THE POETRY OF THE RAIN AND SNOW: EUVRE OF YEVHENIYA UHRYNCHUK

ое о я е о о. е ч о о я – е о о е е , я е е о є я . о о ґ , о ое ч о л , , о е е е о . е о ч ля о , о о ол о – Є е ч . о л є о я я еч о Д о , о о о , о я ое л я е е: о е л о о , о л о о о ’я . о Є. ч ле о о о о о л я XX . є е оче о о оч оє л о о о о е , о ч я о е о о о л о л . о е о о о о є о е о о о л о ое ч е ло о о , я о л оч о , оч о . е ч л , е є о о л , е л л о Є. ч . о е я о о -о ля ел , е е л ое , о е е о л е о я я. Де о о е о я о ч ол е че е о о о я ч ел Де о е („Іл о о я ”, е , . „Зеле о ” (1999) „ — ело, я о е о”, о „ ”, е , 2008), я о о л л о е . . І . е ло „ е о оч я” о Є. ч . е о о о о о ля о о . ое е о л я 21 е я 1943 о ел К о о о , о е ч л я еол , ял о лоло ч л е , о л л л л ло о. Але оля е ч л е. ч я о о л , о о о е ло о . л е я о , о , о л л о е , о е о л . Ще о о о о л я е “ о ”, л о е л е ечо . л л е оч я оло Є ео ое – е е 2 З ло , л е – „До ” (1999) „ о ч о ” (2001), я є о оо о о , о ч л оеч о о о . Є е ч я оє е о о ело , е о о о о л о о е л е ло : „ о о ч л ”, „ я о ”, „Ко ” . е е ло е е є ое ч о о л , л ло о 15 л о 2002 о . ч о є о е е о о л , е о , о я о е л , ел е я, ле е л є о , о ол е е я о л е , о о о о о о ло оч . Є е я ч е о л оч о , ле оло є ч о л о о е л ч о е е, оло ч о о . о е ю о о л о о о є о е о ч о о л о о ч е ло о , еле о чо ое Є е ч , , ч е ол л е о е . е Є е ч „ щі і” – о я л о ’ о о , я о о е о о. е о , о о о ое о л ляє є е ло о . о о е о є о о е л , о о о е е я, о о о ч е о . л , ляє о ол ел о о . е е о о о ч е о . оче о, ле , ле

Vylka L. The poetry of the rain and snow: euvre of Yevheniya Uhrynchuk.The figure of Ye.Uhrynchuk belongs to the Bukovynian group of artists-traditionalists of the end of the XX century.This article starts not a common sequence about Bukovinian intelligence writers whose work was somewhat avoided by the researchers.Therefore the purpose of this article is to bring the poetic word of the author who so wanted to be heard and read to the scientific community.The study briefly reviews the facts of the poet's biography, her life creed and her special relationship with God.Two collection books of the writer are analyzed: "The rains in December" and "The breath of eternity".Yevheniya's poetry attracts by its incredible melody, which is why the composer Vasily Moshuk from Shypyntsi created several songs with the words of her poems: "New Year Waltz," "Song of Bukovyna," "Kobzaryk" and others.
The first collection of Yevheniya Uhrynchuk "The Rains in December" is saturated with love for God, life and all living being.The poet proclaims life-asserting philosophy of the world in a very quiet, minor tone.Her sight does not skip any stem, any tree, any bird singing or any whispering of the wind.Persona is extremely religious so we often collect images of God, Jesus Christ, Theotokos, or Mary Magdalene.The most often is the image of God that is like father and adviser to the poet.
The second and final collection of Yevheniya Uhrynchuk -"The Breath of Eternity", albeit of content is related to the previous one, its minor-pessimistic mood slightly redirects us to different images and associations.The "poems-obituaries" are often and reflect the anguish of loss of relatives and friends.It's as if the writer is preparing herself to join them."The Breath of Eternity "is a farewell prayer of the fascinated by life, heavily ill woman; a woman who has left a mark in many souls with her poetry.
Key words: Yevheniya Uhrynchuk, Bukovynian group of artists-traditionalists of the end of the XX century, life-asserting philosophy, love for God.
