CEU eTD Collection Second reader: ProfessorVladNaumescu Supervisor: Professor Yaroslav Hrytsak LVIV INTELLECTUALS AND THEALTERNATIVE FESTIVAL “VYVYKH-1990” In partialfulfilment oftherequirementsfordegree of Central EuropeanUniversity REVOLUTION ASREVOLUTION ART: History department Budapest, Hungary Kateryna Ruban Master ofArts Submitted to 2008 by CEU eTD Collection political and social demands for changes as itscore. as forchanges political socialdemands and had that for thestruggle consecration is of the of one Lviv in1990examples culture festival of alternative The public. change of the concept of art and orientation of theirwhole field works of cultural towards production the broad and its system of consecration the to change attempts demonstrate intellectuals young the of public activities by means of topower.The which was coming opposition thepolitical nationalism of alternative tothe ideology Soviet and atthesametime tothetraditional as products cultural their presented who intellectuals young of group the on Abstract This thesis analyzes the intellectual life in Lviv in the late 80s focusing latein 80s in Lviv the life intellectual the analyzes This thesis 2 “Vyvykh-90” which took place in CEU eTD Collection Appendixes...... 75 Bibliography...... 67 ...... 62 Conclusions 3. Chapter Chapter 2. The Competition of Intellectuals during the Revolution...... 23 Chapter 1. Theoretical ...... 10 Framework ...... 4 Introduction ...... 2 Abstract “Vyvykh-90” as the Last Soviet Performance in Lviv...... 46 3 CEU eTD Collection Europe 1989" Europe Padraic Kenney includes eventsin Lviv in hisbook"A Carnival of Revolution: Central Sovietization. case The Lviv in of 1989–1991seems tobeclose toCentral and Europe, of years forty even after city opposition “Western” a Lvivwasconsidered border, USSR partially do not work in case of Lviv. Located less than 100 km from the Polish field of cultural production mode andprospective of analyzing the processes andpresenting intransformation of the “ Therefore, festival. declareby this to they wanted “ itisforjokes. Butlong exploring ofissueswhichmake only pointchain the starting the a gathering of the fanciers of Švejk in the situation when the USSR became an object of book in Western scholarship which examines the events of the late 80s in Lviv. in 80s late ofthe events the examines which scholarship Western in book 3 2 Empire is ruined Švejk is of current importance” current is of Švejk is ruined Empire “when the that noticed already that time oneat since Švejk, soldier character European common the Eastern to dayswould refer I those give during happened idea what To of an May inlate partinof itday take three 1990. duringand invitedto everybody entertainment immense asan festival this organized intellectuals young The kink. individual or society alternative culture alternative name of is festival Its performance. brightest the into of USSR collapse the the transformed who only, not but writers, and artists mostly intellectuals, young of milieu the on Introduction 1 Here I referto Pierre Bourdieu’s notion that will be explored inthe theoretical chapter. “Khto zyiv ‘Saltseson’?” (Who ate ‘Saltseson’ ). In: Vyvykh-90 Padraic Kenney. Padraic Many versions of the perestroika time that describe the general situation inthe situation general describe the that time perestroika the of versions Many My thesis presents the version of the late 80s in the Soviet Lviv which is focused ” happen, who were the people who organized it and took partin it it organized whowerethe peopleand took who ” happen, and what 3 , thus drawing map acertain dividesmodes different that ofstruggle against A CarnivalA of Revolution “Vyvykh-90” 2 of of Lvivin late80s the andbeginning of 90s.the which can be translated as twist of mind, dislocation of the . Princeton: Princeton University Press, 2002. In fact, the only Postup 4 1 . Thus “ [Progress] #5,2001. Vyvykh-90 Vyvykh-90 ” can be considered as a be as considered ” can ” can be considered as ” beconsidered can CEU eTD Collection the interconnection interconnection the between politics and production incultural which appears ideas, the themes and many other changes in the field of cultural production.new My aim is toanalyzeintroducing arts, and music, literature, in genres and forms the of modification arts, issues, thus,processes in my of theanalysis late regime.of TheBakhtin’s concept carnival used byKennyishardly tothe twentiethrelevant of centurythe withfestival freedom the valuestotalitarian human over andof victory symbolizes the carnival that complex European the of ofvision political,superficial and “ simplified schematic, very time same the at but economic picture, enthusiastic and bright andKenny's of part is a in Ukraine, culturaltransformations and events revolutionary of center other the was which Kyiv not but Lviv, map this On USSR. the them is “ andideas particular one of cultural and of intellectualsproducts, whopromoted young the changes. asabasis furtherculture of social political and the Ukrainian alternative promoting was aim main their movement, oppositional political in the of Lviv.Besides atransformation 1989-91 argue) as some (or ‘revolution’ the force of intellectuals driving werethe andyoung students Therefore, cultural production. intellectual of center many Western the with Ukraine anduniversities developed field of is an city the of isthat Lviv feature particular more One of changes. andconcepts splash various in byintellectuals activities public of organized Lviv with projectsdifferent inonly privatediscussions, butthe 80sit wasa became Perestroikatime late the public. “genealogy” of opposition. The resistance toSoviet mode of life was a common feature of time. of that events the present Kenny’snotsense, rely Ido andon concept this considerit as a constructed pattern to Starting from such a broad prospective, I narrow my analysis to the certain milieu certain the to analysis my narrow I prospective, broad a such from Starting features should make of one particularthe ashort Lviv’s situation, Proceeding with Vyvykh -90”. The festival presents broad public new concepts of publicnew broad and concepts The festival aesthetics presents -90”. 5 Vyvykh -90” that is exactly the carnival in is-90” that carnival exactly the CEU eTD Collection and exposure of the variances, omissions and reservations, individual features and features individual reservations, and omissions variances, the of and exposure listening attentive psychoanalytic of a kind into turns work interpretative The evidences. historian,an poses additional of task analyzing historical the of trustworthy such andinterviewer- narrator the between well memory as as the relationship collective and private of interconnection which ishistory 80s.The of of late oral events the the of and and processes the find thattook place differences ruptures in the “post” extended the between the present and the inpast the interviewsand raises the task to trace the continuity the comparing border sources.This situation wipes with exact other the information listening skills and the on relying of attentive (in of Geertz) Clifford descriptions” terms “thickcreates who “field of into turns reporter work” the my work people,analytic interviews are with the sources cultural the sincemyprimary history, and particularly to basis. inits demands social “ festival The 80s. late the of transformations social and political of context historical certain the with interconnected tightly are consumption its and culture of production public andpolitical andsocial altogether. aims of producer the In my the research allows analyzingboth public the promotion creativereaction and private work, of the as a products resultof for struggle the consecration thewithin field. premise This theoretic field of cultural by production considers BourdieuPierre that the changes of cultural mid-80s and later. clearly visible by theare that my and is styles,focus social of transformations arts butthe these on context example of the works projects and of strategies particularthe youngof group intellectuals.is It of notahistory of writers, poets and artist created from the Vyvykh Generally, the sphere of my research belongs to both anthropology and history, and anthropology both to belongs research my of sphere the Generally, The final defining of my sphere of research relies on the theoretical approach the to approach theoretical the on relies research of my sphere of The final defining -90” is one of the examples of the struggle for consecration with political and political with for consecration is of of struggle one examples the -90” the 6 CEU eTD Collection appear in my plot, I will introduce them briefly by the time of by of “ time briefly them the Iwillin my introduce appear plot, including members.Since who all its people interviewed will the arethecharacters often milieu this about conclusions certain make me to allow figure key the with interviews 80s. late in the intellectuals young of group the of peculiarities the outline is to conclusions “ examines the situation festival culture the of third The competition. alternative chapter of create that ofintellectuals thegroups between on differences the 80sfocusing late in the in Lviv intellectuals young the of activities the analyzes chapter second The main feature. Bourdieu’s theory of fieldthe of cultural production and struggle for consecration its as lead intellectual concepts that on the of to andfollowing generation reflections with and work interpretative the of issues general the from starting analysis, further the for basis and its presenting. work creative their of context as the for consecration struggle the on main emphasis the balancingbetween theindividual details of biography and sweeping generalizations, with of people, group of this portrait collective presentthe My isto aim work. and artistic ideology and nationalist nationalism traditional of principles fundamental the andformations used myintegral byinterviewees concepts as part of analysis. ignoreexclude includeissue, thisnot discursive mode, butanalysis orof Ido thus in reconsidered the events presents ofmemory work The identification. collective marginal Ukraine]. In: 4 Communist Party of the Soviet Union; synthesis: “Vyvykh -91”. In: oppositional political party]; synthesis: “Vyvykh-90”. Future: thesis: Narodnyi Rukh Ukrajiny; antithesis: 5 See later manifesto by Kryvenko:Oleksandr Oleksandr Kryvenko. “Ukrayina Moja Marginalna” [My “Past: thesis: Communist Party of the Soviet Union; antithesis: Narodnyi Rukh Ukrajiny [the leading Vyvykh-90 13 the but interviewed people, listof thethan much broader is This group The first chapter of my thesis forms aset of theoretical premises that wouldmake a intellectualsThe of group milieu whobelong tothe of “ ” as a particular example of the public struggle of consecration. The aim of the Dzerkalo Tyzhnia Dzerkalo 5 and for field the afree release of intellectual cultural production [Weekly Mirror], 17.05.2003. 7 4 and aimed deconstructto both Soviet Postup [Progress] #5,2001. Vyvykh-90 Vyvykh-90 ” disagreed with ” :Vlodko CEU eTD Collection time and many time ways plunge and justother past. Butthisto story intobegins when the started I filmsthat of watching andmagazines, newspapers aswell reading etc break,talks, kitchen lunch a during President the of Administration the around walking cafes, in the meetings my work. figures, and alittle of imagination of the reader must help him heror to see these peoplein good time.show My real aim was to youngnot only and people, competitors public a have simply to friends, their with gather to music, to listen to wanted they when youth their of times the about are recollection their time same the at and projects, their realize who are full of creative potential and ideas, struggleforideas,Besides the consecration for their Isee young the 80s of people late the optimistic about their futureis one-sided. my rather that picture Irealize here,and anditunavoidable Unfortunately, they want to lifeshaped people. these of the that aspects other itreplace the might issues, and these people hadalot tosay promptedthat me tonew findings. since withwork conversations andintellectual apleasurethem research (Kyiv).To was of from Kyiv;youngalreadyPatyk, poet poet YurkoPozayak, artist; Ostap well-known quite Tsybulko, Volodymyr manager; creative main the director, Proskurnya, Serhiy milieu; Kaufman,Vlodkostudent, participant YurkoProkhasko, well-known artist; and partof intellectual, of one Neborak,jury; andorganizers Viktor already well-known quite poet; UnionStudent organizedthat festival, chiefmanager the ofit; Lyubko Petrenko, young of leader Ivashchyshyn, Markiyan figure; boheme well-know a already artist, Kokh, Yurko Duda participants ofmilieuandfestival; Yurko old),her(13 years brother conservatoire, Kostyrko, artist who just came from the army; Krystyna Duda (Mavra), student of Lviv This hasthesis its own story includeswhich night talks in galleries the of Lviv, particular on the concentration my implies of framework research Theoretical 8 CEU eTD Collection bald participant singer, of “ goto toschool,sing used and to myfavorite song byAndriy Mykolaychuk, very popular Vyvykh-90 ”. 