DOCSLIB.ORG

Representation of Psychic Trauma in Ukrainian Modernist Prose

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

REPRESENTATION OF PSYCHIC TRAUMA IN UKRAINIAN MODERNIST PROSE by Daria Polianska A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in SLAVIC LANGUAGES AND LITERATURES Department of Modern Languages and Cultural Studies University of Alberta © Daria Polianska, 2019 ii Abstract Trauma is unspeakable and hard to comprehend. Thus, it is through the artistic expression of the internal and external conflicts caused by traumatic events that we can come to a deeper understanding of trauma. I consider three Ukrainian texts about WWI and the Revolution of 1917 as important literary testimonies of a people’s traumatized psyche. Therefore, this dissertation focuses on the representation of psychic trauma in works by Osyp Turians'kyi, Mykola Khvyl'ovyi and Borys Antonenko-Davydovych. I discuss how these authors write about subjective traumatic experiences as having roots in social life. To do that, I perform close readings of their texts from the perspectives of modernist styles, I employ the analysis of narrative modes for presenting consciousness (Dorrit Cohn) and I explore the role of literary dreams and dreamlike states in indicating the protagonists’ psychological breakdown. I claim that modernist writers depict the shift from conscious to unconscious states of mind, revealing the invisible effects of collective political and ideological pressures on a person’s consciousness. I suggest that by presenting the personal trauma of their protagonists’ through daydreaming, hypnagogic imagery, hallucinations, and madness—as well as dreams per se—these writers delineate the collective tragedy of the Ukrainian nation during war and revolution. Ergo, this study considers the relationship between psychological, stylistic and narrative aspects of trauma prose as well as the literary devices used by the writers. The analysis of artistic ways to represent traumatic experiences aids in recognizing the transhistorical impact of trauma as well as the connection between past events and their effect on the realities of the present. iii For my mother and father, Larysa and Andrii. iv Acknowledgments A number of people helped me to complete this project. My sincere and immeasurable gratitude goes to my supervisor Dr. Oleh Ilnytzkyj who worked with me from the very beginning. He supported my ideas and maintained high standards for me as a scholar. His comments and guidance throughout every step of the way helped make researching and writing a pleasant endeavour for me. I have been honoured to work with my co-supervisor Dr. Natalia Pylypiuk, who supported me greatly throughout the program and whose timely suggestion that I befriend the best companion a researcher can have—“Discipline!”—definitely kept me on track. Her feedback and advice helped me to thematically connect my chapters together. I am grateful to Dr. Donald Kuiken for assisting me in understanding the connection between dream theory and literature. I am thankful to Dr. Alla Nedashkivska and Irene Sywenky for their encouragement and comments. I also extend my thanks to Dr. Natalie Kononenko and Dr. Peter Holloway for their recommendations and support. I am indebted to Dr. Jeanette Bayduza for her assistance and kindness. I am grateful to my friend and colleague Dr. Shanna Mumm, who helped proofread some excerpts for me. I owe my sincere gratitude to my husband Rahul Patel for his ongoing support, patience, encouragement and advice. His question “How much did you write today?” kept me intact with my writing conscience. I am very grateful to my dear friends Ievgeniia Vincent-Zhelezniak, Romain Vincent, Sergii and Natalia Sukharovy, who helped me tremendously throughout my studies. Finally, my heartfelt gratitude and appreciation go to my family and friends in Canada and in Ukraine, and especially to my parents who are my inspiration and example. v Note on Transliteration The Library of Congress transliteration system for Russian and Ukrainian words is used throughout this study. Diacritical marks and ligatures are omitted. To distinguish the soft sign in Ukrainian from the possessive case in English I used the stroke mark (') and the apostrophe (’) respectively. The names of famous writers (e.g., Tolstoy, Dostoevsky) are left according to their largely accepted spelling. vi Table of Contents Abstract ii Acknowledgements iv Note on Transliteration v Introduction ..................................................................................................................................... 1 Chapter 1. Trauma in Literature or Literature in Trauma ............................................................. 10 1.1. European and Ukrainian modernism .................................................................................. 