Vylka Lydiasenior lecturer of the department of de-partment of Social Sciences and Ukrainian Studies of Higher Educational Establishment of Ukraine "Bukovinian State Medical University".Co-author of the textbook and collective monograph, the author of over 70 scientific papers and educational articles.Research Interests: interactive technologies of Ukrainian language teaching, UФraiЧiaЧ studies iЧ higher educatiШЧ, fШreigЧ studeЧts'
Gavril A. The transformation peculiaruty of the traditional figurative material with the plot in the novel of Valerii Shevchuk "PetrШ utekХyi".The article analyzes the transformation peculiarity of biblical-Christian and ancient themes, motifs and iЦages iЧ Эhe Чovel of Valerii ShevchЮk "PeЭro ЮЭeЭeklyi".The author investigates the question of artistic dualism of literary work that is a combination of ancient and Christian aesthetic systems, philosophical and psychological dualism of the human's inner world as Эhe reasoЧs of iЦperfecЭioЧ aЧd iЧvolЮЧЭary iЧdividЮal's sЮffering.In the novel the ancient Greek myth about Oedipus und-erweЧЭ pecЮliar ЭraЧsforЦaЭioЧ.The FaЭЮЦ's will which draws a picЭЮre of ЧoЭ very pleasaЧЭ faЭe, weighs heavily oЧ Эhe Чovel's hero Petro Znaida as well as on the mythical character.The tense atmosphere of the novel is full of the sense of absurdity.
The writer uses the myth of Oedipus as the winding up of plot collisions.The ancient theme of the parricide contaminates with evaЧgelical ЭheЦe of Эhe Messiah's deaЭh.OЧe coЦЦoЧ idea of self-discovery, own past, and of the purpose on the earth combines two story complexes.The literary work reveals the idea of eternal repetition: a man is destined to be between good and evil, having the constant right to make choice between two polar values.The novel depicts the transformation of another biblical-Christian material that is the motifs of the original sin, heaven, the first fra-Эricide, Messiah's adveЧЭ, beЭrayal aЧd Цore.
Contaminating biblical and ancient motifs, images and plots in Эhe Чovel "PeЭro ЮЭeklyi", Valerii ShevchЮk Цodels his owЧ ЦyЭhical systems, creates its own microworld, corresponding to the parameters of biblical and mythological structures with their uni-versal ability to correlate everything.Using biblical complexes of Christ, Judas and the ancient theme about Oedipus and the motif of Pegasus, the writer creates a national world model.
Iryna Kaizer.Connection of .GШgШХ's EarХy TaХes with Ukrainian Folk Tradition and Language.Mykola Gogola classic of literature the most outstanding representative of the "Ukrainian school" in Russian literature, the founder of the socalled "Gogol" (socio-critical) realism.
The article analyzes the impact of Ukrainian folklore and language in the early stories of the author, included in the collections "Evenings on a Farm near Dikanka" and "Mirgorod"."Evenings ..."a kind of synthesis of various ideological and artistic principles.Collection has the features of romanticism, which in some cases close to the realistic depiction of reality.The peculiar feature of Gogol's early works appeal to the genre of fairy tales, which is due to the interest in the nation and national identity literature.Scenes stories "Evenings ..." in its base is much broader than a true story, which focuses on entry.
In the submitted scientific work the attention is accented to the symbols which are depicted by the author in earli collections: 1.folk image of road from pillar that already meet in the preface to the first book "Evenings ..." stands in folk poetry theme of fate.Hence, there is a symbolic understanding of the image of Dykanka -tune high road widens the boundaries of a provincial settlement to infinity; 2. assimilation of the woman with a bird, that screams (story "A Terrible Vengeance"); 3. assimilation of a battle to the regale.It is interesting the fact that the same metaphors we are meeting in the "Word about Ihor's regiment." By the following works of Gogol and "Evenings on a Farm near Dikanka" traces the ideological ties, particularly noticeable in the collection "Mirgorod".By itself it emphasizes the subtitle "Tale, which is a continuation of" Evenings on a Farm near Dikanka".Ukrainian scientists Malanyuk and Dzyra affirmed that Moscow language was organically alien to Gogol, writer even managed to skillfully explain Ukrainian phrases, phraseologisms, sensory phenomen in Russian.Seen examples allow as to conside Gogol as a phenomen of Ukrainian culture and literature as well.

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Antoniy Moysey, Iryna Kaizer.Stelian Hruya as a researcher of Taras Shevchenko's creations.The process of assimilation of Shevchenko`s writings in Romania, and, accordingly, the appearing of the Shevchenko studies are divided into two periodsbefore and after World War II.For the first time the Kobzar`s name began to appear on the pages of periodicals in the 90's.XIX century, when the magazine «Contenporanul» reprinted the article about the Ukrainian poet from the French newspaper «Le Temps».The ballad «Prychynna» became the first translated work of the Ukrainian poet in Romania.
The Romanian academic Shevchenko studies begin only after World War II.One of the most famous Romanian experts of the Ukrainian literature and culture can be considered Stelian Hruya.His works hane not only historical and educational value, but are also characterized by deep analitical approach, using new methods.