9 CEU eTD Collection bursts, i.e. revolutions, crises, inventions, but “each ‘current event’ brings together brings event’ ‘current “each but inventions, crises, revolutions, i.e. bursts, its by novelty be a to pretends which way same the on step slight next a is only present The events. brightest its to not and ‘extent’, whole the to attention more pay should historians and process, one into fall still change radical of events the where movements lasting long and interpreter reveals many general theoretical aspects reveals of manyandinterpreter explored the theoretical aspects topic. general processes which started or were the of consequences present by and byinterviewee the time presented of visions that already in progress in the 1990with contemporary of exactly late 80sand of 90s. context the substitute to not same time This positionthe at and situation. of current the of view a my scholar and research my of material the of separation and delimitation avoid isto my aim But brought. has it that situation new the and cultural asstillproduction being mean in does progress that ignoring its current outcome consider the process I their expectations. recollect who people the listening to prospective, current from the of transformationmakingnot avoid conclusions Itishard place to yearsago. eighteen took changes which and the change of cultural 80s. late of in Lviv milieu intellectual the of myanalysis of elite and the basis passing certain the to later and my field thesis and of research premises theoretical general of changes are the focus recognition inartistsintellectuals and and of itsgenerations of core, theseshifts and of my research. In this hasof conflictresultvarious factors, and therupture, struggle consecration for and chapter my aim is first group the of peopleintellectuals. whichcanbe considered as The change, which was a to define the most of and self-identity form activities the of in society, change role the that transformations Chapter 1.Theoretical Framework The idea of continuity corresponds to Fernand conceptof to Braudel’s The idea continuity corresponds of inThe in manyways results and situation analysis of currentthe Ukraine touches the life cultural manysocial to and brought times, 80sinThe late perestroika Ukraine, 10 longue durée longue , the CEU eTD Collection differences” of interplay “whole the with history” of openness living “the deny they as structures” aimed discoverto the itself,past but towrite “history of the present” the rebuildingthe offoundations” Foucault’s and notion divisions discontinuity,…limitsrupture …transformationsof “on … period of does not pastthe like look aunity,buta simultaneous superimposing layers.. of and the others need a long periods, for very them stay stable of very some irregularly, layerschange These present. slight touch to be transformed, therefore, the history of each times only” times has its own temporality, often described bybanalformulae as“anticipation for the future” them of each and processes, and practices various of coexistence is acomplex it contrary, unfinished of process butnotpast/present, toa unity can be that called‘1990’. On the my paper theIn etc. poli-, multi-, aim parallelism, and variety of of terms these‘postmodern’ in time of definitions philosophic constructions is to demonstrate and practices. discourse present-day that I refer to anis the that past struggleof form fieldthe of change andideas and concepts the that the show to of and things status current the of uncoverestablishing process the isobjective to present. Yes, if one means writing the history of the present”. the of history the writing means one if Yes, present. Simply because I am interested in the past? No, if one means writing history of the past in terms of the 11 10 9 8 notion of notion 7 the day before yesterday, and all former times” yesterday, and day former all the before rhythm:yesterday, from origins, time of today’s a different dates movements of different 6 Ibid. p. 13. Michel Foucault. The Archaeology of Knowledge. New York: Pantheon, 1972. p. 5. Ibid.– Ibid.– Fernand Braudel. On History. Michel Foucault. Discipline ‘periods’. and and Punish. ‘theories’ The genealogical Birth and of archeological Prison.his London: between difference Penguin the simplify I Books, Here 1991. p. 31. “Why? At the time Braudel’s concept of history should be in some sense contradicted with in contradicted be some sense history should of concept Braudel’s time Atthe The idea of The idea simultaneity of andlayers tothegeneral of correspond time of trend ɫ . 292. Zeitgeshchichte 7 9 . Koselleck presents history as stratification of layers that form the past and the . Foucault’s archeology and. Foucault’s genealogy archeology permanently discovers “structures are“structures permanently that features of discovers not our Chicago: University of Chicago Press, 1980. p. 34. 8 . Foucault’s position opposes the “immobility” of 11 6 . In a similar way Reinhardt Koselleck’s 10 as historical methodology are not 11 . Here the historian’s CEU eTD Collection interpretations” arethemselves writings “anthropological idea his that of and culture concept Geertz’s and also their stories are a still lasting ‘open’ history with its continuities and ruptures. communication with the peopleseems whoto beare notthe an‘objects’ obstacle, memories and apersonal itself. even attitude by historical formed Therefore, processes of the butstudy a part– they of arethe themselves focusedissue historian’sand of presentwhicharenow paston the consciousness the research, as well as the mode of personal (which is actually ofinterpretation writing process is the that argument butGeertz’s etc, observations, i.e. interviews, a text) itself in terms to bea “fiction” Geertz’s is the only mode in which the object of research Historicists, Postmodernist historiography) argued forwiping the line between historical writing and fiction. 16 15 14 13 of notion Gadamer’s analysis. event’ effected ‘historically should be conscious of his own historicity and consider the work of interpretation as object as the counterpart of itself and hence understand both” understand hence and itself of counterpart the as object is view the andthe “to of an interpreter task interpreter, and object between the relationship the on based is interpretation the Gadamer, Hans-Georg of text classic the to Referring present. the and past the into involvement personal his of situation the in historian frames of calendar and remarkable events. to be sensitive to this ‘splitting’ “relevancy has One leads thatfinally toand “backwardness”. of past” andthe “remnants and the presence of the outdated that do not fit into the 12 Ibid. -- p. 15. This statement inspired a lot of discussions among historians, and some Clifford of Geertz.them (New Interpretation of Cultures. Basic Books,works’ that Newbe ‘history can York, 1973.translation other p. The 15. Ibid. – p. 300 Hans-Georg Gadamer. My interpretive work as anthropologist and historian appears is based on Clifford on based is appears historian and anthropologist as work interpretive My The above reflections lead directly to the issue of the interpretative work of the of work interpretative the of issue the to directly lead reflections above The 15 , therefore, every anthropological or other scholarly writing is considered is writing scholarly other or anthropological every , therefore, Truth and Method 13 , and it is an integral part of the historical event – object of his Wirkungsgeschichte 16 . But it does not mean that he breaks with the ‘objects’, . London, 1993. p. 299. 12 (history of effect) 12 . The interpreter-historian 14 returns us to the to us returns CEU eTD Collection descriptions” “interpretations informants of areupto, what our or think and they “thick’ are upto” “interworked system of construable signs” construable system of “interworked deeds,words withbuthas todealnot concrete isolated and asan culture things, the Ascholar interpretation. through objects its is creating interpreter the since such, as exists 19 18 17 y by individual.mass Jose Ortega definition bridge andconcrete between The abstract the a them,negate gives not most generally, hierarchy, and butdoes and power institutional convenient notion does not depend that on social,the territorial, national and agegroups, bea seemsto generation The term. the of notion widespread the shape that changes its and generations of definitions few classical are a There questions. difficult these over step to way easy an be might generation of concept the and humanities, contemporary analysis features herhis for of epochisan the and works general or obstruction of and struggle for consecration that is the basis for further analytical work. field cultural Bourdieu’sthe of to theory isdevoted framework part of theoretical the last for consecration. The inthe competition “imaginedcommunities” are usedas constructed of my andpeople concepts these “deconstruct” is aim in demonstrate way to to what they milieu or certain group to “intellectual” ofand generation concepts the different Applying context. Ukrainian the regarding “intellectuals” and “generation” of concepts the of 80s by using some thatreveal theoretical reflections historical sociological issues the and struggle forgroup in authority intellectuals ofLviv’s latethe and consecration and artists positions and the collective projects and ideas, my aim is toexamine the individual and the meaning”structures of Ibid. – p. 15. Ibid. – p. 12. Ibid. – p. 14. The opposition between individual and culture, individual biography with together individual both includes that changes social the of theory certain the to Proceeding 19 . 18 . Following these directions, my task in this work is to make 13 17 , which “consists of socially established socially of “consists , which CEU eTD Collection 24 23 22 Modern History. 21 Generations in Modern History. the most important conception in conception history” most important the and individual, mass between and is compromise a dynamic …Thegeneration generation. in history vital changes form the appear under sensibility which of are decisive of “The inhistory: generation the role of andturnstothe latter the with Gasset begins 20 knowledge, defined generation as a“location knowledge,phenomenon” generation defined formed by their common experiences” common “identity of responses, a certain affinity in the way in which all move with anda are has Generation more. any possible not is expression” and thought experience, of patterns provides but andmodification “whenadaptation asocial only transformation, of traditional other group when they ideasthe of the valuesand itself asantagonistic presents generation-unitof to that people a both belonggroup a make society the of to life intellectual the in the participation same active and basis ideological actual generation. be bornNot within the sameevery region that gives a possibilitygeneration to be a part of generation. Common general use itin possibility to the is sceptical gap about very generation worldwide generations and recognition recognition idols” signs, public consciousness as a world unto itself, with its own laws, clothing, vocabulary, historical andpopular concept wasthe result “suddenlyof into1968: youth the the erupted arguesthat new this Nora he andwhat “biological calls of determinism”, generations, and pattern for others.comparison Theto show the positive conclusion difference and an attempt of one generation to beof a model Nora is quite explicit: “the generation concept Ibid. – p. 511 Pierre Nora. “Generation”. In: Nora, Pierre, ed. Pierre, Nora, In: “Generation”. Nora. Pierre Ibid. – p. 11 Karl Mannheim. “What is a Social Generation”. In Generation”. aSocial is “What Mannheim. Karl Jose Ortega y Gasset. “The Importance of Generationhood”. In of Generationhood”. Importance “The y Gasset. JoseOrtega Pierre Nora analysingPierre Nora the ‘1968 generation” asastarting of talking point about 23 . Competing the idea of indissoluble connection between the revolution and clash and revolution the between connection indissoluble of idea the Competing . Ed. by Esler, Anthony. Lexington, Mass., 1974. p. 7 24 . The concept of generation implies the struggle for significance, struggle the implies of generation concept . The Ed. by Esler, Anthony. Lexington, Mass., 1974. p 3. 22 . Realms of Memory 20 . Karl Mannheim, the founder of sociology of 14 The Youth Revolution: TheConflict of Generations in The Youth Revolution: The Conflict of . Vol. 1.New York, 1996. p. 499. 21 , which means that one has to CEU eTD Collection impossible to applyimpossible to unclassifiablethe of to disorder reality” the if make would instrument make its precise precision didn’t a wonderfully it only 25 potential of a particular class; ... legitimized the historical role of a given class, its claim to claim its class, a given of role historical the legitimized ... class; a particular of potential intentionshistorically determined and interests, the view, “articulated world intellectual popular definitions intellectuals, onemadebyMarxistof Antonio Gramsci – his“organic” is a creative and a driving force of progress and changes of society. There are two opposing masses knowledgethe andwho to whobrings poet-thinker-intellectual, paradigm of public Enlightenment the from comes it and tradition, Western in times modern of intellectual in 80s.Thereshapes is late ideaof by that notion the one revision general intellectuals the genealogy to explore intellectualwhat and his or her role informed the society. I will start from a kind of Foucauldianthe concept of the intellectual and society. in state the in Soviet times andsupposes the reconsiderationits of a definition, role and mission of the intellectuals and artists also division generational This construct. they division of kind what and used are concepts representations of constructed the to due generation eachand old young term usethe conditionally generations (I group and later I willresearch. Inmyfurtheranalysis Ibeginwith atraditional young of division and old examine them) to in ithow my find works case inlookto but out general, of concept the establish relevance the in what way these social My in andits not andintellectual circles broad Lviv’sartistic aim iscontext. to with situation the correlates generations of change of concept the iswhether main question for the different generations;corresponding the case intellectuals:Lviv opposition were the of to what dividingcriteria and if there is antagonism, what form did it take? But the Ibid. – p. 506. As my focus is not on generations in general, the next step is the definition of the texts Nora’s and Gasset’s Mannheim’s, from arise that issues general some are There 15 25 . CEU eTD Collection intellectuals were legislative power of state of the power legislative were intellectuals values’, in state toreproducesocialwas achieved by total order ‘ruling the social commitment to other words,were legislators, while culture was an official ideology of theculture state, and the main aim of the culture whoincreated andartists moderninterpreters Philosophers into transformed times. was legitimizing the contradictionsmechanisms of the different groups of them. and in conflicts andthe times Soviet intellectual of the features particular explore the of state to premises theoretical these combine will I intellectual. poweruniversal former the to contrast and in terms and forcontemporary struggle of and power defining the specific intellectual truth in his theroleandaims intellectual of presents the Foucault Michel massthe culture. andof a partof are discourse not practices of andvaluesthat ideas the public interpreter terms of contemporary thinkers. Zygmunt Bauman gives the notion of an intellectual as a intellectual and power and an exploration of the role of the intellectual in modern society in of intellectual. the feature essential an becomes behavior human state totalitarian the In intellectual. of activity which involves life private the in of terms ethical into spherethe appraisal of public shift due to been changed has perspective the evenafter intellectuals