10 1.2. Trauma theory: the nature of trauma and responses to it ................................................... 16 1.3. Representation of trauma in the modernist text ................................................................ 21 1.3.1. Varieties of dreams, dreamlike states, and trauma ................................................ 22 1.3.2. The effect of defamiliarization .............................................................................. 33 1.4. Dorrit Cohn’s narrative modes for presenting consciousness in fiction ............................ 37 Chapter 2. A Narrative of Human Suffering. Osyp Turians'kyi’s Testimony to WWI: ............... 48 Poza mezhamy boliu ..................................................................................................................... 48 2.1. Background ........................................................................................................................ 48 2.1.1. Biographical note ................................................................................................... 53 2.1.2. Reception of the novel ........................................................................................... 56 2.2. Poza mezhamy as a trauma novel ...................................................................................... 58 2.2.1. The use of expressionistic strategies to delineate trauma ...................................... 65 2.2.2. Dorrit Cohn’s modes for narrating consciousness ................................................. 70 2.3. Trauma and hallucinations ................................................................................................. 76 2.3.1. The collective unconscious and the mother archetype .......................................... 78 Chapter 3. Perpetrator Trauma in the Context of Early Ukrainian Communism: ........................ 85 Mykola Khvyl'ovyi’s Short Story “Ia (Romantyka)” ................................................................... 85 3.1. Ukrainian national communism and Bolshevism .............................................................. 89 3.2. Mykola Khvyl'ovyi and the Communist Party ................................................................... 93 3.3. The Literary Discussion ..................................................................................................... 97 3.4. “Ia (Romantyka)”: “I am a Chekist, but still I remain a human being” ........................... 101 3.4.1. Symptoms of a traumatized psyche ..................................................................... 103 3.4.2. Modes for presenting consciousness ................................................................... 108 3.5. Psychic trauma of a dissociated self ................................................................................. 112 vii Chapter 4. Killing the Other as Killing the Self: The Nature of Psychic Trauma in Borys Antonenko-Davydovych’s novel Smert' ..................................................................................... 128 4.1. The psychological novel .................................................................................................. 146 4.2. Modes for presenting consciousness in Smert' ................................................................. 150 4.3. The guilty conscience of a dreaming perpetrator ............................................................. 156 4.4. The narrative of trauma in Smert' ..................................................................................... 162 Conclusion .................................................................................................................................. 175 Works Cited ................................................................................................................................ 181 1 Introduction Trauma by nature drives us to the edge of comprehension, cutting us off from language based on common experience or an imaginable past Bessel Van der Kolk The catastrophic consequences of the Great War (1914-1918) exceeded all expectations that it would be a short conflict. Instead, the war spread internationally, causing a “ripple effect” around the world (Winter 1:11). For about fifty months, the world’s great empires were at war. Because the war spawned revolutions, its actual end is hard to define.1 Even though the Armistice of 11 November stopped violence along the Western Front, in Eastern Europe the Great War was transformed into a series of civil and revolutionary wars: “The sudden withdrawal of German and Austrian-Hungarian troops left a power vacuum. Ukraine and Belarus became battlefields in the Russian civil war; in the Baltic region Estonians, Latvians and Lithuanians [...] defended their countries against the
Recommended publications
  • Starring Hitler! Adolf Hitler As the Main Character in Twentieth-First Century French Fiction," Studies in 20Th & 21St Century Literature: Vol

