs is presented: the motif of quest, travelling, play and death which are subjected and closely related to the leitmotif of the novel about an artist – the motif of creativity / creation. The chronotope of the novels “Foe”, “The Master of Petersburg” and “Elizabeth Costello” has a three-part structure (that is appropriate for the novel about an artist), therefore, we can figure out three spheres of the artistic world: the world of characters, discourse of creation (commentary on writing, process of creation / reflection on creativity and writing of works) and the world of eternity (the world of all literature and culture in general). Each of the works by J. M. Coetzee problematizes the correlation of reality and fiction, and the art-world novel attracts attention to its fictionality, artificiality, which is a manifestation of self-reflexivity. In this work intertextuality (citation, allusion, reminiscence), which has a certain dynamic of growth in the mentioned novels by J. M. Coetzee, is researched in detail as well as the transtextual connections (paratextuality, architextuality, hypertextuality, metatextuality). Description: Пшенична М. С. «Роман про митця» у творчості Дж. М. Кутзее (на матеріалі романів «Фо», «Митець Петербурга», «Елізабет Костелло») = “The Novel about an Artist” in the Works by J. M. Coetzee (Based on the Novels “Foe”, “The Master of Petersburg” and “Elizabeth Costello”) : дис. канд. філолог. наук ; спец. 10.01.04 «Література зарубіжних країн» / М. С. Пшенична ; наук. керівник Г. С. Стовба ; Харків. нац. ун-т ім. В. Н. Каразіна, ЧНУ ім. Петра Могили. Харків, 2018. 260 с. 2018-01-01T00:00:00Z