of representations all interest-dominated groups” is definition Karl “detached from “free-floating” intellectual Mannheim’s the of concerns 28 London: Routledge, 1996. p. 166. and Revolution :Eessays inHonour of Zygmunt Bauman 27 1. values” of in those terms process of social management andthe to power 26 Zygmunt.Bauman. in Reconsidered” Intellectuals European Eastern of Role Social “The Coser. A. Lewis Antonio Gramsci. Cited in Bauman, Zygmunt. Bauman considers intellectuals as legislators in the pre-modern period wholater period in pre-modern the aslegislators intellectuals considers Bauman reflections “ideal between pushto relationship the on which two There are types” Intimations of Postmodernity 27 . These opposite notions are still a basis of Western abasis of still notions are opposite . These Intimations of Postmodernity . London, 1994. p. 22 16 . Edited by Richard Kilminster and Ian Varcoe. and Kilminster by Richard . Edited 28 . But by . But century situation twentieth the the . London: Routledge, 1994. p. Culture, Modernity 26 . The opposite CEU eTD Collection where they are expertsstruggle” for “truth” and set of rules to concrete and a“local distinguishprovide they because power, a partof of system not are intellectuals true and false,public abouttheuse of bombsthe andits consequences for humankind. Specific rules invested Oppenheimer, prominentphysicist, the “the of father atomicthe within bomb”, whospoke 31 legislator”, but “erudite expert” “erudite but legislator”, specificthe is intellectual from born figure, longer absolutely different no “respectable the contrary, On the herown. ashisor take man can every that values and meanings bearerof a as awriter of figure in the embodiment full its gets finally and legislator respectable distinguishing principle. Foucaultarguesthat“universal intellectual from comes a newintellectual-‘interpreter’. of type a to transition be a can scheme in this that shows 80s late of situation in the intellectuals opposition the with its crisis confrontation and function,and legislative to can be compared ‘inside’. In case of the Soviet Union the status of intellectual who belonged tocultural elite one system of communication and knowledge into another one for those who are not impracticable and hence theoretically futile” theoretically hence and impracticable standards of objective questions the makes which of structure domination, overall provided them financialwith andcomfort status. privileged In the situation of “a lack of role, legislative of instead state, the also and legislators, as have not could they which it freedom traders of gave self-expression unprecedented their products speech them of and had to turn to the field structure changeslost and intellectualsof and state special position their the within power of market relations. As the artists and philosophers became free Foucault, Milchel. 30 29 Ibid. – p. 207 Michel.Foucault. “Politicheskaia funktsia intellectuala” [The Political Functionof an Intellectual]. In: Ibid. – p. 24 To show one more feature of the intellectual sphere of the USSR, I use the one more Intellectualy ivlast’ 31 , at least, about “truth” as a specific kind of knowledge in sphere 30 [ . The first example of such a specific intellectual is Robert Intellectuals and Power]. 17 29 intellectuals play the role of interpreters of ofinterpreters role play the intellectuals Moscow,2002. p. 208 CEU eTD Collection Politics” In: circumstances. At the same choices and “tastes” (Bourdieu’s term for a system of symbolic of for asystem term (Bourdieu’s and“tastes” samechoices the At circumstances. historical as well as etc talent, skills, abilities, unique his of mixture by the created are determinednot formed or since bysome theplayer’s structure, choices and opportunities practices as field of game, and habitus makes each agent a player in this game. He or she is and human discourses thefieldof considers Bourdieu of in Geertz. terms plurality correlates Bourdieuby “habitus” ismade thisconnection that with culturethe astheoneof and individual between establish connection the and Incase culture. the of structure in thatthey Geertz’s works sense the to correspond latter by The Bourdieu. works Pierre strugglethe for within consecration field comesfrom of the cultural production which the the right and ability formto the opinion of the masses. example of such an as view moral Havel’s the Following power. position, state of machine the ‘system’, whole the change some intellectuals presenthigh themselves levelas those who haveofindividual moral and at the same time as an imagined community of superioritythe people who reached this the framework for Sovietintellectuals both loyal and oppositional. The intellectual as present themselves as a power which can oppose and the chief doubter of incantations” andits chiefdoubterof the systems, of power misery of worldthe …rebel all against hidden and open pressuremanipulations, and be definition ofhimselfintellectual:for and moral a bearpurely precept witness “to tothe philosophy” “world or view” unlike universal intellectuals. rhetoricthe of“general human values and doesnotpresent issues”and “general use not intellectuals do Specific are working. rules these sphere where the toaffect power 32 Vaclav Havel. The competing notions of intellectual and his or her mission is an integral feature of feature integral an is mission her or his and intellectual of notions competing The The of intellectual words anti-Soviet Havel oppositional areakind Vaclav of Theory and Society Disturbing the Peace , 2 (1996). . Cited in: Jerome Karabel. “Towards a Theory of Intellectuals and Intellectuals of aTheory “Towards Karabel. Jerome in: . Cited 18 32 . This moralist tradition sets tradition moralist This . CEU eTD Collection position and position-taking shapesthe existence of field:the as exists each i.e.each occupying some agent, artist andwriter, Bourdieu that emphasizes of organizing thecultural field and literary, particularly, intellectual the and artistic milieu. capital whichsymbolic is criteria ataste, formthe competence, as knowledge and itself of displays a certain time same the At etc). critics, institutions, (cultural production cultural fieldinfluence of who shapea and mediators of and system thewhole producers other in aform for struggle for consecration, and recognition authority from public, broad the the political domination. struggle to economic for be and reducedandrole, converted anditsignificant cannot human activity symbolic power (which does nothave an economic dimension) plays a very inis that it every field of competition, but demonstrates a‘feelingof a game’.Bourdieu field. Theimply completion not does strategy a developed and consciousnessidea of of the on a depending symbolic economicor which canbe for capital is of a competition a space field fields. Each other influences of the to andsensitive interconnected are they contrary, on the isolated, not fields are all butthe field, occupy the who between those relationship lawsand own their have that ‘cultural’) as term morehas general a (which literary/artistic a winner i.e. to becoming of getintention the a with field high aparticular enters habitus position. certain with individual Each There are a few types of fields: economic, political, context and formed historically due to social class, family, religion, traditions, etc. aredependenton social and judgments the distinctions) system aparticular of domination, forThe aspiration gaining in symbolic capital the field ofcultural production appears rules. its with game the of a space is which “field” is theory this in term more One but alsopolitical actsorpronouncement, manifestos orpolemics, etc. –is of thesocial involvedagents in the field or– literary artisticworks,of course, literary or artistic position-takings,i.e. structured the manifestationsof set the profits (such which governs successas in field the and thewinning oftheexternal or specific literary prestige)other than the structure of the distribution of the ofcapital specific properties which are at stake in the field. The space of The structure of the literary field,i.e. of the space of positions, is nothing 19 CEU eTD Collection 35 34 sometimes simplifying in a particular context: in aparticular simplifying sometimes alsobut should asthegeneral words chapter, which be these can statement be questioned Lviv in latethe 80s. The following words are both a conclusion and an opening for the next guideline further for the analysis which placetransformations of took in cultural the field of two regulatingof two competition: principles homogeneousitis in space common sense the that andBourdieu one of positions, defines not is itself field The everybody. against everybody of struggle is a it not but time, for recognition and popularity. role and vice versa –the political activity can play a role (as a positive and negative factor) asignificant play can writer) or an artist as (gained capital symbolic in which field political and production cultural of field the between connection exact the shows citation long This 33 Ibid. – p. 59 -60. Ibid. – p. 53 Pierre Pierre Bourdieu. The struggle for recognition and consecration is held by all the agents at the same In this way the outline of the theoretical reflections of Bourdieu give a schematic figures and the young challengers. … of consecration and do, and in particular all the indicesof social ageing, starting from the signs consecration … will refuse everything their ‘elders’ (interms of legitimacy) are between the ‘young’ and ‘old’… the established andnewcomers,figures i.e. between theartistic generations, avant-garde, … the and avant-garde consecrated the between production, restricted the opposition between,within the sub-field of restricted production of i.e. economies, between two production, two time-scales, audiences two …;andsecondly, large-scale of sub-field the and production of restricted the sub-fields between opposition the first, oppositions: different quite and fundamental of the distribution of this specific capital. and, atthe same time, by occupation of a determinate position in the structure defined by possession ofdeterminate quantity of specific capital (recognition) inseparable from the space ofliterary or artisticpositions The field history established fromthestrugglearises ofthe between the of process the in advanced less those i.e. writers, ‘young’ “Structurally The ofstructure thefield of productioncultural is based on two The Field of Cultural Production: Essays on Art andLiterature 34 35 20 33 (italics mine – KR) . Cambridge, 1993.p. 30 CEU eTD Collection popular and supported by the broad public and the state. The by popular publicsuccess andsupported broad the meansthe the state. and ideas make to their artists and intellectuals young of practices and strategies of as aset acompetition for asymbolic capital, but for somepower, competition political means not specific who kindsof sharedgroups, different or rather opposingideas views.and This between consecration the forand authority supposes orcompetition struggle thesis the main My ideas. and visions projects, their implement to possibilities had elite, cultural voiceswhose figures, certain the Only and activities. concrete by ideas their opinionspromoted who artists wereitbutwas ofintellectuals figures and propaganda), the or example,concrete diffusion authoritative for the broaderuniversal intellectuals.. of in terms rather publicthemselves considered and one Havel’s with common in much had or for theanti-Soviet “intelligentsia” Sovietthe as well toconcept that of as activity to opposed and circle of the80s. Theyoung generation 80s the of rejected this moral as aspecta core intellectual of in feature more intellectual Ukrainianfeature significantoppositional 60- of the of case the authorities, amoral giveinto right judgment spheres the life all of gradually gains one visions of the future of Ukraine (later I will analyze each of them). Lviv ideologiesand the different and values These ideologiesof each group. the represent in regime the to faces of opposition different the represent is used to divide generational main divideisideological as is and often represented conflictthe of generations. The The differentiation. inthis factor important a very isalso state by the support symbolic and economic the conversely, and elites ruling the for support of level The change. 1990 can bemany dividedinto which groups represent various ideas and programs of The competition of ideas and programs of changes was not an abstract (as for (as an abstract not was changes of programs ideasand of The competition more powerful the over advantage has an who intellectual, moral of The discourse Turning the certain to topicmy of opposition the research, intellectuals inLviv 21 CEU eTD Collection and still form a certain comprehensible unity) form comprehensible a certain and still sexuality, theunifiedbuton contrary the view they to pointof present different discourse, i.e. topic, particular andconcern historical intime etc certain statements, concepts, inconsistent or different include that statements’ of ‘groups (the Foucault of terms mostly the support of the state). was it USSR the of case in the economic; or (political elites other the of support with projects realizenew to positions their andtaking elites former cultural the of replacement 36 “imagined community” was constructed, first of all,by them. this how and intellectuals, young of asgeneration young people of these portrait collective context. in newsocial the with My artists and intellectuals of role the of reconsideration leads to main that field cultural in the changes the objective all, of first and, transformations political and social is to analyze the strategies and practices as well as the See Michel Foucault. SeeMichel The representatives of aset in produce of The representatives both generations ‘discursive formations’ the of The Archaeology of Knowledge 22 . New York, 1972. p.115 36 . These projects and ideas concern the ideas concern and . Theseprojects CEU eTD Collection Union, etc). Those who were in between, like journalists, literary critics, etc werealso literary etc critics, likejournalists, in between, whowere Those Union, etc). artists, whobelonged tosome official institutions (Writers Union, Cinematographers dependenceinstitutions,(humanities upontheirhad tight academic and and sciences) that by restricted regime. public andnot the struggle ofsymbolic capital and positions in fieldthe of cultural production as becamethey ideologies and of conflict the itreinforce and writers artists for alternative public to the which is access gave state the wipedbythe policy of division the Startingperestroika with scientific institutions. 