Stelian Hruya was a professor of the Bucharest University and was teaching Ukrainian literature.He devoted his doctoral dissertation to the work of the Ukrainian poet «Taras Shevchenkoa romanticpoet» (1973) and the book «Prayer and curse : Critical research» (1995).These works, written in the conditions of the communistic dictationship,are remarked with brave interpretation of the «Кobzar».
In the proposed article the analysis of the works «Gaydamak », «Psalms of David», «Big cellar» are examined in details.
Let`s point out that the suggestions of S. Hruya about the genre of ballads in the Kobzar work became innovate for the literaries.In the opinion of the scientist, that genre is presented not only by «Prych nna», «Drown», «Poplar», «Lily», «Mermaid», but also by such works as «There laid an ax behind the God`s door», «Perebendya», «Ivan Pidkova», «Gamalia», «Taras' night».
A separate part of his work «Prayer and curses» S. Hruiya dedicates to the image of woman in the work of the poet.There are also lots of investigations to grotesque, irony and sarcasm in Kobzar poetry.
Applying   in an oll-Ukrainian literary context more clearly and complement our idea of poetic peculiarities of this period.Due to frequency coefficient (percentage of a certain poetic tlement in correlation to the overall numer of lines) usage we can make a comporative analysis and objective conclusions.We have found that early Sydir Vorobkevych poetry (1863-1867) is characterized by such rhetorical figures as anaphora, epizeuxis, amplification, antithesis (FC -0.01each), rhetorical questions, epiphora, gradation (FC -0.02each), refrains, polisyndeton -0.003 each, rhetorical address, inversion, conduhlication (FC -0.005 each), polyptoton, traduction asyndeton, syllepsis(FC -0.006 each), while ellipsis is used the most seldom (FC -0.007), etc.The received data deepen our knowledge of S. Vorobvych's poetry in genera.
Sydir Vorobkevych (May 5, 1836, Chernivtsi -September,1903), is a Ukrainian Bukovynian writer, a composer, a musical and cultural worker, an Orthodox priest, a teacher, an editor of Bukovynian periodicals, a painter.Poetic language has always been highly emotional, has been marked by imagery, and abounded in tropes and rhetorical figures.Poetic language is most characteristic of poetry with its vivid aesthetic and expressive potentie and sophisticated melodiousness.Poetic language thrives on inexhaustible resourses of a national language, its active and passive vocabulary, consistently acquiring its unique colouring in the author's works and becoming a distinguishing feature of his style.

Tetiana Nykyforuk -is a teacher of the department of Social Sciences and Ukrainian Studies of High Educational Establishment of Ukraine «Bukovinian
Sluhenska R. Sentenced to death: hard lines of the Ukrainian humor in life of Ostap Vyshnia.The article is a logical continuation of the research that reviewed the childhood and adolescence of the outstanding Ukrainian humorist Ostap Vyshnia in the previous magazine volume.The study is about the hard lot of the artist, who was condemned by the Soviet authorities for participating in mythical pro-Ukrainian organization (union).We collected and analyzed the facts of the author's mature life, his vision of the events at the time, and memories of friends and family.
This period has defined the way everything happened in writer's life until his death.The totalitarian machine launched the terrible extermination mechanism of the Ukrainian intelligence and the elite.The artist was part of that target.Ukrainianization "revealed" all Ukrainian oriented intellectuals, "the upper crust".The authorities undertook to destroy Ukrainian nation.
This period marked Vyshnia's establishment as an artist and formation of a set of specific only to him writer's qualities.
Tkach A., Yaremchuk I. God, the Bible and Ukraine in creativity of the Great Kobzar.Taras Shevchenko -the pride of the Ukrainian people, torch of the Ukrainian and foreign culture.His creative word was devastated to protect the national dignity and pushed society to recovery and self-assertion to Ukrainians as a nation.But Shevchenko's essence, in our opinion, is the brightest and most powerful found themselves in search of truth, unity of man and the ways of eternal life.The social enslavement and corruption of nation were turn him to works that have intertwined national historic era of spiritual and moral values of Christian ethical Ukrainian canons.
Peculiar interpretation, philosophical understanding and interpretation T. Shevchenko Biblical truths studied by many scientists (I.Ohiyenko, B. Lepkyj, Y. Sverstyuk, D. Stepovyk, I. Dziuba, M. Zhulynsky i O. Zabuzhko and others).Shevchenko`s phenomenon is devoted to the exploration of B. Barca, E. Sverstyuk, D. Stepovyk, I. Dziuba, V. Pakharenko, D. Dmytrenko, L. Tretiak.But the problem of Shevchenko religious was as his life and work will remain relevant, especially in nowadays.Ukraine as "prophetic word" for Shevchenko had an impotent meaning and irresistible force, awakens the desire to be a real nation, and promotes spiritual and conscious development.