    Starring Hitler! Adolf Hitler As the Main Character in Twentieth-First Century French Fiction," Studies in 20Th & 21St Century Literature: Vol

    Studies in 20th & 21st Century Literature Volume 43 Issue 2 Article 44 October 2019 Starring Hitler! Adolf Hitler as the Main Character in Twentieth- First Century French Fiction Marion Duval The College of Wooster, [email protected] Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons, Holocaust and Genocide Studies Commons, and the Modern Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Duval, Marion (2019) "Starring Hitler! Adolf Hitler as the Main Character in Twentieth-First Century French Fiction," Studies in 20th & 21st Century Literature: Vol. 43: Iss. 2, Article 44. https://doi.org/10.4148/ 2334-4415.2076 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Starring Hitler! Adolf Hitler as the Main Character in Twentieth-First Century French Fiction Abstract Adolf Hitler has remained a prominent figure in popular culture, often portrayed as either the personification of evil or as an object of comedic ridicule. Although Hitler has never belonged solely to history books, testimonials, or documentaries, he has recently received a great deal of attention in French literary fiction. This article reviews three recent French novels by established authors: La part de l’autre (The Alternate Hypothesis) by Emmanuel Schmitt, Lui (Him) by Patrick Besson and La jeunesse mélancolique et très désabusée d’Adolf Hitler (Adolf Hitler’s Depressed and Very Disillusioned Youth) by Michel Folco; all of which belong to the Twenty-First Century French literary trend of focusing on Second World War perpetrators instead of their victims.
  • The Making of the Poetic Subject in Vasyl Stus's

    The Making of the Poetic Subject in Vasyl Stus's

    ‘A FRAGMENT OF WHOLENESS’: THE MAKING OF THE POETIC SUBJECT IN VASYL STUS’S PALIMPSESTS Bohdan Tokarskyi St John’s College University of Cambridge The dissertation is submitted for the degree of Doctor of Philosophy June 2019 PREFACE This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution. It does not exceed the prescribed word limit of 80,000 words. ii ABSTRACT Bohdan Tokarskyi ‘A Fragment of Wholeness’: The Making of the Poetic Subject in Vasyl Stus’s Palimpsests My PhD thesis investigates the exploration of the self and the innovative poetical language in the works of the Ukrainian dissident poet and Gulag prisoner Vasyl Stus (1938-1985). Focusing on Stus’s magnum opus collection Palimpsests (1971-1979), where the poet casts the inhuman conditions of his incarceration to the periphery and instead engages in radical introspection, I show how Stus’s poetry foregrounds the very making of the subject as the constant pursuit of the authentic self. Through my examination of unpublished archival materials, analysis of Stus’s underexplored poems, and the contextualisation of the poet’s works within the tradition of the philosophy of becoming, I propose a new reading of Palimpsests, one that redirects scholarly attention from the historical and political to the psychological and philosophical.
  • Rainian Uarter

    Rainian Uarter

    e rainian uarter A JOURNAL OF UKRAINIAN AND INTERNATIONAL AFFAIRS Volume LXIV, Numbers 1-2 Spring-Summer 2008 This issue is a commemorative publication on the 75th anniversary of the Stalin-induced famine in Ukraine in the years 1932-1933, known in Ukrainian as the Holodomor. The articles in this issue explore and analyze this tragedy from the perspective of several disciplines: history, historiography, sociology, psychology and literature. In memory ofthe "niwrtlered millions ana ... the graves unknown." diasporiana.org.u a The Ukrainian uarter'7 A JOURNAL OF UKRAINIAN AND INTERNATIONAL AFFAIRS Since 1944 Spring-Summer 2008 Volume LXIV, No. 1-2 $25.00 BELARUS RUSSIA POLAND ROMANIA Territory of Ukraine: 850000 km2 Population: 48 millions [ Editor: Leonid Rudnytzky Deputy Editor: Sophia Martynec Associate Editor: Bernhardt G. Blumenthal Assistant Editor for Ukraine: Bohdan Oleksyuk Book Review Editor: Nicholas G. Rudnytzky Chronicle ofEvents Editor: Michael Sawkiw, Jr., UNIS Technical Editor: Marie Duplak Chief Administrative Assistant: Tamara Gallo Olexy Administrative Assistant: Liza Szonyi EDITORIAL ADVISORY BOARD: Anders Aslund Carnegie Endowment for International Peace Yaroslav Bilinsky University of Delaware, Newark, DE Viacheslav Brioukhovetsky National University of Kyiv-Mohyla Academy, Ukraine Jean-Pierre Cap Professor Emeritus, Lafayette College, Easton, PA Peter Golden Rutgers University, Newark, NJ Mark von Hagen Columbia University, NY Ivan Z. Holowinsky Rutgers University, New Brunswick, NJ Taras Hunczak Rutgers University, Newark, NJ Wsewolod Jsajiw University of Toronto, Canada Anatol F. Karas I. Franko State University of Lviv, Ukraine Stefan Kozak Warsaw University, Poland Taras Kuzio George Washington University, Washington, DC Askold Lozynskyj Ukrainian World Congress, Toronto Andrej N. Lushnycky University of Fribourg, Switzerland John S.
  • Conrad Von Hötzendorf and the “Smoking Gun”: a Biographical Examination of Responsibility and Traditions of Violence Against Civilians in the Habsburg Army 55

