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Contemporary Ukraine on the Cultural Map of Europe

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Contemporary Ukraine on the Cultural Map of Europe Contemporary Ukraine on the Cultural Map of Europe Contemporary Ukraine on the Cultural Map of Europe Edited by Larissa M. L. Zaleska Onyshkevych and Maria G. Rewakowicz PUBLISHED IN COOPERATION WITH THE SHEVCHENKO SCIENTIFIC SOCIETY M.E.Sharpe Armonk, New York London, England Copyright © 2009 by the Shevchenko Scientific Society All rights reserved. No part of this book may be reproduced in any form without written permission from the publisher, M.E. Sharpe, Inc., 80 Business Park Drive, Armonk, New York 10504. Library of Congress Cataloging-in-Publication Data Contemporary Ukraine on the cultural map of Europe / Larissa M.L. Zaleska Onyshkevych and Maria G. Rewakowicz, editors. p. cm. Includes bibliographical references and index. ISBN 978-0-7656-2400-0 (cloth : alk. paper) 1. Ukraine—Civilization. 2. Ukraine—Relations—Europe. 3. Europe—Relations—Ukraine. I. Onyshkevych, Larissa M. L. Zaleska. II. Rewakowicz, Maria G. DK508.4.C66 2009 947.708'6—dc22 2008046853 Printed in the United States of America The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences Permanence of Paper for Printed Library Materials, ANSI Z 39.48-1984. ~ EB (c) 10 9 8 7 6 5 4 3 2 1 CONTENTS v Contents Acknowledgments ix Introduction: The Mapping of Ukraine Larissa M.L. Zaleska Onyshkevych and Maria G. Rewakowicz xi Ukraine on Historical Maps of Europe xxv I. Mapping the Nation: History, Politics, and Religion 1 1. The Western Dimension of the Making of Modern Ukraine Roman Szporluk 3 2. Cultural Fault Lines and Political Divisions: The Legacy of History in Contemporary Ukraine Mykola Riabchuk 18 3. Ukraine’s Road to Europe: Still a Controversial Issue Giulia Lami 29 4. Finis Europae: Contemporary Ukraine’s Conflicting Inheritances from the Humanistic “West” and the Byzantine “East” (A Triptych) Oxana Pachlovska 40 5. The Status of Religion in Ukraine in Relation to European Standards Andrew Sorokowski 69 6. Missionaries and Pluralism: How the Law Changed the Religious Landscape in Ukraine Catherine Wanner 89 7. The Future of Ukraine if Values Determine the Course: What Opinion Polls Disclose About Public Attitudes on Political and Economic Issues Elehie Natalie Skoczylas 101 8. Accountability for Human Rights Violations by Soviet and Other Communist Regimes and the Position of the Council of Europe Myroslava Antonovych 121 9. Collective Memory as a Device for Constructing a New Gender Myth Marian J. Rubchak 139 v vi CONTENTS II. Reflecting Identities: The Literary Paradigm 155 10. Mirrors, Windows, and Maps: The Typology of Cultural Identification in Contemporary Ukrainian Literature Maria Zubrytska 157 11. Cultural Perceptions, Mirror Images, and Western Identification in New Ukrainian Drama Larissa M.L. Zaleska Onyshkevych 162 12. Ukrainian Avant-Garde Poetry Today: Bu-Ba-Bu and Others Michael M. Naydan 186 13. Nativists versus Westernizers: Problems of Cultural Identity in Ukrainian Literature of the 1990s Ola Hnatiuk 203 14. Back to the Golden Age: The Discourse of Nostalgia in Galicia in the 1990s Lidia Stefanowska 219 15. Symbols of Transformation: The Reflection of Ukraine’s “Identity Shift” in Four Ukrainian Novels of the 1990s Marko Robert Stech 231 16. Choosing a Europe: Andrukhovych, Izdryk, and the New Ukrainian Literature Marko Pavlyshyn 249 17. Images of Bonding and Social Decay in Contemporary Ukrainian Prose: Reading Serhii Zhadan and Anatolii Dnistrovy Maxim Tarnawsky 264 18. Women’s Literary Discourse and National Identity in Post-Soviet Ukraine Maria G. Rewakowicz 275 III. Manifesting Culture: Language, Media, and the Arts 295 19. The European Dimension Within the Current Controversy over the Ukrainian Language Standard Serhii Vakulenko 297 20. Colonial Linguistic Reflexes in a Post-Soviet Setting: The Galician Variant of the Ukrainian Language and Anti-Ukrainian Discourse in Contemporary Internet Sources Michael Moser 316 CONTENTS vii 21. Criticism and Confidence: Reshaping the Linguistic Marketplace in Post-Soviet Ukraine Laada Bilaniuk 336 22. Linguistic Strategies of Imperial Appropriation: Why Ukraine Is Absent from World Film History Yuri Shevchuk 359 23. Ukraine’s Changing Communicative Space: Destination Europe or the Soviet Past? Marta Dyczok 375 24. Envisioning Europe: Ruslana’s Rhetoric of Identity Marko Pavlyshyn 395 25. Contemporary Ukrainian Art and the Twentieth Century Avant-Garde Myroslav Shkandrij 411 26. “The Past Is My Beginning” . : On the Recent Music Scene in Ukraine Virko Baley 432 Index 450 About the Editors, Authors, Translator 466 Acknowledgments The editors are most grateful to Dr. Christine Sochocky for her translation from Ukrainian of the complete chapter by Oxana Pachlovska; the