В статье на материале произведений Василя Габора, Владимира Назаренко, Андрея Содоморы, Галины Пагутяки, Сергея Грабаря исследуются особенности функционирования концепта „память” в современной украинской новеллистике. В результате анализа выявлено, что концепт памяти представлен многоаспектно: как память индивидуальная, автобиографическая, эпизодическая, ассоциативная, генетическая — и в каждом конкретном случае имеет свою специфику художественного воплощения. Данный концепт является неотъемлемой составляющей картины мира, он характеризуется семантической неоднозначностью, ассоциативной глубиной и множественностью интерпретаций, образуя различные смысловые модели: память — воспоминание, память — дом, память — жизнь, память — время, память — вечность, а также оппозиции память — забвение, амнезия. Отмечается, что концепт памяти связан с такими архетипическими образами, как концепты сада (у Габора) и дома (у Назаренко), которые приобретают значение мест памяти, связанных с индивидуальной и автобиографической памятью героев-рассказчиков.

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The relevance of the study is determined by the fact that the methods of media interpretation of the worldview are shown in the ambiguity of the theatrical concept of view of the world in modern art. This is an important problem of the scientific tools development for the combination of different theatrical journalistic approaches, which are considered around the industry of mass culture, and have an impact on the development of social values in times of war tension. The conceptual view of the world in theatrical journalism allows a comprehensive approach to the diverse expression of symbolism, which the subjects build and reconstruct in the cultural field, demarcated in various institutional spaces. The purpose of the study is to consider the characteristics and elements of the communicative content of cultural and spiritual aspects of the worldview in the current space of theatre journalism. The following methods were used to achieve the stated purposes: system, content analysis method, and comparative. The work results determined that the concept of the modern worldview of Ukraine makes it possible to historically restore cultural traditions and their expression as a sample of the cultural structure the analysis. Theatre as a cultural element of a person forms their personality, starting with parallel events of present, based on a set of principles of society and culture. Philosophical structures, religions or political systems provide an interpretive basis with a complex vision, and sometimes with a resistant to changes vision. It was identified that questions about the world are inextricably connected with the development of culture and art. Possible answers to these questions are concentrated in works of art, the structure of which is based on original intuitions, concepts, categories, truths of the mind, axioms and symbols. All these factors create a semantic network that materialises in essential aspects of any human community. The practical significance is in the use of the work results by theatre journalists for the development of Ukrainian culture and independence during the Russo-Ukrainian war.

The peculiarities of artistic representation image of the sea in the modern Ukrainian novels based on such works as 'The Sea', 'Venice' by S. Grabar, 'Brach Island' by L. Taran, 'Uncatchable' by I. Rozdobudko, 'I Don't Want to Go to the Sea' by S. Osoka and 'The Sea Swallowed Us' by K. Kalytko are described. This topic has not been the subject of literary research yet. The sea is represented in various ways: philosophical, psychological and mythological. But mainly it is used to describe psychological portraits of the main characters. The in-depth psychological meaning of each novel is reached using mythologems and symbolic objects, such as waves interpreted directly and metaphorically as an inner personal mental state ('Brach Island' by L. Taran) and the human being similar to wave sometimes ('Uncatchable' by I. Rozdobudko). The sea itself being a wild and uncontrolled natural power ('The Sea' by S. Grabar) very often is used as a symbolic object projected into the human ('I Don't Want to Go to the Sea' by S. Osoka). A lot of attention is paid to the artistic details which reveal character psychology, their inner feelings. Symbolic water mythologem is marked with ambivalence: water as a symbol of life, female beginning, regeneration and at the same timethe symbol of death, calmness and as an intermediary between the living and the dead. Therefore the sea has a twisted meaning which becomes a key point in depicting the conceptual world of a human as a binary state 'life-death' ('The Sea Swallowed Us' by K. Kalytko). An important element connected to water mythologem is the river concept which gets the archetypal meaning symbolizing time flow and a sacral place in the main characters' life ('Yateri', 'Night bathing in August' by S. Osoka). Among other vivid characteristics of the sea is its impressionistic complexity

This article describes peculiarities how tragic is implemented in Bogdan Melnychuk novels based on stories from "Meridian through heart and village" cycle and documental novel "Bells of 1920th" which all are a part of a "Court without a justice" collection. Among the main features of tragedy are: tragical conflict with an unpredictable ending (most often it is sudden and sometimes meaningless death); characters" tragical images, whose inner world is deformed and split under the external circumstances; tragical mistake and fault motives unfold, with a directly related motive of tragical punishment; existential motives, with a basic binary opposition "life-death", when death is introduced as punishment, fatum, from here comes the motive of human tragical predestination and fate inevitability. Tragical mood of each novel is marked, enhanced with tragical symbolic images (ex. steep bank, ice, slab, which have both direct and metaphoric meaning and are at the same time the names of the novels "Steep bank", "Ice", "Slab"), artistic details, mythologems. Special attention is dedicated to artistic details (visual and audio) which depicts heroes tragical sympathy their inner turmoil. Significant semantic meaning is given to the water mythologem tragic context, which is implemented by the system of artistic invariants (river/pond, rain, ice, wet snow, hoarfrost , dew, tears (as an incarnation of the greatest sufferings, grief and pain) etc.) which very often have a mortal meaning in the novels. Well symbol is a very important element related to water mythologem which gets archetypical edge meaning, transition from life to death. Analyzed novels give the reason to claim that B. Melnychuk has a very strong sensation of human tragic being in the world, which makes him use expressionist means to depicto the tragedy and makes him closer to Stephanic writing style.