    Conrad Von Hötzendorf and the “Smoking Gun”: a Biographical Examination of Responsibility and Traditions of Violence Against Civilians in the Habsburg Army 55

    1914: Austria-Hungary, the Origins, and the First Year of World War I Günter Bischof, Ferdinand Karlhofer (Eds.) Samuel R. Williamson, Jr. (Guest Editor) CONTEMPORARY AUSTRIAN STUDIES | VOLUME 23 uno press innsbruck university press Copyright © 2014 by University of New Orleans Press, New Orleans, Louisiana, USA All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be reproduced or transmitted in any form, or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without prior permission in writing from the publisher. All inquiries should be addressed to UNO Press, University of New Orleans, LA 138, 2000 Lakeshore Drive. New Orleans, LA, 70119, USA. www.unopress.org. Printed in the United States of America Design by Allison Reu Cover photo: “In enemy position on the Piave levy” (Italy), June 18, 1918 WK1/ALB079/23142, Photo Kriegsvermessung 5, K.u.k. Kriegspressequartier, Lichtbildstelle Vienna Cover photo used with permission from the Austrian National Library – Picture Archives and Graphics Department, Vienna Published in the United States by Published and distributed in Europe University of New Orleans Press by Innsbruck University Press ISBN: 9781608010264 ISBN: 9783902936356 uno press Contemporary Austrian Studies Sponsored by the University of New Orleans and Universität Innsbruck Editors Günter Bischof, CenterAustria, University of New Orleans Ferdinand Karlhofer, Universität Innsbruck Assistant Editor Markus Habermann
  • Ukrainian Literature in English: Articles in Journals and Collections, 1840-1965

    Ukrainian Literature in English: Articles in Journals and Collections, 1840-1965

    Research Report No. 51 UKRAINIAN LITERATURE IN ENGLISH: ARTICLES IN JOURNALS AND COLLECTIONS, 1840-1965 An annotated bibliography MARTA TARNAWSKY Canadian Institute of Ukrainian Studies Press University of Alberta Edmonton 1992 Canadian Institute of Ukrainian Studies Press Occasional Research Reports The Institute publishes research reports periodically. Copies may be ordered from the Canadian Institute of Ukrainian Studies Press, 352 Athabasca Hall, University of Alberta, Edmonton, Alberta, Canada T6G2E8. The name of the publication series and the substantive material in each issue (unless otherwise noted) are copyrighted by the Canadian Institute of Ukrainian Studies Press. This publication was funded by a grant from the Stephania Bukachevska-Pastushenko Archival Endowment Fund. PRINTED IN CANADA 1 Occasional Research Reports UKRAINIAN LITERATURE IN ENGLISH: ARTICLES IN JOURNALS AND COLLECTIONS, 1840-1965 An annotated bibliography MARTA TARNAWSKY Research Report No. 5 Canadian Institute of Ukrainian Studies Press University of Alberta Edmonton 1992 TABLE OF CONTENTS Introduction v Journals and Collections Included in this Bibliography ix Bibliography 1 General Index 144 Chronological Index 175 INTRODUCTION The general plan Ukrainian Literature in English: Articles in Journals and Collections. 1840-1965 is part of a larger bibliographical project which attempts, for the first time, a comprehensive coverage of translations from and materials about Ukrainian literature published in the English language from the earliest known publications to the present. After it is completed this bibliographical project will include: 1/books and pamphlets, both translations and literary studies; 2/articles and notes published in monthly and quarterly journals, yearbooks, encyclopedias, symposia and other collections; 3/translations of poetry, prose and drama published in monthly and quarterly journals, yearbooks, anthologies etc.; and 4/ book reviews published in journals and collections.
  • Romanov News Новости Романовых