38 Galicia], 21.04.1990 the local institutions engaged many oppositional intellectual localthe manyfor intellectual institutions state the the engaged work oppositional to fact in But boheme. unofficial and opposition the to or workers’ ‘brain of institutions state official belong to time:that to at anintellectual as beingconsidered modes of ways or two are there showsthat interms Foucauldian genealogy in 80s. Ashort late the intellectuals transformation. 80s – early of in late the and context strategies the projects andideas, activities formations, discursive 90s, generation intellectuals. Heremyof focus is certain on groups andthe figures, theirmilieu, trying cultural inproduction Lviv 80s inlate and between thecompetition youngto and old catch the continuity and rupture of these processes of Revolution Chapter 2. The Competition of Intellectuals during the 37 The cases of Yevhen Sverstyuk, Ihor Kalynest, Mykola Ryabchuk and other who worked in journals, Andriy Mykolaychuk. “Pidpilnyi Kindrat?”(The Underground Kindrat? Underground Kindrat?”(The “Pidpilnyi Mykolaychuk. Andriy Intellectuals in the Soviet Union mostly consisted of scholars of different fields First Iwill outline the group of people who canbe generally as considered In the following chapter my aim is to explore the particular features of the field of 23 Since that time we do not fulfill a social demand” ).In: Moloda Halychyna “Once we all had a luck. had crazy weall “Once Andriy Mykolaychuk [Young 38 37 . CEU eTD Collection related to the literature, but also to butrelated lot literature, the a of specificintellectuals belongedthem to majority the (samvydav). Therefore, literature prohibitedof and the were them circulating ideas, their promote to articles and essays letters, writing were dissidents political became one can finduniversal both and specific intellectuals. Themostfigures prominent who masses. to party communist the of interpretation in the values human universal terms of Foucault andin legislative intellectuals universal the as considered be can They ideology. in communist terms of values of Bauman. Their work was aimed to bringits fulfill internal themission artists The andpraise. hadto writers propagandaof the the symbolic capital was gained through belonging those to organizations and depended onthe institutions, the thestate only through publicwas broad the to and access market the considered only due to their positions,i.e. as appointed on the certain job.As there were no 2004. p.28-29. 40 39 communism ideology, the Russification wereopposing and to in defectsand building other Youth membersOrganization) by and, supported their own words, Communistthe were not numerous movement, and most of them were Party or Komsomol (Communist only only andyoung (like peoplestudents formed and subcultures were hippie) alternative values of Soviet system. ratherWilliam highRisch socialshow that status in oppositionthe alsoactivists, but among restof the Lvivians andeven peoplewith the Lviv (artist,after Stalin’s scientists, death it was etc) not who were in madethat theirlives tragic symbols of andstruggling from suffering totalitarian state. disagreement with sentences get court the themto for of some itwas enough But thesepeople. activities of norm and and and old readingprohibited books samvydav issues their own were theonlysecret Bohymila Berdykhovskaand Olia Hnatyuk, eds. Like Myroslav Marynovych, Ihor Yukhnovskyi, etc. Among the Ukrainian opposition intellectuals who belonged the sixtiesintellectuals generation to Among who opposition the Ukrainian In case of In case Lviv of hidden ‘home’the resistance waswidespread amongnot only public 40 . Gathering on the kitchens, criticizing the regime, singing Ukrainian songs, Ukrainian singing regime, the criticizing kitchens, the on Gathering . Bunt Pokolinnia 24 [Rebellionof the Generation]. Kyiv, 39 . They CEU eTD Collection 44 Slavic Review, Vol.31, 4, (1972). pp. 863-869 43 42 1975 sixtiers by Ivan Dzyuba important main dissidentspreadingtextinstead were demandsof most the the of Russian “Internationalismby intellectuals.of sixties Theequalrightsthe language andsupport Ukrainian andculture or Russification”. The opposition of the Ukrainian production oriented toward Western values, but also those who belonged to official field of cultural 41 state usedmostly propaganda againstsuch people butnotmore strictmeasures many intellectuals of the time. They both did not make one a dissident, since in 60s-70s the for canon Soviet the to resistance of modes the were in USSR) the appeared literature music Western the (in literature and 60s many of the modern Western the translations and Folklore district. Lviv of villages from came them of many as dwellers city the of life of everyday folk wereapart same the traditions the at time inlate 60s-70s,and students that shaped the literature of twentieth century. of twentieth literature shapedthat the meansthe of ideology many rejectedthat issuesphilosophic (irrationalism, sensitivity, etc) century beginning of twentieth the of views the with national-communist together nineteenth the nationalism century of itsnation culture andlanguageand werebased on visions andworks the of Romantic raised Russian 60ssince dissidentof issue. not did national the the conceptsthey of Their from latter were different Also ones. of from Ukrainian projects national the different the state. Therefore, the phenomenon of the Western people of 60s and their protest is quite IvanLysiak-Rudnytskyi. Iuse this term after the article by Lucky: George S. NLuckyj. “The Ukrainian Ibid. Literary – p. iii. Scene Today”. In: William Jay Risch. . Unpublished dissertation. Ohio State University, 2001.p. iii. Ukrainian language andculture wasthecore of the opposition demands proclaimed Risch also demonstrates that Western music and fashion were very popular among the among popular very were fashion and music Western that demonstrates also Risch 43 was based on the rational and moral intelligentsia disagreement with the policy of policy the with disagreement intelligentsia moral and rational the on based was 41 . Ukraine’s Window to theWest: Identity and Cultural Nonconformity L’viv,in 1953- Istorychni Ese Istorychni 44 [Historical Essays]. Kyiv,1994. p.478-79. . In both cases literature and arts were subordinated to weresubordinated andarts cases literature both . In 25 42 . CEU eTD Collection Ukrainian collectionof old prints) whichwere the most wanted by KGB. 47 46 Lastvisited at 28.05.2008. 45 information about it” “intellectual i.e. Crusoes”, by Robinson people, cutoff any outsidethe world and without the field of cultural production for other part. At 60s they were young, and their aim was to of be apart by for struggle onlyway to the was the consecration gaining public popularity and in theUnions, positions their on powerful and creative still were Socrealism, Soviet that did not follow the canon. The influential Sovietwrite works andpublishthe to for a possibilitystruggle their right writersto loosen, andtheygot and artists, the symbols of the was control ideological the death Stalin’s the when after in thetimes period creative beginningthe of 60swasa the Therefore, disposalthe Unions. of the at critique were financialproduction: artists,matters, giving tothe allthe publishing literary and orders The weremanagingUnions whole the mechanisms inthefield of official cultural Renaissance” and establishing the Soviet after so-called“Shooted Stalin’s oflate30sthatannihilatedthe purges producers artists Unions with the strict ideological them publicpopular figures. They were the first‘next generation’ of Ukrainianthe cultural control. by recognition of by state publicpopularity made gaining Theirspeeches their activities. activities of promoting Ukrainian culture (the readings of poetry, concerts, etc). the public which broad the to and attracted of Stus Vasyl asLinaKostenko poets 60s intellectuals.firstitsuch outstanding of poetry students andyoungall,of was, But the dissidents in samvydav prohibited books or Ukrainian of essays the literature, world century twentieth the of masterpieces some Kostyrko. In the times when the Soviet state permitted to publish the translations of the Like the “History of Ukrainian literature” or “The Case of Pogruzhalsky” (who committed arson of the arson committed (who ofPogruzhalsky” Case “The or literature” Ukrainian of “History the Like Vlodko Kostyrko,interview by author,digitalthe recording, 7 April 2008 Hrytsak,Yaroslav „Sashkove pokolinnya”[Sashko’s Generation] –. The publicist works of The looklikepublicist works Ukrainian dissidents by “they were written The sixties intellectuals were the first who began to compete with compete official the who beganto first were the intellectuals The sixties 45 . And “for them sex was an astonishment” 26 47 may behardly very popular among the 46 , jokes, Vlodko CEU eTD Collection Union. in quite different styles different in quite enter the field of cultural production. In the 70s one can find artists and writers who created activists. public were the extent lesser or a greater to all them but of Vingranovsky,etc), Kostenko, Stus, (like their poetry of basis ideological the reject to seems who those for even 60s, of intellectuals prominent This is democracy for feature common all and traditional Ukrainian (folklore). culture sphere of values’‘spiritual by replacing formerthe ones by valuesthe humanism,of improve in theobjective situation the to is result activity their Havel.of the Their public by shouldbe supported state. the and young people the among ispopular and arts literature language of new the show that 48 the group is a symbolic capital itself. forcould consecration as a struggle an group, imaginedfor whichbelonging community to they etc events, activities, the whichcan organize asagroup Only separation. professional people, comes from ‘shuffle’). word the In 60s the gatheringthose have broken the milieu, young milieus tusovkaemphasized (informal of importance of group, the the intellectuals of the Most gathering. of places the andstudios apartments made their who others and Chubay Hryhorij Svitlychnyi, Ivan as figures such of phenomenon the was It them popularity and informal communication in resulted that gathering such communities. gave that public both activity of their result was the It anddiscussions. andinterests tastes ideas, milieuofcommon gatherings, certain anew private 60screated of phenomenon the of figures public the as well as circles, boheme The boheme. informal of circle a narrow inside for they aconsecration publishedwere competing therefore, were not andexhibited, Alla Rosenfeld and Norton T. Dodge, eds. Only the public competition for consecration let the certain group of intellectuals of let certain the for group consecration competition Only public the Ukrainian sixtiersfollowed ideal the moral of type the intellectual by described New York, 1995. 48 , some of them belonged to hippie communities, but their works their but communities, hippie to belonged them of some , From Gulag to Glasnost: Nonconformist Art from the Soviet 27 CEU eTD Collection 53 52 51 2006. p.56 “distanced themselves from discoursedissident and political protest” culture alternative of the representatives and other andpoets, young rock-musicians Yurchak.he On contrary,the argues peoplethe that whovisited these in70s-80s, caffes considereverything didnot and themselves anti-Soviet dissidentsdueto version the of emerged in60s and thewas publicthat gathering there andspeakingfreely about 50 1975 claimed asharmful andby anti-Soviet official the propaganda andmusic literature and other which were reading samizdat and exchanging discussions, free asphere of created work of place bycollective formed circles informal andthe music and mocking the official ideology. Soviet that most of the people did not opposed the state even if they were listening to Western and meaningful belongings alienations, and estrangement, andwork pureformality” isit mainof was “paradoxical His as ideological affinities thesis coexistence propaganda. 49 doing ideological ironic werequite and the that they towards intellectuals artists work were cultural cultural production official the of field in the participated not did who intellectuals, boheme the included figures of 60s and the circles of the officialmiliey(on the contrary to Leningradintellectual or Moscow), the milieus of the oppositional elite public were interconnected and also Ibid. – p. 145 Ibid. – p. 135-140 Ibid. – p. 98. Alexei Yurchak. William Jay Risch. . Unpublished dissertation. Ohio State University, 2001. In the (kluby)70s manyclubs (kryzhky)were official andcircles that organizations, In case of Lviv, where the intellectual life was concentrated in a few places and in places a few concentrated life was intellectual the Lviv, where In caseof 50 . Even the komsomol activists were reluctant to so-called ‘pro forma toso-called‘pro werereluctant such . Even duties’, komsomol the activists Everything was Forever, until It was noMore: the Last Soviet Generation Ukraine’s Window to theWest: Identity and Cultural Nonconformity L’viv,in 1953- 49 . Yurchak demonstrates by pieces of interviews that in the 70s the in 70s interviewsthe that by of pieces demonstrates . Yurchak 28 p. 4. 52 . Even the cafes which 53 , and also were . Princeton: 51 , and , CEU eTD Collection Relevant Ukrainian Literature]. No. 3. Ivano-Frankivsk, 2000. p. 98. p. 2000. 