Poet use to say to God all his global ideas, his excitement.And thiswas not a profanity, not a blasphemy.That was the sincerity and enthusiasm of the biblical heralds.Taras Shevchenko said patiently, defiantly, frankly, with bitterness and insult the Savior, then asked, then demanded with such words: "In anger he becomes a prophet, in humility transforms into as an apostle; it just goes to prayer, his humility holds in a feat of love and forgiveness, every feeling he brings to the religious fervor and in his every word.Let it be for the great national poet, priest and victim of its people",wrote K. Chukovski .
Key words: Taras Shevchenko, the Great Kobzar, Christian worldview, God, Bible, Ukraine, the religious aspect of Christian ethical grounds.

Tkach Allacandidate of philological sciences, associate professor of department of Social Sciences and Ukrainian Studies, of Higher Educational Establishment of Ukraine "Bukovyna State Medical University". She is an author and co-author of about 100 scientific and educational works, including 3 monographs and 5 issues, which was approved by the Ministry of Education of Ukraine and the Ministry of Health of Ukraine. Her research interests include contemporary Ukrainian medical terminology; methods of teaching
Ukrainian language as a professional in high school; linguistic and cultural studies.

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The current issues and their connection with the most important topics of research.As it has been proved in the last century in remarkable studies of ethnology and folklore (we ought to mention: Ovid Densusianu -Folklore.How it must be understood, Pavel Ruxăndoiu -The literary folklore within the context of popular Romanian culture, Giuseppe Cocchiara -The history of European folkloristics.Europe in pursuit of itself, Constantin Eretescu -The literary folklore of the Romanians.A contemporary view), everything that pertains to traditional culture (oral literature implicitly) represents a live phenomenon in a continuous transformation and shaping, concomitantly with the evolution of society.Some of the aspects, as the one of interpreting fairytales and popular stories (the fairytale/story being one of the most important species of folkloric epics) from the perspective of modern thinking, were widely overlooked by the specialists and that is why we consider that this could be a challenge.New hypotheses and new decoding and deciphering systems of the folkloric texts in a modern spirit as well as the universe of symbols contained in them can create interesting perspectives of interdisciplinary and transdisciplinary research.As Giuseppe Cocchiara opines, in his notorious study The history of European folkloristics.Europe in pursuit of itself, "in folklore, the substantive intervention of various disciplines is required by the very nature of folklore (…)".

The analysis of the latest research and publications
where the exhibition of the issue can be found.Except for the study of the fairytale Youthfulness devoid of caducity and life devoid of death that opens Petre Ispirescu's anthol-ogy of fairytales, a study elaborated by Adrian alui Gheorghe (Youthfulness devoid of caducity and the tragic feeling of time) and Val Cordun's (Time against the grain.An attempt on anamnesis in fairytale) to which add up the forewords that have been written in the collections published in the last decades, we cannot speak about analyzes applied to the said literary species.
Despite the fact that the habit of storytelling is an ancient one and it has been practiced almost by all the peoples of the world throughout centuries and even after the 2 nd World War, the preoccupation of the specialists in interpreting fairytales from a mythological, historical, philological, compared or comparative perspective has been situated and it still is situated in a cone of shadow.Naturally, even the popular stories collected in the 19 th century by the literary historian and folklorist I.G.Sbiera, who had been a reputable professor at the "Yurii Fedkovich" University from Chernivtsi, got the attention they deserved only in the Preface to the anthology I.G.Sbiera -Tales and Poems, Minerva Publishing House, Bucharest, 1971, signed by Pavel ugui1 .
The objective of the article.Mentioned less and less in the specialty bibliographies and read by a limited number of readers, the stories that have been collected and processed by I.G.Sbiera lure the attention of the aficionados and those passionate about folklore through their esthetic valences, their mythic-symbolical valences and the accuracy of the "telling", through originality and authenticity.
The aim of our paper is to highlight these qualities and undoubtable values of the fairytales from I.G.Sbiera's collection2 in order to attract the attention of the specialists APSNIM, 2017, №:1 ( 13) ) -haine şi Fătul-babei, Fata Ciudei, Vântul, Bruma şi Gerul., 132 over them, as well as that of younger researchers, doctoral students, so that they condone analyzes from interdisciplinary and comparative perspectives.