text included in this book represents a shortened variant. Several chapters in the present compilation were published earlier as articles in three different periodicals and we are grateful to the authors and the publishers for reprint permissions. In particular, we would like to thank the Slavic and East European Journal for allowing us to reprint the articles by Maria Zubrytska, Larissa Onysh­ kevych, Michael Naydan, Ola Hnatiuk, and Marko Pavlyshyn (the article on Ruslana), which appeared in vol. 50, no. 3 (Fall 2006), and were guest edited by Larissa Onysh­ kevych. The chapter by Marko Pavlyshyn, “Choosing a Europe,” was published in the New Zealand Slavonic Papers 35 (2001). The chapters by Maria G. Rewakowicz and Lydia Stefanowska appeared in Harvard Ukrainian Studies, vol. 27, nos. 1–4, (2004–5, printed in 2008). Roman Szporluk’s chapter is available at www.eurozine .com/articles/2005­07­22­szporluk­en.html; and it was also published in German in Transit–Europäische Revue 29 (Summer 2005). Thanks are also extended to Mr. Andrew Gregorovich for permission to reprint two maps from his collection (published in Forum, no. 24, 1974, and no. 114, 2007), as well as to Mr. and Mrs. Titus and Sophia Hewryk for allowing us to reprint one map from their collection (published in The Mapping of Ukraine, Bohdan S. Kordan, Curator, with the permission of the Ukrainian Museum in New York City, 2008). We are also grateful to CIUS Press of the Canadian Institute of Ukrainian Studies for al­ lowing us to use their map of contemporary Ukraine and its oblasts. The editors would like to thank the Shevchenko Scientific Society for co­publishing this volume. In particular, we are grateful to the Society’s president, Dr. Orest Popovych, for his support, Vasyl Makhno (chair of the Publications Committee) for his advice and help, and the Society’s librarian, Svitlana Andrushkiv, and Serhii Panko for their aid in many research pursuits. We are greatly indebted to Vasyl Lopukh for his technical assistance with various maps and computer hitches. We are most grateful to our many colleagues who served as readers­experts for various chapter of this book. We were very fortunate in having excellent editors at M.E. Sharpe. We would like to extend our sincerest gratitude to Patricia Kolb, Maki Parsons, and Ana Erli´c for their constant guidance, unfailing assistance, and patience with our many inquiries. ix Introduction The Mapping of Ukraine Larissa M.L. Zaleska Onyshkevych and Maria G. Rewakowicz I. What comprises Europe today, both geographically and culturally? Geographically, it is popularly understood to be the European continent/peninsula all the way to the Ural Mountains, down the Ural River and then to the Caspian Sea (Wikipedia). Ukraine is one of the countries situated in the eastern part of Europe. In discussing contemporary Ukraine in the present book, we refer to the newly independent, post-Soviet country that is now trying to reaffirm its identity. Many countries in Europe found or built their own national identities over the past several hundred years. This concerned not only each country’s identity as a na- tion but also its geographic and cultural mapping. History occasionally changes the fates of countries and individuals to such a degree that it almost seems to dislocate them. Until the early twentieth century, mapping Ukraine on the European continent was not an issue. For example, a fourth-grade reader by Ostap Levytsky, published in Western Ukraine in 1872, contains a text addressing “Languages and Religions of the Europeans,” stating that “Slavs speak seven languages, which are nevertheless similar to each other, and these are further divided into dialects that number in the teens” (Levytsky, 141).1 “The main languages are Russian, Ruthenian, Polish, Czech, Slovenian, Serbian and Bulgarian. .” With the term “Ruthenian” (a term for Ukrainian used earlier), Ukrainian children, their teachers, parents, and grandparents identified the area where they lived (“from the Vysloka River all the way to the Don, and from the Prypiat and the middle Dnipro Rivers, all the way beyond the Carpathian Moun- tains and down to the Black Sea”)2 (155). But Ukrainians also located themselves on the wider map of Europe, seeing their country as one of the largest European states, although divided, at the time between the Austrian (one-seventh of the country) and the Russian (six-sevenths) states/empires (155). By calling themselves European, they went a step beyond identifying with a nation, or state, or empire, a move especially xi xii LARISSA M.L. ZALESKA ONYSHKEVYCH AND MARIA G. REwaKOWICZ notable during the period of Romanticism, which emphasized the nation. This wider or more universal perception of one’s geopolitical place, in terms of a continental identification, may have been a reaction
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