57 Ivano-Frankivsk, 3. No. Literature]. Ukrainian Relevant they they people” justwere all Soviet the ironic to dissidents and kept distance from them as “the pro-system and anti-system types – 56 on“ performance 55 54 became of the ‘Guru’(by words the Andrukhovych Yuri milieu inLviv his in(till death 1982) was youngestthe (born 1953) of this milieulater who underground in 70s” Riabchuk,belonged sixtiers tothe in (born 1939), Chubay yearswas 10 younger, and Mykola literarymightOleh bemostLyshega who the significant Lvivperiod. of Igor that Kalynets poet critic Chubay Hryhoriy andunderground as community around such Ihor andpoets his and wife Iryna Kalynets, essayist,intellectuals. Inlate 60s and early Lviv 70s and artistic intellectual circle wasformed asan “thenot correspond with thesituation inLviv political issues were where in focus always of the does they while Union, eye-witness Soviet whole the about makes he which Yurchak of conclusions and personage of the Lviv majority majority Lviv families, butdid that make not them oppositional activists.political Even it political lifeof of undergroundthe everyday political activity. talks private wereapart The imply notThis does they that proclaimed political public ororganizeddeclarations Their struggle for authority aimed to change the whole picture. late the 80swhich changed Iwilltothe andlater proceed wholetheir activities system, the society life befound inthe60s-80swhichcan inbooks. First explore particular Iwill issuesof and the state. intellectual Lviv the of outline or chain is a That in 80s. years student in their intellectuals Yuri Andrukhovych. Tayemnytsja. [The Secret]. Kharkiv, 2006. p. 112. p. 2006. Kharkiv, Secret]. [The Tayemnytsja. Andrukhovych. Yuri He is the father of Taras Chubay, the leader of the popular music band “PlachYeremiyi” that Ibid. – p. 129 made its first Pleroma The political aspects were very important for the oppositional intellectuals in Lviv. intellectuals oppositional the for important very were aspects political The The research by involvesRisch that the 60s -70s andmy own aboveone disputethe . Mala Entsyklopedia Aktualnoyi Ukraiinskoii Literatury Vyvykh-90 55 , the poet whose verses were published only in samvydav together with 56 who emphasized the role of Chubay in creating the intellectual the increating Chubay of role the emphasized who ”. 54 . 29 [Pleroma. The Small Encyclopedia of the Encyclopedia Small The [Pleroma. 57 ) for a young generation of Lviv CEU eTD Collection 61 60 Soviet Generation one, outside the official structures of consecration. The gatherings included reading poetry, the ‘svoyi’ (Us) which is the only way for consecration for an intellectual, especially young late 80sand of milieus interviewees). the the the considering later it to return will (I Socialism in late life of style boheme and student the of part inevitable were they also and literature, and information the of lack the substituted ways in some that mainof purpose such placesas public well home gatherings were discussions the and talks The other. each with in communicating interesting were many which people connected often asKGBagents considered couldwere very milieu, butthefriendly be whoestablishing strangers inrelations active important, impliesthe continuity, much thecafé space of home the parties, theprivate Unlike public). asother (aswell artists more everydayopen and intellectuals differentgenerations of of andgatherings centers of the discussions public access character and diversity of the intellectualof the people, talks.and what It iswas even an openmore young people also because they were decorated by the Lviv non-Socrealist byartists Lviv the they were decorated because young also people theboheme attracted (which and others the one, most popular the (“Nectar”), “Nektar” ithiding from because her parents they were afraid of such things at their house “Ukrayinskyi Visnyk” samvydav (Ukrainian Herald), newspaper the of Lviv dissidents, punishment,and evenin late80sKhrystynathe had Duda (Mavra) toread the muchmore afraid KGBand of the itolder were Also people seems that explain. since regimethe Kostyrko) negative towards “Gang”, Vlodko attitude the wasneedless to said screen andjust tv the on pointed fathertime every family (“The “talks” not was rather 59 58 Yurko Kokh. interview 2008 by author,April digitalthe 7 recording, 8April 2008 recording, digital author, the by interview Kostyrko, Vlodko Expression by Viktor Krivulin. In: Alexei Yurchak. Khrystyna Duda, interview by author,digitalthe recording, 19 April 2008 But the main reason of such gatherings seems to be the striving to be in a milieu of ‘The Great Coffee Revolution’ . Princeton:. 2006. p141 61 . Cafes made of broader and milieu the Lviv intellectuals 59 had in begun Lviv in 70s the and thefirst cafe 30 Everything was Forever, until It was noMore: the Last 58 . 60 ) were CEU eTD Collection 2004. p. 247 63 2006. p. 93-118. regime, as the current understood ironythe everyday ritualsof andrhetoric, Soviet butdidnot opposed the status of things was his or her ‘normal’ mode very or gaps broad of knowledge of key the works in humanities. of existence in lack the later resulted reading which worth was of literature lack the mentioned already like Bu-Ba-Bu from meetings. LuHoSad, also originate such informal and others Also the parties and cafétalks. Thefirst like artistic in“Shlyah” groups, literary 1985 and groups, onsuch born were projects theartistic ideas of The them). mention interviewees (all the playingmusic some singingsongs, and andexhibiting creative paintings, or other activities 62 of of a ‘teacher’ MykolaFor Ryabchukironically describes stylethe ofbehavior of Iryna Kalynec’s as one manysurely notbut influenced divided, factors on within milieu. relations the certain the existence of people thatonly belonged strugglenot and work, and study to wanted to who everyone different for unavoidable were compromises these withgenerations the withinregime.with regime (membershipin Unions, Party,Komsomol) seems beto one notso important since milieu. There They (Them). werewere The lack different of radical deeds and projects, individual as well as different‘Them’. levels experiences of cooperation it milieu against ‘Us’ was theformed perestroika, of oppositional prospective the the of the and with starting broad, werequite latter isolatedmilieus asthe not intheir were co- dissidents. Butin case of Lviv statementbethis seems to false.in intellectuals The Lviv ‘true’ belongcommunists and this‘imagined community’did were peoplenot to who Bohymila Berdykhovska and Olia Hnatyuk, eds. Alexei Yurchak. Yurchak argues that “svoyi” (Us) was ‘paradox’ attitude towards the people who towards attitude ‘paradox’ “svoyi” was (Us) Yurchak arguesthat Either the different generations were not a dividing differentgenerationsnot Either were the line ‘vony’ ‘svoyi’ for and 63 , butVolodymyrnostalgically Tsybulko recalls (hespeakshis about student Everything was Forever, until It was noMore: the Last Soviet Generation Bunt Pokolinnia 31 [Rebellion of the Generation]. Kyiv, Generation]. of the [Rebellion . Princeton: 62 . The . CEU eTD Collection sixtiers years inKyiv)drinking with spirits Mykola Vingranovskyi belonged whoalso tothe 64 (SB Bratstsvo” “Studenstke and Youth”) Ukrainian Independent of “Society (SNUM, people. a lot of gathered that plays, etc) songs, traditional folklore –vertepy (theatrical Christmas story), andhayivky (Easter festival with directly Their werenot in activities beginning,they political the Ukrainian the performed mostly by young people, engaging also older and dissidents former Komsomol activists. formed organizations the of one Society), Lion Leva (the was Tovarystvo influential most Society), legalization Language Native (Taras Shevchenko language Ukrainian of insupport organizations acted of Ukrainian Greek-Catholicinstitutionalized public had and broad groups program which and certain demands.The Church, of and activities the in part ecological taking or organizing were members its time same the demands.at and Theexistence their continued intellectuals of milieus The in Lviv. activities oppositional of landscape changed the totally organizations These demandedpolitical determination. organizations which had lota of similar in their programs, first of all, Ukrainian issues that intellectuals. of milieus consecrated the friends) the common (by getinto some andwerehappy to their andothers, andonly started career Petrenko Kostyrko, Ljubkolikeyoung andwere twenty, Vlodko (Bu-Ba-Bu group) people the who Neborak, Oleksandr YuriAndrukhovych, Irvanets Viktor members Union the (poets of were the who already writers were in late80sthere thirty were around people who the among experiences: of different result is the it Also more apparent. diversification VolodymyrTsybulko, interview by author,the digital recording, 24 April 2008 The other youth societies were the “Spilka Nezalezhnoyi Ukrayinskoyi Molodi” Ukrayinskoyi Nezalezhnoyi “Spilka werethe youth societies The other from Starting numerous of non-official aseed-plot hasbecome 1987 Lviv Only in perestroikathe times thesplash of activities, made organizations, groups the 64 . 32 CEU eTD Collection sixties dissidents became Rukh members and began their political career. political their began and members Rukh became dissidents sixties described as obtaining self-government of Ukraine (in different forms). The majority of the in formed 1989. The late political be of groups on program can dissident a basis generally for RebuidingRukh za -National [Perestroika]) Movement Perebudovu followed the program hispolitical “Rukh” Chornovil and Vyacheslav Party of (Narodnyi find in their ideologies, strategies and projects, but they most of them emphasize that they ignoring language – Ukrainian moremuch andculture. Without whichonecan difference UnionStudent and Lion Society partand in took meetingstheir and cultural projects. all, of first supported, or belonged myresearch, of focus inthe are who intellectuals, young The often. very other each criticized they time same the at And festivals. folk and traditional concerts organized meetings, newspapers, They gathered published power. councils and the opposition candidates got the majority of the places in all of them. 1990. Lion Society, Student Union and others nominated alot of their activists for the local inheld March which elections were first democratic tothe related were organizations to the changes. The support of the broad public was very important as the activities of these belonging its felt public broad also but intellectuals, only not that demonstrates programs present them to and their and activities their etc unions, organizations, societies, the of them was radical political andispositions mostly forstrikesknown student and cultural One events. Union with Markiyan influential had quite Ivashchyshyn Thestudent organization. Student (definition by Kostyrko) confrontingVlodko the StudentUnion with which mostwas the nationalism ‘cave’ traditional the of rhetoric usedthe one The first Union”). “Student direction towards independence. towards direction 65 The words ‘forRebuilding’ were excluded from its name in late 1990 after the Party proclaimed its All Ukrainianthe oppositional inactivists Lvivin late 80s the had the common basis in political for very struggle part the active took inlate80s The youth organizations “Vyvykh-90” to which the next chapter is devoted. This splash of creation of 33 65 whichwas CEU eTD Collection mortal mortal of Stalin’sgloom 1936,through the chambers” torture passedthe …that like“Ukraine ofnationalists rhetoric traditional democratization and uses to the national idea and political actions. The most traditional rhetoric can be found on the on found be can rhetoric traditional most The actions. political and idea national the to lead history literature and articlesisand about butthe more content the diverse, elaborated Society “Postup” is almost in the same way devoted to politics,Lion but the of their programnewspaper The is more 60s). the of intellectuals the with continuity the shows also Svitlychnyi andalot firstissue of (the theof congratulation his verses that contains Ivan political proclamations history and are alsopoliticsandpoetry of pieces that to devoted 66 published most of articles about and Halychyny”itinterviews that with was “Molod appeared detailed rock-musicians, ideologyof life. Sovietthe of gradually But side by side with milkmaidsan article about means by issues political presenting of form is another that it of displacement is a politics in of absence The times. youth newspaper for perestrioka like Soviet looked thus aregular politicalsports, andlife morality, issuespublished articles about stories, events cultural instead of “Molod onlyonewhich was the Halychyna”) Halychyny”of to Youth (“The themes. all other the issuesdisplace is political – the similarity but one there different, arequite ofeachnewspaper it. Theexamples of support the activities gain and to political the youth attract to organizations of the objective the issuesor political to the political statement. But one should be careful in concluding whether it was a strong interest towards youth the publican isnot exception, thereis almost everything is a kind of appears in the newspapers of the time. The newspapers which are considered tobe oriented Zayava Redaktsiyi (Proclamation of Editorial Staff ). In: The newspaper of the SB “Bratstvo” (“Brotherhood”) proclaims serious demands for demands serious proclaims (“Brotherhood”) SB“Bratstvo” the of The newspaper The Komsomol (“TheYouth”)(later“Leninska renamed The Komsomol Molod” Lenin’s newspaper clearly of that time feature that a undoubtedly, was, politics with The obsession “Vyvykh-90” 34 in which 1990 can be in press the 1990. of Moloda Ukraiina [Young Ukraine], 04.03.1990 66 . Thereis nothing except CEU eTD Collection nationalism: “traditional (sometimes extreme) ethno-nationalism” and “cosmopolitan or civicform “cosmopolitan ideology” national of and ethno-nationalism” extreme) (sometimes “traditional nationalism: the second the general can be throughthe described distinction by Alexandra in Hrycak her article about ideas in general. (like Lion Society Union),and Student butit is notsoeasy describeto their position and supporting Rukh (nearly all mentioned interviewees mentioned it) and the organizations for them it mostly ideology struggle Sovietthe against was the and culture. Theywere i.e. not [Soviet]”, regime,only but canbedescribedagainst as“againstsovok intellectuals of politicalhistory the spheresexuality. from to political position young The of out was nothing time that In contrary. the on just but politics’, the ‘behinds not were they as intellectuals these of feature important is very it and struggle, political and movement change their strategy and cultural policy. “Vyvykh-90” festival The unions. those of influence the reject to false be would it but intellectuals, young youth, especially for very attractive was not century half first of twentieth the a often seriousdemonstrated antagonism. Traditional rhetoricnationalist of strugglethe of is churchand “house [khata] whereicon and portraitof isShevchenko always together”. image idyll half issueUkraine of nearly and their each of occupies heroic of struggle UPA pages “Moloda Ukrayina”of (“YoungUkraine”) published by TheSNUM. history of the Harvard Ukrainian Studies 67 Alexandra Hrycak. “The Coming of ‘Chrysler Imperial’: Ukrainian Youth and Rituals of Resistance”. In: The ideological basis for this party and of Ukrainianthe nationalism in movement oppositional in the part active took intellectuals alternative the is that thesis first My One more specific is thing all that newspapers mentioned the flung each and other “Vyvykh-90” gives ananswer onthis youth