The exposition of the main material of the research.I.G.Sbiera, the historian of Bucovina, the historian of the old Romanian literature and the folklorist born in the legendary space of Suceava belongs to that category of scholars to whom history and literary critique are still indebted, because, apart from the monograph that was made by Alis Niculică (Ion G. Sbiera.The life and work, Suceava, 20053 ), the pages dedicated by Grigore and Lora Bostan in the anthology Pages of Romanian literature.Bucovina, the Chernivtsi region, 1775-2000 (Chernivtsi, 2000) or by Emil Satco in The Encyclopedia of Bucovina (Iaşi, 20044 ) and the articles signed by Pavel ugui, his work was largely overlooked by the specialists in the field.
The literary historian, memoirist and professor at the University from Chernivtsi is not rooted in today's public conscience not even as a collector of the folkloric fact from the area of Suceava.
Unjustly, the cloak of oblivion descended over the name of I.G.Sbiera, although his contribution in the domain of old literature and folklore basked in appreciation since the era he lived in, the critical considerations he formulated on the topics of the texts from the Romanian Middle Age and the folkloric creations he collected from his native area representing "the most important and durable component of his work" (Pavel ugui).
His obvious esthetic conception which permeates his entire work and the vision on existence and the world are undoubtedly fed by the folkloric creation he knew so well and treasured so much, because it represents "the most solid foundation on which a clean national sense and the written literature of the educated classes could develop".
It is known that at the advice of his professor, Aron Pumnul, I.G.Sbiera collected folkloric works between 1855 -1857 and he even put together a collection of stories, poems, folk songs and riddles from which, after a careful and methodical textual revision, he will publish, three decades later, in 1886, Romanian Folktales, "as they are spoken, both language-wise and structure-wise".The texts that were included in the volume were collected by I.G.Sbiera from the villages within Suceava: Horodnicul de Jos, Voitinel, Vicovul de Sus, Ciudei, Opăiţeni, Cireş, even if his initial intention was to insert "certain treasures not from just one region or country, but from all of them, from wherever Romanians still tread", these treasures being the mirror that reflects the spiritual valences that are specific to the nation, the indwelling thesaurus and its identity and continuity in a cultural space 5 .
Irrespective of whether the anthologies of folkloric texts published previously (E.B.Stănescu-Arădanul -Popular Prose: 1860, I.C.Fundescu -Popular literature.Fairytales, orations and riddles: 1872-1874, 1876-1882, I.H.Hinţescu -Păcală's bygШЧes: 1876, D. Stăncescu -Fairytales: 1885) served as models for I.G.Sbiera or not, he respected the parameters of popular speech and he manifested a remarkable consideration in keeping and valorizing local authenticity, because all of these augmented the oral character of the stories and conferred originality to his initiative, which must be seen as a constructive one, because, beyond the act of recording folkloric factswith the inchoate means that existed amidst the 19 th century -, the "collaboration" with the anonymous narrator generates a coefficient of creativity in transcribing and spreading the folk work "at large, in the world".
Any lover of traditional culture that reads the folktales from I.G.Sbiera's anthology carefully cannot help but observe the rustic speech, of an extraordinary plasticity, that endows the discourse with authenticity and a plus of expressivity: "They said they were, for it they wouldn't have been, no story would be told.They said that once upon a time there was a rich boyar that didn't even know the extent of his richness.Even though he was so rich, he only had one girl.This girl was very beautiful and comely.Anyone who saw her immediately held her dear.Her parents still loved her a great deal and cared for her more than they cared for their own eyes.They never said "no" to her and they fulfilled any desire she had, that's how dear she was to them.After she grew up and started to go out in the world, she was seen by some and by some other ones, and anyone who laid eyes on her was astonished by her beauty.The news of her beauty were widespread.Bachelors especially were staying in line to see her and talk to her.But as fast as they met her and she was face to face with them, the girl stole their minds and their hearts, so that the poor bachelors had no peace and no respite!Poor them!They walked as if drunk and nothing enticed them!The only thoughts they had were what to do and how to woo her, maybe they would get her as wife!" (The tear-clШthes Girl aЧd the crШЧe's bШy).This introduction into the fabulous, miraculous universe of the fairytale reveals the vision of the anonymous author from the surrounding areas of Bucovina and, at the same time, the vision of the folklore collector, whose implication is obvious in a narration that situates the event on the coordinate of the reality that belongs to contemporary Romanian village in which, however, the existential dimension of the archaic Romanian village is to be found.