    Romanov News Новости Романовых

    Romanov News Новости Романовых By Ludmila & Paul Kulikovsky №138 September 2019 New Bust to Emperor Alexander III at St. Nicholas Church in Polyarny City A monument to Emperor Alexander III was solemnly opened and consecrated in Polyarny city On the occasion of the 120th anniversary of Polyarny, a solemn opening ceremony of the bust of Emperor Alexander III took place on the territory of St. Nicholas Church. Polyarny is a city in the Murmansk region, located on the shores of the Catherine’s harbour of the Kola Bay of the Barents Sea, about 30 km from Murmansk. The city is home to the Northern Fleet and as such is a closed city. The port was laid down in the summer of 1899 and named Alexandrovsk in honour of Emperor Alexander III. In 1931 it was renamed Polyarny., Parishioners of the church of St. Nicholas the Miracle Worker and Rector Archpriest Sergei Mishchenko, initiated and sponsored the bronze bust of the great Russian Emperor Alexander III. The monument was made with donations from parishioners and in February 2019 was delivered from the workshop of Simferopol to Polyarny. The opening and consecration ceremony was conducted by Bishop Tarasiy of the North Sea and Umba. The St. Nicholas Church, with the bust of Emperor Alexander III standing under the bell tower. Stories from Crimea In 2019, there were two extraordinaire reasons to visit Crimea and Yalta in particular - the 100 years anniversary of several members of the Imperial Romanov family, including Dowager Empress Maria Feodorovna, leaving Russia from Yalta - and 125 years since the repose of Emperor Alexander III in Livadia.
  • At T He Tsar's Table

    At T He Tsar's Table

    At T he Tsar’s Table Russian Imperial Porcelain from the Raymond F. Piper Collection At the Tsar’s Table Russian Imperial Porcelain from the Raymond F. Piper Collection June 1 - August 19, 2001 Organized by the Patrick and Beatrice Haggerty Museum of Art, Marquette University © 2001 Marquette University, Milwaukee, Wisconsin. All rights reserved in all countries. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system without the prior written permission of the author and publisher. Photo credits: Don Stolley: Plates 1, 2, 4, 5, 11-22 Edward Owen: Plates 6-10 Dennis Schwartz: Front cover, back cover, plate 3 International Standard Book Number: 0-945366-11-6 Catalogue designed by Jerome Fortier Catalogue printed by Special Editions, Hartland, Wisconsin Front cover: Statue of a Lady with a Mask Back cover: Soup Tureen from the Dowry Service of Maria Pavlovna Haggerty Museum of Art Staff Curtis L. Carter, Director Lee Coppernoll, Assistant Director Annemarie Sawkins, Associate Curator Lynne Shumow, Curator of Education Jerome Fortier, Assistant Curator James Kieselburg, II, Registrar Andrew Nordin, Preparator Tim Dykes, Assistant Preparator Joyce Ashley, Administrative Assistant Jonathan Mueller, Communications Assistant Clayton Montez, Security Officer Contents 4 Preface and Acknowledgements Curtis L. Carter, Director Haggerty Museum of Art 7 Raymond F. Piper, Collector Annemarie Sawkins, Associate Curator Haggerty Museum of Art 11 The Politics of Porcelain Anne Odom, Deputy Director for Collections and Chief Curator Hillwood Museum and Gardens 25 Porcelain and Private Life: The Private Services in the Nineteenth Century Karen L.
  • The Phenomenon and Poetry of the New York Group: Discourses, Disguises, and Liminality