question:attract to organizationsthe needed to 1-2 (1997). p.63 in 1992. Hrycak argues that there are two types of Ukrainian typesof aretwo there that in argues 1992.Hrycak 67 , and the latter is considered to involve liberal involve to is considered latter , andthe 35 CEU eTD Collection traditional nationalist ideology ideology “infected” he nationalistby traditional atthatwas also which time Kostyrko speaks about ‘cave nationalism’ that seems to the good metaphoric definition for havepeople seem the independence during to years.Vlodko changed preferences their kind supportedeach in nationalism of of intellectuals the Many group andgeneral. their and position what say to hard very is it evidences contemporary with mostly Operating 92”. group of “ the and target force driving the andcultural producers, intellectuals 70 69 68 – artists, creative people – can represent nationalism more “freely,anarchically” nationalism –can creative people represent – artists, people, part one different thereare nationalists; can divide see any not what does difference the comprehensive language, but the case of popularity of Magyar bands shows the shows bands Magyar of popularity of case the but language, comprehensive the bands often gave concerts in Lviv and Uzhhorodamong the Lviviansthe bands and Polish very were Hungarian rock and popular, these Lviv differentwas rather – besides Western ‘classic’ (Pink Floyd, Led Zeppelin, etc), andideology.symbol opposition protest of rock-musicto Butthe of Leningrad and the traditional culture. thusfollowingand live style of rock, the canhardly which one find compatible the with listening whowere young punk people andthe people thesixties folklorethe united which different definitions and interpretations. The notion of culture was different. But still itwas culturesame inUkrainian insteadof butthe has Russian – usageof allthespheres, the meant movement opposition whole the all for language The activity. their of objectives important most the were that culture and language is Ukrainian intellectuals oppositional thepattern. more dependanton other Ibid. Yurko Kokh, interview 2008 by author,April digitalthe 7 recording, 7April 2008 recording, digital author, the by interview Kostyrko, Vlodko The traditional portrait of the young people of that time includes rock-music as the The one thing whichcanbe undoubtedly defined as for all common ground 36 70 . The Polish bands attracted because of attracted bands Polish . The 68 . YurkoKokh 69 Vyvykh and the and – CEU eTD Collection and it was new at that time” new atthat was andit ethnography on werekeen all “we time that at that Union, tells theStudent leader of the time as well as an active participant of the milieu of had a strong interest to folklore and was among the organizers of other folk festivals of that (moskali-okupanty), wasnotperform allowed to in Kyiv in 1989 recalls story the his withvertep when its maintext of idea ‘Russian occupants’ about group very broad of Ostap Patyk ismany people. among asthe a folklorepopular people attracted which Itwasaperformance Monomach, etc). Knight (Kozak, figures canonic non- formany this task useful with wereof declarations akind political verteps issues. The current to references theclear with time atthat written texts usedoriginal verteps of the the vertep itself was organized by the Lion Society Lion by organized itselfthe was vertep the youngfollow in groups 1988-90didnot Lviv thetraditional songs text and by performed stories) Christmas (theatrical time. inverteps The that young intellectuals the of and ethno-nationalists the of folklore of concept the between difference the distinguish attractiveness for young intellectuals. To find the connection between them one should served as an example for the alternative festivals like festivals alternative the for example an as served dressed upbands are doingwho on shocking and stage the things masses emancipated it. andEccentrically around stage both the on before, unknown performance an incredible Poland and Hungary (which werein in Lviv and These live onthe concerts of liveperformance concerts. importance the easily accessible in Lviv on TV) had an atmosphere of 74 73 surely caused great troubles forits organizers. Still later itwas performed in Ivano-Frankivsk. 72 ‘invented tradition’ (Hobsbaum). 71 MarkiyanIvashchyshyn, interview by the author, digital recording, 21April 2008 OstapPatyk,interview by the author, digital recording, 20April 2008 would text such the and “Ukraine”, Arts of Palace Central ofthe stage onthe presented was vertep The of example an is it and 80s, late before Lviv in of verteps tradition widespread not was there fact, In Interest to the folklore was a common tendency of the youth. Markiyan Ivashchyshyn, Markiyan youth. the of tendency common a was folklore the to Interest Reformative and mass character of the folklore was also one of the main reasons of it main of of reasons the alsoone folklore of was the mass character and Reformative 74 . The folklore was attractive for artists in its revised notion – 37 “Vyvykh-90” 73 “Vyvykh-90” . Patyk, an young artist at that time, 72 . as it was too radical and . 71 . Directors CEU eTD Collection was an unbelievable chaos in the state, it was considered that everything is possible” “it that inasense werequite unique times The lateperestroika from state. the scholarships usually were not very overloaded with their work, Ukraine. Eastern had a lot of free time and the to go traveling wouldthey quite imagine that canscarcely one but castles”, visiting palaces, good withTogether hisyears friends inhe alsostudent their had“around trips Lviv, wewere UkrainianKostyrkonamely they that clearly hutsul’s, but states likednot peasants. times. Soviet in the be ‘other’ to ways many of one was it and life, of style boheme the in artifacts villagesis gutsul’s a kindof aristocratic collectingcorresponds to antiquities. It he was young, he was a member of the Union that gave him a studio and very good sum young,member him he that gave hewasaof astudio Union andvery the good of was benefits it Ostap Patyk gave. his describes material instatus late 80s as very comfortable: material the because of usedthis possibility Unions. the Manyof them to be admitted manyletcanon,follow young andthat to one did to Socrealist the state obligednot artists costumes first of all, plates, life, thingsof collectthe everyday to lands) culture and modern literature, arts, music which were oriented towards the Western ones. different interpretations was not considered as something alien to the alternative youth oppositional, and at the same time not a political demonstration, butfun. Still folklore in its thus and officials by organized not was which event special the was festivals and public filmby forAncesters”, broad But songs,performancesParadzhanov. folk Serhiy Forgotten mountains)likein (peoplelive in life “Thethe of Shadows who Carpatian (baggy national trousers, Cossacks costume), butirrationalism and beauty hutsul’s of “sharovarshchyna” of a name got which varenyky, and choirs amateur Soviet not was it 76 75 Vlodko Kaufman, 2008 interview by April author,7 digitalthe recording, 20 April 2008 recording, digital author, the by interview Kostyrko, Vlodko Young intellectuals,Young were students young who musicians,or writers, artists, etc Vlodko Kostyrko recalls his frequentfamily Carpathian hisrecalls Vlodko Kostyrko region to (hutsul’s trips 38 75 . Collecting . 76 . The . CEU eTD Collection 2006. p.56 had andparties time with his friends andresources, he which for ideas and of life wasfull creative his asmallpieces work, of for quite money 79 78 77 factories “otherness” of representation public of toa kind but the entertainment, only not was which “sovok”.leisure collective Fulfilling the private their mode of andshapedthe factors such milieus which created most important the tasks on their work, be as considered can having time onparties a good and,consequently, interests common like painting placardsas still butprivate, main the was purpose itsconnected with public Friendship, character. for considered be can which activities their forming were intellectuals young The peculiarities. my on focus life,butthe is of to aim studentbethe feature acommon they seem to hand, one Onthe works. the of presentation public andthe process a creative were both leisure many collective Theand birth parties to projects. and gave there atmosphere the they they told their asproduction-line about work painting it a month (whichspent to had Kokh since job, official than seriously more much canbe considered be compared to the interviewsthe New Year party the artists arranged the competition of placards, and this work seems to of artists songs of by Morozov),his reading(firstall, Viktor and poetry exhibitionsof paintings. On in Yurchak’s book whenas high-quality prepared performances and one would callit festivalseven music with and time) the at culture ofalternative centers his as onethe him wife by and parties organized the recalled others many (and gatherings home their describes Kokh groups. small their Alexei Yurchak. Yurko Kokh, interview by author, digitalthe recording, 8April 2008 OstapPatyk,interview by the author, digital recording, 20April 2008 Parties and private events and creative leisure were forming the intellectual milieu intellectual the forming were leisure creative and events private and Parties 78 that Yurko KokhYurko that do, they had fulfill to could ideas inside andonly their projects Everything was Forever, until It was noMore: the Last Soviet Generation 39 79 ). 77 . . Princeton: CEU eTD Collection 83 . Last visited at 15.05.2008. 82 81 80 language (“I associated it with Soviet even more that Russian”)iteven more with that languageSoviet associated (“I forlooking traces of and past, the touseGalician insteaddialect of official Ukrainian defiant” and beto ‘other’ meant to be interested in history of the city, towalk like a flaneur and cultural issues implied antagonism with the regime. For Vlodko Kostyrko “to look as being inside sameand atthe time ignoring the regime andits ideology. Thelanguage alternative milieus youngof in intellectuals Leningrad and Moscow described by Yurchak the with coincide not does It life. of style boheme similar quite had others, and Petrenko understand it asajoke. they say that it, of and main wasthe epatage purpose that rejects performances such recalls who also it was the ‘normal’ for artists and a problem of the rest who did not Soviet “Wehad times. such gluk etc” “Each Lvivian has tofoster something strange, unique, e.i. enunciation, habits, words, be them.old-fashioned ‘genuinecloses andwore pre-Soviet The aimwasto Lvivian’: mepoliceman, …they inamadhouse” would put if had come because upon had beverycareful,the people.I shock to abit Butwe Soviet actor, so wehad costumes. Ishaved clean, put awig, and we were walking on the streets to Studies” which ironically depicts that epoch using the youth bravada ayoung style, youth the present using ironically epoch that Studies”depicts which Ukraine. of parts other and Galicia whole the from came Lvivians became and Lviv be relatedonly his to friends, close while alot of intellectuals youngthe who studied in Vlodko Kostyrko, interview by the author, digital recording, 7 April 2008 April 7 recording, digital author, the by interview Kostyrko, Vlodko Vlodko Kostyrko. “Nostaljgija, abo EX ORIENTE TENEBRIS” [Nostalgie orex oriente Yurko Kokh, interviewtenebris] by author, digitalthe – recording, 8April 2008 There is special word “bzdyura” forsuch things, and this word is used only in Lviv 83 The younger milieus students inlate 80s,likeof theone ofVlodko Lyubko Vostyrko, The performances that Kokh arranged sometimes look shocking in the context of context in the shocking look sometimes arranged Kokh that performances The The everyday student lifelate of 80s described in “Encyclopediathe of Our Ukrainian . Kostyrko tells that nearly all people of his milieu were native Lvivians, but it might it but Lvivians, native were milieu his of people all nearly that tells Kostyrko . 80 , we were dressing up as women. ... My father was an 40 81 . But neither Kokh nor Viktor Neborak 82 . They also tried to find CEU eTD Collection 85 Our Ukrainian Studies].Kyiv, 1997.p. 35. the evening (the cafes worked only till 8 p.m.) and on on afternoon only weekends evening the and worked 8 p.m.) till cafes (the of instead process: comingthem permanentclasses, in duringdaybetween there the and examinations” and incafes ...; mainthe leisureactivity and– visiting classesin institute the discussions andphilosophy about literature flats the on main– rock-concerts, occupation innumerable Hesse, coffees Mann, andbeers,(H. T. book F.Dostoevsky,the poetry)”; intellectual “themainwhose item budgetof expenses –liqueur “Vanna Tallinn”, 84 opposing to the Soviet mass culture (“sovok”) that was convertible to uneducated and uneducated to was convertible that mass (“sovok”) culture Soviet the to opposing divide them their except status of already poets. acknowledged comprehension processesof the in fieldthe of cultural i.e. production, nothing seems to similar the time, that at listening were they which bands music the of names Sergiy Proskurnya,(like intellectuals public well-known already were jury the of half nearly and Sashkostudentship, Kryvenko, Bohdanfestival included very offrom people to Ihor Kalynets young people their justafter Zholdak, etc). But of and participants organizers other the comparing to they all give the same“we wereolder” Neborak also tells that Viktor group member Bu-Ba-Bu The this of third well as Vlodko Kaufman Kokh heandwith whom Yurko himself compares as an artist. as time, that at old years 30 already were who Irvanets” Andrukhovych, of “generation the circle. boheme for olderconsecrated one people asthe by old 20-years was alreadyconsidered first place of gatherings, public the “Nectar”, thus was the next instage of more differentiated, milieu Lviv cafes opening the becomes and Yurko Prokhasko, interview by author,the digital recording, 23 April 2008 Oleksandr Kryvenko and Volodymyr Pavliv. Volodymyr and Kryvenko Oleksandr The young in intellectuals defined their the place field of cultural production as Kostyrkodistinguishes himself and hisyoung friends as and unknown comparing to 84 . Yurko Prokhasko describes the ‘café’ style of life of that time as Entsyklopediia Nashogo Ukraiinoznavstva 41 “Vyvykh-90” in 1990. Thejury of the . [Encyclopedia of [Encyclopedia . 