The powerfully authentic note and the radiant gist of the discourse are much more evident in the ending of some fairytales.For example, the ending of the fairytale "EЧvy's girl, the WiЧd, the HШar aЧd the FrШst" -"And I got in the saddle and told you thus the story!-Now pay it!-May God repay it with gШШd, with peace aЧd with health!"reveals in its subsidiary the apotropaic function of the story, the effort and the importance of the act of recounting (narrating) which, according to the collective traditional mentality, deserves to be rewarded, but not in a common fashion and not by anyone, but by the divinity with whom he, the Storyteller, is in an intimate coalescence.Another ending, somewhat atypical, masterful, like the one from "Curly-Mint, Basil and Chestnut-Skirt", presents the world of the fairytale as "upside-down", the word "against the grain", "the placing of the event in a very special way" (Val Cordun): "I chanced to be at Chestnut-Skirt's weddingmyself.Alas!What exquisite meals were at that table, all just stakes and roasted meat, like those you would have swallowed with your eyes, too!But those wines!You would have drank them all without fearing dizziness!My favorite was a kind of roasted duck; I ate from it until I couldn't eat anymore and because I liked it so much, I slipped a drumstick in my pocket, to have it as food on the road when I would go back home.When I was returning home, halfway there, I was starving and I started to chew on that drumstick.And just when the meat was at its sweetest, I met a wise man who told me he had learned from all the scholars of the world, and he kept on begging me to give him something to eat, for he was starved.And as he kept on asking, I got angry and I threw him that drumstick.He, the poor guy, instead of catching it with his hands, he kept them in his pockets.The drumstick didn't enter his pocket, but hit him so hard on the leg that he limps to his day.If you don't believe me, look at that certain scholar and you can see him limp to this day because of that!"This return in the profane time and space, a return to his own identity is a deliverance from the captivity of the miraculous and of the "masterful" discourse of the fairytale.
The themes and the motifs that exist, in general, in the fairytales and the stories from the Romanian space receive different nuances in I.G.Sbiera's anthology, and the characters often have symbolical names that reveal the creator/ collector's rich imaginary and inventive spirit (Swinging-Linden, Curly-Mint, Chestnut-Skirt, World's envy, Whirligig); they behave in concordance to the norms and structure characteristic of the collectivity to which the one that communicates the narration belongs to.Beyond what is narrated by the informer, the collector undoubtedly affords to color, to emphasize the attitude of the heroes there where he considers that is necessary to underline moral senses, emotions, human valences, following faithfully the coordinates that are specific to the popular narrative art.An eloquent story in this sense is "The priest's daughter aЧd the captaiЧ withШut ЧШse".After the heroine, a "clever", "robust" and "sapient" girl, cuts off the nose of the captain of thieves that befell her parents' house one night and after he asks for her hand in order to kill her, the two halt in a forest together with the 24 thieves.In this moment of the event the mood of the two central characters and the girl's feelings are captured, but these remarks are not characteristic of the act of popular storytelling: "As they walked, they talked about various things, until the captain got so sleepy that he had to lay on the grass and sleep.As he prepared to sleep, he asked her to look in his head.She complied and started looking in his head.He fell asleep immediately; and she was stricken with a horrendous grief and started to cry bitterly."Alas!" -she said to herself: -"how could my parents give me on the hands of such a tyrant like him!He is about to kill me exactly when I would live more dearly".As she cried, one of her tears fell on the captain's face and it burned so bad that he jumped on his feet and asked her, quite sternly, why was she crying so hard?She answered that it was because of her bitterness, because she had been parted with the house of her parents, away from her sisters and parents!He mused: "Don't worry, you won't be bitter much longer!"and they started to walk again".The inner monologue of the characters requires some attention because, usually, the folk narrator is preoccupied with the dialectics of the action and the characters' deeds, but not as much with their interior tribulations.
The dynamics of the scenes and the elements of rough humor that increase the charm and beauty of the text are also relevant.We have something conclusive in this sense: the dialogue between a rustic character, "A poor Whirligig, poor, but with a houseful on children" and one of the brothers of the dragon, with whom he becomes "brothers", because, after a lengthy and inexplicablefor themwait, he goes into the garden to see why the man isn't bringing the cabbage he had to bring back from the garden, as he was given the task: "The dragons are waiting for him to return with the cabbage and he doesn't; they wait for him to come and he doesn't.At one time, it already seemed like too long and they sent one of them to see what Whirligig was doing in the garden.When the dragon got there, he found Whirligig digging around the garden and asked him: -Whirligig, what are you digging around here, why won't you bring the cabbage home already?
Whirligig, quite affected by the dragon's words, answered: -What?What am I digging?I'm not a hen! -Then what are you doing?the dragon continues.