    The Phenomenon and Poetry of the New York Group: Discourses, Disguises, and Liminality

    THE PHENOMENON AND POETRY OF THE NEW YORK GROUP: DISCOURSES, DISGUISES, AND LIMINALITY MARIA G.REWAKOWCZ A thesis submitted in confonrgty with the requirernents for the degree of Doctor of Philosophy, Graduate Department of SIavic Languages and Literatures, in the University of Toronto National Library Bibliothèque nationale a*i of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. nie Weilimglan OttawaON KlAON4 OnawaON KlAûN4 canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aiiowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fïlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni La thèse ni des extraits substantiels may be p~tedor otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduit. sans son permission. autorisation. Canada ABSTRACT THE PHENOMENON AND POETRY OF THE NEW YORK GROUP: DISCOCTRSES, DISGUISES, AND Lih4INALITY Maria G. Rewakowicz Doctor of PMosophy 200 1 Graduate Department of Slavic Languages and Literanires The New York Group is a circle of Ukrainian avant-garde émigré poets, most of whom began to wcite and publish in the second halfof the 1950s in New York City.
  • Colonialism and Post- Colonialism

    Colonialism and Post- Colonialism

    DOI: 10.7816/idil-06-29-02 idil, 2017, Cilt 6, Sayı 29, Volume 6, Issue 29 UKRAINIAN LITERATURE BY WOMEN WITHIN THE CONTEXT OF COLONIALISM AND POST- COLONIALISM Radana MERZOVA1 ABSTRACT The article focuses on the roots of Ukrainian feminism, outstanding personalities involved in the development of Ukrainian literature and well-known contemporary female writers who interpret the colonial and postcolonial thinking in their works. The article compares the differencies in the development of feminism in the eastern and western Ukraine. The most important Ukrainian feminists are presented as well as their opinion streams and their works of literary criticism. The theme of women has been transformed in contemporary literature; therefore we focus mainly on the works of 20th century. In addition to women's issues we found concrete manifestations of anti-colonial and post-colonial resistance in the works of these Ukrainian authors across of time. The manifestations are based on the denouncement of imperialism. Contemporary Ukrainian feminism is re-evaluating the position of women in society in connection with the cultural and social situation and at the same time takes into account the political context within the particular stages of the historic development of the state. The paper gives examples of postcolonial mythologization of Ukrainian nation, formation of Ukrainian identity by activation of historical memory. In conclusion, the paper introduces a new heroine in Ukrainian prose - woman of complete subjective expressions, an open woman, sexually aware & intellectually mature. Keywords: Ukrainian feminism, contemporary Ukrainian female writers, colonial and postcolonial context in contemporary literary works, Lesia Ukrainka, Olena Teliha, Lina Kostenko, Marie Matios and Oxsana Zabuzhko.
  • Becoming Soviet: Lost Cultural Alternatives In

    Becoming Soviet: Lost Cultural Alternatives In

    BECOMING SOVIET: LOST CULTURAL ALTERNATIVES IN UKRAINE, 1917-1933 Olena Palko, MA, BA (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of East Anglia School of History December 2016© ‘This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition any quotation or extract must include full attribution.’ Abstract This doctoral thesis investigates the complex and multi-faceted process of the cultural sovietisation of Ukraine. The study argues that different political and cultural projects of a Soviet Ukraine were put to the test during the 1920s. These projects were developed and executed by representatives of two ideological factions within the Communist Party of Bolsheviks of Ukraine: one originating in the pre-war Ukrainian socialist and communist movements, and another with a clear centripetal orientation towards Moscow. The representatives of these two ideological horizons endorsed different approaches to defining Soviet culture. The unified Soviet canon in Ukraine was an amalgamation of at least two different Soviet cultural projects: Soviet Ukrainian culture and Soviet culture in the Ukrainian language. These two visions of Soviet culture are examined through a biographical study of two literary protagonists: the Ukrainian poet Pavlo Tychyna (1891-1967) and the writer Mykola Khvyl'ovyi (1893-1933). Overall, three equally important components, contributing to Ukraine’s sovietisation, are discussed: the power struggle among the Ukrainian communist elites; the manipulation of the tastes and expectations of the audience; and the ideological and aesthetic evolution of Ukraine’s writers in view of the first two components.
  • NEWSLETTER American Association of Teachers of Slavic and East European Languages AATSEEL