85 . The late 80s . The late CEU eTD Collection 90 tya.htm > Topical Ukrainian Literature a new quality of Ukrainian culture” had an illusion at that time that this kink [ art” ideological two poles times – insovok and and inindependence times wereunderground there “The80s nowin they status: hadand culturesince till Lviv, this emphasize Iremember, in late mass art ideological narrow-minded to onthe contrary asavant-guard themselves touch the issue of the uneducated mass which still makes their art marginal. They presented often Kokh) (Kostyrko, interviews their in intellectuals The now. and time that in situation discourse” own later definitions as the postmodern on the contrary to the “testamentary – rustical tasteless masscult. That was the mass called “rahuli” (bulls, hicks) (bulls, “rahuli” mass called wasthe That masscult. tasteless 89 88 at 18.05.2008. 87 86 household, which not conceivedoes truly new andother” “cyclical mentality,with rustic ... symbols andrituals related to annualthe agrarian literature”, Ukrainian of “eternal classics on by orientation is characterized literature) non-relevant (consequently, latter the to belong who intellectuals The Yeshkilyev. by “Pleroma”-journal which was edited by Yuri Andrukhovych and Volodymyr Ukrainian Literature”). of Relevant the Encyclopedia Small (“The Literatury” Ukraiinskoii and “them” with quite clear idea that ‘they’ are backward and non-relevant to the present. tothe andnon-relevant arebackward ‘they’ idea that clear with “them” andquite already mentioned “Encyclopedia “us” isbasedOur Ukrainian of Studies”) on definingthe Ibid. Viktor Neborak, interview by the author, digital recording, 22 April 2008 April 22 recording, digital author, the by interview Neborak, Viktor Vlodko Kaufman. “Lviv mystetskyy” [Artists’ Lviv] – . Last visited Vlodko Kotyrko,interview by author,digitalthe recording, 7 April 2008 Pleroma This establishes a scale of aesthetic evaluation of the cultural production and cultural their production of aesthetic evaluation of ascale the This establishes . Mala Entsyklopedia Aktualnoji Ukrajinskoji Literatury 89 , and is “Mala thisopposition main of the Entsyklopedia Aktualnoyi thesis 87 . They speak about hope and illusion of changes which didnot fulfil:“We ] Issue #3. Ivano-Frankivsk, 2000. < http://www.ji.lviv.ua/ji-library/pleroma/gk- 88 . Vyvykh 42 ovyj] splash will be not an exception, but exception, an not be will splash ovyj] [ Pleroma.The Small Encyclopedia of the 90 . This encyclopaedia (as well as . This (aswell encyclopaedia 86 who determine the CEU eTD Collection . Last visited at 15.05.2008. 92 visited at15.05.2008. reminds me of a spoiled canned fish] – . Last 91 Yavorivskyi” last a bit. But thereis justexplode.canned fish. abouttoButifyouand It it uneatable itunder put will ice, the will be no demand me“at of They their overdue that exhausted remind creativity. the endof 80s they … on it. Just as thereTsybulkotalking aboutthe intellectuals-symbols of 60sin the Ukrainian argues politics is no demand on Drach Volodymyr authors. theestablishedcanonof andcontemporary consecration removing and important them inand thusthe argument most andsymbolic capital of thestruggle intellectuals is also one of the discursive formations and the mode of being different from us namely continuation and its modernization was important” was modernization its and continuation namely us For … of a “rejections tradition. not was Bu-Ba-Bu that emphasizes Neborak Viktor elder. (Stanislav).is TheSmallEncyclopaedia“Stanislav” written (which by and composed these phenomenon”,the field of cultural production. controlled more One example ofmaking aregional is “Stanislavgroup which institutions the all with capital a as theKyiv with competition a also is it name of the Thus culture. Western connection with its ithas of preserved since Ukraine centre cultural group ofLvivas a to connection have astrong and etc, works their writers, artist, were Lvivpoets, writers which come present. embody it whoto the and those frommechanism, and procedure its consecration, of system the of Ivano-Frankivsk non-relevance the but poetry, of their aesthetic judgment or struggle a personal asnot competition of idea reveals the Itbecame past. again a partof the a “pseudo-hierarchy” which already they represent andAndrukhovych in the beginningof butattheir career, the same now time for Neborak Neborak,Viktor. “Ia vykliuchav nashyhdivchat z komsomolu” [I expelled our girls from the komsomol] – Drach like [Those konservu” prostrochenu meni nagaduyut Drach yak “Taki Volodymyr. Tsybulko, The critique of the previous generation(s) of the Soviet and later Ukrainian later and theSoviet of generation(s) previous the of The critique Another factor isAnother factor in important very young intellectuals defining They asa the group. 91 . But not all of the alternative intellectuals draw the line between them an them between line the draw intellectuals alternative the of all not But . 43 92 . Sixties poets helpedhim . Sixties poets CEU eTD Collection 95 2006. p. 31 94 2004. It is like a train, you go in it and do not pay isinyoulikenotattention…” pay It it go atrain, do and was the answer of Vlodko Kostyrko: “Everybody was doing it, that is why I had no fear. .. of retributive measures regimethe from gives a releases fearthe individual of deed. That range of of people.broader implies they that ideas generation, anditwere only of top icebergthe the andrepresented Gnatyuk are different while Gnatyuk considers a rather small group of people as prohibition implied by the regime and canon, and this attracted mostly young people who West, andfreedom from towards asanovelty,oriented positioned works their intellectuals young hand, other the On leisure. cynical even or dissipated their of a part as mostly bymostbut taken not seriously of elders, and were publicintellectuals activities their 15andbetween 34inmid-80s as lastSovietthe generation is of it example a bright Berdykhovska Bohumila and Hnatiyuk Olya by Generation” the of Rebellion “The book the of they ‘us’use referring to aunity,as a group, which is and usedtodefine them,like incase as sixties isthe an established usedThe ‘term’intellectuals generation towards its mentality. and era or an epoch and biography between a transition portrait, collective generally coincides unity based is ideas,which on values,common projects, This etc. ‘spiritual’ unity that with biological and sociological important. very as “phenomenon” the with affiliation parameters presents and culture Western the asbelonging to image authors these createsanof authors) is the way to present a 93 Vlodko Kostyrko, interview by the author, digital recording, 7 April 2008 April 7 recording, digital author, the by interview Kostyrko, Vlodko Alexei Yurchak. Berdykhovska,Bohymila and Olia Hnatyuk,eds. To be a part of a group in the situation of the late 80s when there is still a threat of The term The “generation”term is mostthe often defineused some belongingto to kindof Everything was Forever, until It was noMore: the Last Soviet Generation 93 Bunt Pokolinnia . Yurchak also defines the group . Yurchak also the group defines of people 44 [Rebellionof the Generation]. Kyiv, 95 94 . This small milieu of young of milieu small This . . The cases of Yurchak and . Princeton: notion that notion CEU eTD Collection “Vyvykh-90” considered themselves asapartof samethe generation,like butnotonly inthem, caseof understanding from the society].In: 96 understanding of our mission in the society” the got wehave .. personalities. usas formed that an experience got have lucky:we are age.…Ithinkpeople similar we the which of have historical events experiencecertain of as of common a consequence is created generation mind,the “Onmy reflections: formulation the above exact isthe Ivashchyshyn byMarkiyan ideologies. words The different with even and age biological with coincide not does which and consecration for capital is is The‘generation’ and asymbolic usedincompetition which expectations. but all the milieu, othersmall their only not is it that means which peoplea generation as themselves present also of approximately witha group belong ideas. be They butto certain onlywaynotthe to to asingle marginal, their age who, consequentlyposition with one of theshare sixtiers at theirtheir time) creating values a kind of “imagined community” is Markiyan Ivashchyshyn.“My otrymaly rozuminnya nashoyi misiyi v suspilstvi…” [We obtained In case of the alternative intellectuals of late 80s (and here they latein 80s(andherethey of are a similar intellectuals In case of alternative the . Lvivska Gazeta [Lviv’s Newspaper], 19.06.2007. 96 45 . CEU eTD Collection show that “ inproduction andUkraine its changes, particularly in Lviv of latethe 80s. My aims is to is with itcultural of how field whole the as and correlated intellectuals organizers, thisfestival describe analyzeand whatwasitsand to impliedbyyoung purpose intention it had both on in is because suchfestival suggestion that impossible,Ukraine of the effect contemporary the participants novelty for field Ukrainian my of cultural Eachoftheproduction. interviewees confirmed (artists) and the audience. In this chapter I will try to alternative literature, art, music and other genres which did not fit into the concept of arts of concept intofit the not which did musicgenres art, other and literature, alternative for public broad inUkraine and the USSR.The main theunexpectedness was that elaborated festival program andthe of mode anovelty coordinators quite the the was which Due to festival. itsyouth generally or student the as it claim clearly press objectivein the articles as as well “ Festival Youth First “The was – name full festival’s to the But get the young events from itorganizers andparticipants) beseems oriented thebroad to public. towards people to take part andcoordinators participants. in it its with – interviews the the on basing order inchronological festival the of picture a directoroutline andintentions combined with unique situation of collapse of the totalitarian state. Atfirst Iwill and projects creative individual the which in event historical unique the time same the at Lviv Chapter 3. 97 Vyvykh, Spetsvypusk “Profspilkovogo Visnyka”(Twist. Special Issue of the Trade-union’s Herald) Considering a substantial scale of the festival (at least when you hear the list of list the hear youleast when (at festival of the scale substantial a Considering One could hardly imagine what festival what imagine hardly could One Vyvykh Before we have entered the epoch of the Great Fracture, we had been living friendly, living been we had Fracture, Great the of epoch the entered have we Before unanimously and solid, and not badly at all, in the time of developed Twist [ Twist developed of time in the all, at badly not and solid, and unanimously “Vyvykh-90” -90” isnotan exception,but a part of the process of transformations and astheLast in Performance Soviet 46 “Vyvykh-90” Vyvykh was, since it was quite a -90” and its newspaper-90” andits Oleksandr Irvanets Vyvykh 97 ] CEU eTD Collection that allowed Proskurya “to go the cabinets and to make arrangements” cabinetsandto go the allowed“to that Proskurya time at that director well-known of the status the time same the at and talent his personal roleworkimportant startingon for idea to the Kostyrko of festival.the Vlodko tells about relationships Proskurnya in played with mighthasalso an Chornovil was good and this “Chervona Ruta”(Chernivtsi, very in 1989)which the wholepopular was Ukraine. music alternative festival Ukrainian of first of the a director been had already he time that Black ones, and their king (Ivashchyshyn) and they ruled each who madeBlack ones, and they their(Ivashchyshyn) each and who king ruled aspecial gesture student girls. It was a kind of tale about the girls who were Moors (Mavry), the Green and invented by Kostyrko, Petrenko,Patyk, milieuyoung (Ivashchyshyn, of two etc) people tells rather Proskurnyawasinspired by permanent that “game’ or performance the of the festival onthe come people could youngmake and ideas had other andthe them had resources mention that it was the cooperation of the Komsomol and alternative artists since one of director of as the Chornovil aheadof council.the Proskurnya, Serhiy Vyacheslav and regime Soviet the to oppositional nationalists Ukrainian of majority which it. ‘around’ had AtthattimeLviv intellectuals were alocal with already council was withorganized by itsBratstvo headMarkiyanStudentske Ivashchyshyn and young public event. a now became they reality, and from Soviet the of psychoanalysis) (in terms displaced and (strange) somethingUnheimlich and underground considered as previously were in the USSR and also in the traditional nationalist concept of art. These arts were 99 98 Ibid. 2008 April 7 recording, digital author, the by interview Kostyrko, Vlodko 99 The “legend” of the festival (which was a starting point in nearly all interviews) all in nearly point astarting was (which festival the of “legend” The Festival . “Vyvykh-90” took place took in during Lviv on 3days May 25–27 1990. It 47 “Vyvykh-90” 98 . Many artists also artists Many . and by CEU eTD Collection can be considered as a Soviet (post-Soviet) phenomenon of “performative shift” phenomenon of (post-Soviet) as can beconsidered a Soviet parody mockingand the Soviet propaganda (seeillustrations), named also asstiob which extreme The placardswere an content. form and the about restricted not andwere they the placards which hang out on the streets stageandmadethe of alot Kokh, Kaufman) decorated (Kostyrko, Theartists participants. of the city. Their work was not a kind of order intellectuals. of generation itZeitgeist, was aproduct of all milieu, of the “imagined the of community” youngthe a like something idea, a collective was it that is festival the of organizers the emphasize not matter who” together with poets and they were having90” fun. There for the first time somebody of some them were realized (“it does ideasand atwhich various and parties informal crazy discussed communication they only during born been have might festival the of idea the time same the at But entertainment. a lot of money and organization efforts could hardly originate from this funny reading poetry (court poets), singing songs (court musician), etc. The festival which needed with performances private for the wasabasis roles Their a festival. of asymbol lion was subject their “barmatsutsa”, you arebecoming meant that that 104 103 102 101 100 statue of a worker and a peasant woman, etc), slang, etc were quite clear political clear werequite etc slang, etc), woman, a peasant and worker of a statue horrifying Cossak face, man looked and woman likewho punks iswhose pose copying the that are mixed withpastiche to rather mocking or to new elements of the elements of the mass culture (Soviet star with The term of Frederic Jameson that means “blank parody” that does not have a humor of parody. humor a have not does that parody” “blank means that Jameson Frederic of term The Yurchak 249-250 Serhiy Proskurnya,interview by author,the digital recording, 27April 2008 MarkiyanIvashchyshyn, interview by author,the digital recording, 21April 2008 It seems that the name ‘barmatsuts’ comes from a Soviet cartoonof the late 70s. is told by andProskurnya, place it took in a Kyiv-Lvivtrain in whichhe was traveling The core of the initiative group made informal arrangements with the artists and 102 ) told the word 101 . The other part of the story about the origins of 104 . Conglomeration of slogans Soviet and visual elements “Vyvykh-90” 48 was where in one The main thing which The waswherein one 100 . Barmatsutsa asatwisted Barmatsutsa . 