-I know you don't have wax-cherries on your eyes!You can see that I'm digging the garden to bring it home in one piece; where I'm from, people make their gardens for vegetables around the houseso close that you can get what you need through the windownot like you, so far away from home!" The "Short fables" (Pavel ugui) from I.G.Sbiera's collection emphasize a certain "voluptuousness of humor" and a vivid critical spirit, joined by a scourging irony directed towards some defects of the human being.Feminine characters like the adulterous wife of the priest from The Droll Servant, the widowed crone who wants to marry with a "young bachelor" from The Crone Bride, the barmaidyoung womanwho schemes the assassination of her husband and puts the blame on a boyar from The Man with Three Coins, the clever, hardworking and beautiful maid that "no one could ever beat at talking" (The Girl Noone could beat at talking) or masculine characters like the naïve priest (The Droll Servant), the greedy priest (Pepelea), the thieves that after becoming proper householders in Chernivtsi and Suceava go back to their old hobby (The Three Thieves), the peasant that borrows the devil's flour and then is saved from slavery by precisely the devil (The Red Hill) are all "flesh and blood" people from the village in Bucovina, but they become symbolical images of the traditional Romanian world, the performers of the folkloric text (anonymous author and collector), inviting us to penetrate beyond the contingences, towards the essences, the general or/ and particular elements of identity, towards a behavioral/ characteristic code of the world both as it is and as it should be.
The conclusions and the teachings that detach are in conformity with the "elder views of the folk" (I.G.Sbiera), whose mores sanctions drasticallyvia discoursethe deviation from customs, from well-defined, established ethical principles.For example, the ending of the story The Droll Servant: "But the poor priestess remembered how many pies she ate from the priest's hand, she remembered forever how love outside of marriage was and how delicious the roasted cockerel and wolfish love were!She was the most faithful woman after that".
The Romanian Folktales anthologized by I.G.Sbiera are engaging readings, with a unique discursive charm that is completed by the spectacular, whose message illustrates the intrinsic spiritual dimension of the Romanian, his warm and generous humanity, a specific forma mentis.The incontestable merit of the collector is that of respecting the spirit, the system of thinking conversant of the folkloric creation from the area of Bucovina, which confers a veritable originality to the texts in his collection among so many other collections of fairytales that have been compiled in our cultural space throughout the years.

Conclusion:
The popular tales collected by I.G.Sbiera from the villages around Southern Bucovina, original and authentic, are, like all popular fairytales, quintessential 134 mythic and archaic texts in which the idea of sacredness is sometimes presented as they reflect the spiritual and emotional structure of a people, of a human community.The prognosis of future research.This paper is meant to be just the beginning of the research on I.G.Sbiera's folkloric texts.In the future, we shall pursue their interpretation from the perspective of the mythical elements and the symbolical valences, with applications on a wider corpus of texts and to subsequently finish the research with a comparative analysis of fairytales from I.G.Sbiera's anthology with the fairytales of the nations from the proximate area: Eastern Europe and South-Eastern Europe, in order to prove that, undoubtedly, the anonymous storytellers, completed by versed fairytale-collectors have created a genuine "mythology as esthetic support".
Synopsis.The Romanian Folktales collected by the philologist I.G.Sbiera in the 19 th century from the area of Southern Bucovina (Suceava County) distinguish themselves within the pale of similar folkloric species from the anthologies of other folklore aficionados in the Romanian landscape through the plasticity of the language, through the discourse processed with "craftsmanship" and through authenticity and originality.
After a century and a half since their publication, the tales are the mirror that reflects the spiritual valences specific to the traditional society, as well as the characteristic spirituality and identity.
There is no doubt that I.G.Sbiera modulated the texts because, beyond the act of recording the folkloric facts, the modern, initiated reader feels that "collaboration" of the collector with the folk story-teller.The influence of the philologist, who has been a great lover of traditional culture and literature can only be beneficial, given that it increases and reinforces the coefficient of literacy and the undeniable esthetic valences of the tales that have been collected from the villages around Suceava.
We are convinced of it by the strongly authentic note and the radiant essence of the discourse, particularly that in the introduction and the ending of fairytales like The tear-clШthes girl aЧd the crШЧe's bШy and EЧvy's girl, the WiЧd, the Hoar and the Frost.We also notice the fine and unmistakable "voluptuousness of Romanian humor", the vivid critical spirit, accompanied by the scourging irony towards the defects of the human being.
The characters are live, "flesh and blood" people of the traditional Romanian world, symbol-images of a continuous present.
The folktales collected and processed by I.G.Sbiera invite us to go beyond contingencies, towards the essences, towards a behavioral and characterological code of the world.A world as it were and as it should be.