    NEWSLETTER American Association of Teachers of Slavic and East European Languages AATSEEL

    NEWSLETTER American Association of Teachers of Slavic and East European Languages AATSEEL VOLUME 57 ISSUE 2 MAY 2014 Balaklava Bay | Crimea | Ukraine President’s Message ing of Russia’s sense of vulnerability before an TABLE OF CONTENTS expanded NATO and what it sees as overweening U.S. influence in the world. Russia for its part Ukraine inevitably dominates my remarks and seems abruptly to have shed all pretense of even President’s Message . 1 this issue of the Newsletter once again. Since my trying to be part of “Europe” or the “international last column, written in what now seems a distant Russia’s New Normal . 4 community,” its reflex calling to mind nothing and innocent past, the main question for Ukraine so much as the hero of Mikhail Zoshchenko’s Letter From the Editor . 4 was how the protests in Kiev and a handful of “Рассказ о человеке, которого вычистили из other cities would resolve themselves. At the mo- Ukranian Literary and Cultural Studies . 5 партии.”1 On learning of his exclusion the hero ment of this writing Russia has announced the fumes, “Сколько лет я крепился и сдерживал Questioning Ukraine . 8 annexation of Crimea, amassed troops near its bor- порывы своей натуры. Вел себя порядочно. И Challenges of Teaching Ukrainian . 9 der with Ukraine, and engaged in a campaign to не допускал никаких эксцессов...Сколько лет я destabilize eastern Ukraine and create a pretext, so Everything You Always Wanted to . 10 портил себе кровь разными преградами. И то it would seem, for an invasion. Events in Ukraine Know about Russian Grammar But нельзя, и это не так, и жену не поколоти.
  • Print This Article

    Print This Article

    Number 2302 Olga Bertelsen Th e House of Writers in Ukraine, the 1930s: Conceived, Lived, Perceived Number 2302 ISSN: 2163-839X (online) Olga Bertelsen Th e House of Writers in Ukraine, the 1930s: Conceived, Lived, Perceived This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. This site is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program, and is cosponsored by the University of Pittsburgh Press. Olga Bertelsen (Ph.D., University of Nottingham, 2013) is a Postdoctoral Fellow at the Harriman Institute, Columbia University. Her research interests include Ukrainian history and culture, the spatial dimensions of state violence in the Soviet Union and in Ukraine, and the interactions between the state and the intelligentsia. No. 2302, August 2013 2013 by Th e Center for Russian and East European Studies, a program of the University Center for International Studies, University of Pittsburgh ISSN 0889-275X (print) ISSN 2163-839X (online) Image from cover: Th e facade of the House of Writers “Slovo” (Budynok Slovo). Sum- mer 2008 (Kharkiv, Ukraine). The Carl Beck Papers Publisher: University Library System, University of Pittsburgh Editors: William Chase, Bob Donnorummo, Robert Hayden, Andrew Konitzer Managing Editor: Eileen O’Malley Editorial Assistant: Tricia J. McGough Editor Emeritus: Ronald H. Linden Submissions to The Carl Beck Papers are welcome. Manuscripts must be in English, double- spaced throughout, and between 40 and 90 pages in length, including notes. Acceptance is based on anonymous review. Manuscripts can be submitted on The Carl Beck Papers website, http://carlbeckpapers.pitt.edu.