Without a doubt, for the specialists in ethnology and folklore of this age, these literary creations are a support for the research -from a modern perspective -of a spiritual and artistic thesaurus.And it might happen that this perspective enforces itself, all-the-more that the tales were not given much attention by specialists until now, because in a consumerist society, in a full-fledged technological era, the "mythic horizon" pertains to the universe of the fairytale.(Iasi, 2007).Gave lectures at the University of Alicante, Spain (2009), University "Yurii Fedkovich" Ukraine (2012, 2013,  2015) and the University of Granada, Spain ( 2011, 2013, 2014)   Logvinov I.The problems of migration process in Maghrebian literary context.As a product of the North African region, Maghrebian literary phenomenon combines specific features of three cultures -Arab, Berber and French and today has a special place in the world literature.The colonization of the Maghreb, the expansion of the French culture, the policy of assimilation and acculturation, a resistance movement of the colonized peoples led to the literary bilingualism of Algeria, Tunisia, Morocco that intensified the literary process in the region in a specific way.The Maghrebian francophone literature was constituted as early as in the 50s of the last century, but only in the 60s, thanks to the works of A. Memmi and A. Katibi was recognized as a separate area in the world literature.The fundamental relationship between the Maghrebian francophone literature and historical and cultural context distinguishes it from the mass of the so-called colonial literature.The Maghrebian francophone writers covering the issues of identity and nationality, revival of identity and rebellion, loss of identity and exile, as well as women's emancipation, determine the specificity of this literary movement.The most famous representatives of the Maghrebian francophone literature are A. Djebar, M. Dib, A. Memmi, M. Feraun, K. Yasin, and more.The creative work of these writers identified a new type of literature: d'expression française, nationally specific to each of these countries.
This article researches the migrants' problems and the search for identity in the context of Franco-Maghrebian literary phenomenon of the works of two French-speaking Algerian writers and A. Djebar and L. Sebbar.
Key words: literary bilingualism, loss of identity, authenticity, cultural isolation.The manuscripts for publishing in journal should be given in electronic version.The materials for the publication must not exceed 16 A-4 size pages in 14 points Times New Roman, 1,5 space; top and bottom margins -2cm, left -3cm, right -1,5 (20.000 -30.000 characters apart from resume and key words).Files formatdoc or rtf.

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@gmail.com CONNECTION OF . GOGOL'S EARLY TALES WITH UKRAINIAN FOLK TRADITION AND LANGUAGE Iryna KAIZER,
the comparative method of the literary, the Romanian researcher analyses Shevchenko`s poem «Dream» in the context of the other European authors -«Monument to Peter the Great» A. Mickiewicz and «The Bronze Horseman» by Alexander Pushkin.Thus, the suggestions of Hruya regarding the work of poet Taras Shevchenko represented the poet as European and intellectual, whose mental horizons cover different spheres and problems of life and culture, outline the scale context of the mental world.
(АПС І ), 2017, № 1 (13), P. 122-126 To better understand the resonance of the times mentioned in the reresearch, one should know that Ostap Vyshnia's name was the second by importance after Taras Shevchenko for Ukrainian peasapeasantry of that time.Certainly, this could only cause dissadissatisfaction of the government, that arrested the writer in the mourning year for Ukraine, 1933.December 25, 1933 the humorist was charged with counterrevolutionary activity and terrorism, inincluding attempt to attack comrade Postyshev during the October demonstration, and was illegally repressed.December 26 1933 Ostap Vyshnia was arrested; February 23, 1934 the court has deterdetermined the sentence -the execution, and on March 3rd the decision has been changed to a decade of imprisonment.Only in 1955 (a year before his death) Ostap Vyshnia was officially rehabrehabilitated by the judicial authorities.Camps significantly underundermined the writer's health, but he did not leave literary work until the last days of his life.Key words: Ostap Vyshnia, humor, Soviet authorities , mythimythical pro-Ukrainian organization, totalitarian machine.
( ПС І ), 2017, № 1 (13), P. 127-130 . She attended international seminars and conferences in Spain, Italy, Belgium, Ukraine, Hungary, Morocco.It is coordinator of the International Colloquium "The Man and the Myth", Areas of competence are: ethnology and folklore, mythology Romanian, Romanian literature (medieval era and the interwar period).

Review of monograph: Anistratenko A. Alternative History in Ukrainian Literature. Monograph, Chernivtsi, 2016. -212 p.
The review is devoted to the functional and comparative studies of Ukrainian contemporary novel.The study was conducted on the material of the novel and short prose of the famous Ukrainian writer Vasyl Kozhelyanko, who is the founder of the genre of alternative history of Ukraine.The book can be useful for litterateur, first of all for literary scholars, postgraduate students and students of humanities.Key words: W. Kozhelyanko, literary studies, alternative history, modern novel. (https://owl.english.purdue.edu/owl/resource/747/06).
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