103 “Vyvykh- similar CEU eTD Collection alternative theaters “Ne zhurys” (“Don’t Worry”) and “Kryva Lyufa” (“Curved Barrel”) (“Curved Lyufa” “Kryva and Worry”) (“Don’t “Nezhurys” theaters alternative fact, In festival. the of milieu the outside wasa for people bit the etc) shocking Kisses”, “The Blowing Results of Perestroika”, the sketches by the actors with enormous attached genitals (the names of the scenes were “The forquestions, example, production the condoms,following about of and thetheatrical Volodymyr Mykhalchenko visited Mykhalchenko Volodymyr the only event which thewhere popularbandspart. took main sponsor,all the participants say that all the events were crowded, especially themusic concerts the headselection of the committee could participate. The data is quiteof different in numbers, but still the “Plastyk”…” schools, (“Plastic”)collectives of miningore and enterprises, processing punk bands military of Suvorov amateur choreographic groups, andballettheatres, academicaccordionists, opera factory capellas of orchestras, symphonic brigades, choirs, “agitational part which take could in ascompetitions, were presented activities of the Most be participants. to young talents in away was that prohibited before was straightestthe path popularity.to Lenin” piety to proclamation and the deconstruction of the Soviet ideology (“we wanted people to loose months), during which he convinced the head to give money for the festival, but just after it he was fired. was he it after just but festival, the for money give to head the convinced he which during months), 108 107 106 105 would not paintwouldmy notLeninfor self,had things paint” other I to misinterpreted.be presentnot usingimages newlanguagethe couldof to which astriking conceptarts and Not an obsession with Soviet visual images made artists use them (“I It was a funny story told by Markiyan Ivashchyshyn about his job at “Plastyk” (which lasted Placard of only Vyvykh. two Ibid 2008 April 7 recording, digital author, the by interview Kostyrko, Vlodko The press-conference of the organizers was an integral part of the festival. It was for called placards and newspapers local inthe festival the of Advertisements 107 , butin theconcerts,most only the popular part, which the groups passed 105 ) and at the same time the aim was not to be political and ideological, but ideological, and be political to not was aim the time same the at and ) 108 . Duringpress-conference people the askedthe 49 “Vyvykh-90” is related to the first Lviv 106 ), but at that time painting time that at but ), CEU eTD Collection moskal’[Russian]” enroll to volunteer?” As a symbol of symbol As a volunteer?” to enroll from propaganda placard Soviet“Didyou of time asked the war, which civil originally reflected a reversed and twisted reality. There was a contest for the best sketch beauty and forsketch thebest a contest was reality. There areversedandtwisted reflected that in thiscase Freedom apunishment onebywas theparticipants bringingone. out – to keep a competitioner madea verdict they anecdote, listened the ‘troika’) (called jury After the ajury. with there in the locked insidegostay and hadto and participants prison cell, rather acageor designed as cell or to release, and the policeman in uniform was Lenin” “at12 years that ideology therecouldmakingbe Iwasjust no ... some funny things about he hadthat some of funny Lenin andarrangedhispictures exhibition years old boy Dudawhowas Yurko a brother of one of Mavras,Kostyrko andfound out was a12- except works, winner It recallthe not could of competition. this any significant of artists The drawing. best for the a contest held was there alleys of On one of waysthe young for the intellectuals todeclarethe freedom. Soviet times is reached only when there are people who consider it ascandal. That was one in the material verbal visual erotic of and effectmakethe using anyepatage, intended to they notthat statement did andhis case certain (in general traditions theatre) antique of this mocking andsexuality. of thewords andRegardless itProskurnyawas in that the courseof which performed musical and parody shows with prevailing elementsof ideological Ukrainian economist who dared to challenge Kremlin in 1920s and the competition. 112 111 110 of tryzub (Ukrainian national coatof vodka-glassarms), and heart. 109 The competition was named after Volobuyev, but I do not see any clear connection between the Soviet the between connection clear see any I do not but Volobuyev, after named was competition The Moskal isUkrainian derogatory word forRussians. Yurko Duda, interview by author,digitalthe recording, 19 April 2008 The next Vyvykh in 1992 the prize got also a boy, who drew on asphalt the compositionwhich consisted 110 Broad public also took part in the contest for thebest anecdote part in publictook contest the also Broad During the next three days the festival took placefestivalDuring days three Khmelnytskyi in the next Bohdan park. the took . He was the ‘author’ of the placard, changing only the slogan on the well-known 111 . “For us it always meant namely this”, jokes Kostyrko. “Vyvykh-90” 50 it got a new interpretation: “Are you “Are a newinterpretation: itgot 109 112 . Now YurkoNow tells . . The stage was . Thestage “Vyvykh-90” CEU eTD Collection morning shows one more ironic linguistic aspect:“In today’sslang wordit [the ‘ 115 hard to believe that it would be against the rules of a man, but the others say that he did notgot a prize sinceit would be against the rules (itis inwas very good hisrole woman andappearance could thatone find hardly he that out was extraordinary with their appearance.The contest wasnot regularmake – Neborak. shocking one girls hadto the and something Some people say that thetranslation winner was a man, and ofhe theUkrainian refers to that of Morons) Queen (The De-Biliv named Koroleva “KDB”, contest acronym “KGB”. The contest has got name after the verse by Viktor 114 Polishand Lady-Punk, Kombi,Papa Dance. 113 Polish bands with sometimes large-scale bards) concerts, on and to punk rock music (from an alternative during the lastyears. In Lviv in 1989-90alternative bands and singers perform begun to forwell-known the youth auditory, had since a few concerts they on stadiums in Lviv partinsingers andbands which took openingandthe closing ofthefestival were already throwing over and eating a poetry” eating and over throwing off, pelting, awakening …alsotaking include“besides “poezoaction” will tells that ininscription abreaker, and the Opera isand by Kostyrko, the made put upturned House intellectuals.its On and symbolculture the producersand ‘high’Soviet placard, the the of remember that at that time it was Ivan Franko State Academic Theatre of Opera and Ballet, held on the last day of the festival in Lviv Opera House at 8am in the morning. One should for whole country. the an event the bands from the other parts of Ukraine to make Writing about that“awakening” Yuri Andrukhovych, one of thepoets who was poetryreading that at “ Like the concert on October14, 1989, at which performed “Braty Gadyukiny”, Vika, Taras Chubay, etc Ʉɪɿɦɩɪɨɤɢɞɚɧɧɹ The concerts were performed on the stadium “Yunist” (“Youth”) in the park. The in thepark. “Yunist”(“Youth”) thestadium wereperformed on The concerts The most interesting part of the festival is “The Awakening of Poetry” which was which Poetry” of Awakening “The is festival the of part interesting most The 113 . Butit was mostly Lviv groups and theidea of the organizers was gatherto , … , ɬɚɤɨɠɫɤɢɞɚɧɧɹ , ɡɚɤɢɞɚɧɧɹ 114 (in Ukrainian it makes a word play) 51 , ɩɟɪɟɤɢɞɚɧɧɹɿɡ¶ʀɞɚɧɧɹɩɨɟɡɿʀ “Vyvykh-90” “Vyvykh-90” ). not a regional festival, but festival, a regional not ɩɪɨɤɢɞɚɬɢɫɹ ” ’] means 115 . This . CEU eTD Collection and Semen Lybon, and one ‘single’ Nedostup Pozayak,Charter) of Yurko Viktor (TheLost Sadlovskyi), Hramota Propala and Volodymyr Tsubulko.Roman Nazar Honchar, LuHoSad (Ivan Luchuk, Neborak), Viktor Irvanets, Oleksandr All of them at that time isperformance. of The castthat Andrukhovych, thepoetic groups“Bu-Ba-Bu”(Yuri were is andone of political purpose context manyhelped with issues practical and inLviv theopposition activitiesthe of supported timethat people at mentions that time,bribeform and under Soviet was a of bottle liqueur that regular hard Opera with of a inthe bribed chargeof was Proskurnyathat not) Ivashchyshyn someonewho jokes (or and in suchsituation depended on a certain everything an person of official. Markiyan it opposition,isto the general when was powerwaspassingthe that a period explanation the but answer, exact an gives Nobody 1990? was it if even times, Soviet in the a.m. 8 at rent the Opera House for festival for OperaHouse rent the director viewof thealternative currentpoint –howcould the which seemsincredible from be“Awakening” practicalcan The intrigue consideredasits aspect is catharsis. about 117 116 (Andrukhovych,Yuri. Tajemnycja. [The Secret] –Kharkiv, 2006. p.122. travesty which from comes Rabelais other and traditions of andEuropean Ukrainian burlesque and his ‘organic itculture’ was always that and heemphasizes ingenre productions travesty trying include to all voicesthe and different vision it.of in details it describe will I therefore, time, that at USSR in the situation particular the and intellectuals young the of creativity mixof of example interesting is an performance something else, that is why now one can interpret this action as we really shafted [ MarkiyanIvashchyshyn, interview by the author, digital recording, 21April 2008 Serhiy Proskurnya,interview by author,the digital recording, 27April 2008 Proskurnya does not tell what he remembers, but he creates a verbal representation averbal buthecreates he remembers, tell not what does Proskurnya The “Awakening” was a creation of Serhiy Proskurnya who already made afew made already who Proskurnya Serhiy of a was creation The “Awakening” 116 . It was a part of the whole “Vyvykh-90” 117 . It seems to be only a part of the story, and the next “Vyvykh-90” 52 “Vyvykh-90” and to make a shocking performance there make andto a shocking performance to which I will turn later. as “carnival mystery”, and mystery”, “carnival as ɩɪRɤɢɧɭɥɢ ] the poetry” CEU eTD Collection is described in Andrukhovych’s novel: verses” bewill you Andup,now reading wake stage. on the I say:“Guys come” nobody would that sure wewere sleep,because “We to tried fall asleep. and beds is everything isblossoming… crashing kitsch onthe stage”. now “and – beds to them fasten and flowers artificial the all took they and enough, not is dawn.Ukrainian village, .. paintedidyll” Ukrainianhouses, pinklight, paradise, bunk” lafrom –“startinga theatre the sham sofaa from two-layered rococo to La traviata prison in allbedswere which They the took impress audience. the to was aim decorations which Lysyk,scene-painter in prominentmany who worked in operas USSR the Tsybulkodrinkingvodka during whole the night. At samethe Proskurnya time andYevhen of birthday the celebrate where poets House nearOpera the is hotel the action scene of influenceWrites Union didnot on own creating theirstyle during late80s.The the first well-known (among Ukrainian the auditory)speaking but authors, consecrated and the 123 122 121 120 119 118 Yuri Andrukhovych, Tajemnycja. [The Secret] – Kharkiv, 2006. p. 122 p. 2006. – Kharkiv, Secret] [The Tajemnycja. Andrukhovych, Yuri Serhiy2008 Proskurnya,interviewApril by 22 author, the digital recording, 27April 2008 recording, digital author, the by interview Neborak, Viktor Ibid. Serhyi Proskurnya,interview by author,the digital recording, 27April 2008 Evgen Lysykwas already 60 years old and fatally ill at that time, and it was his last project in the Opera. 119 121 Proskurnya took away OperaHouse, they Proskurnya took layto the poets drunken the down on and installed decorations from andinstalledmust “It from Ukrainian Romantic decorations the operas. beasoft . “Beautiful morning, the poets are sleeping and my assistant takes aboxbeer of takes aresleeping my assistant and poets the morning, . “Beautiful beds. monsters gradually stood up, pushed the othermonsters on the nearby Everybody saw how the ofsleep poetsmonsters. produced And these one of the footlights. The hall is full! 8 am, Sunday and the hall is full! minuteseight past wascurtain the wewere raised waking– and up oneby At eight in the morning the public was allowed to come inside.A few 123 53 122 . The next part next The . 118 120 , created . But it But . CEU eTD Collection obscene popular proverb. The audience wasin audience The proverb. ecstasy” popular obscene of akind whichwas Ballet” and Opera of Theatre Academic of stage the on “theYurko Pozayak opens hisbeer first andpolitical which utters phrase sounded the the wouldhall be overcrowded. 127 126 125 124 had come without knowing to expect,buttheirhad exactly was enthusiastic. reaction without what come forSoviet abroad publicdid that know not was works) theirquite strongand peoplemight anti- simply meant (which culture Ukrainian alternative to iftheinterest people, even shocking therapy” was a shock, It its impudence. by impressed This action ... success,resonance. for staged make“Itwas in House production.was achallenge itself. thisperformance the To Opera field up cultural the of take elite and to remove Soviet old the areto as contenders which manifest young scenario.intellectuals aimed them to Here the Writers Union concrete with organizedby opposed high-culture‘literary soiree’ since “Awakeningof the Poetry” an improvisation. It had the idea of improvisation and shock of the audience as it core, but “Lviv with intelligentsia” Pozayak. Proskurnya tells about Ihor Kalynets who came earlier to take a good Serhiy seat Proskurnya,interview since by author, the 122 digitalhe expected p. recording, 27April 2008 2006. that – Kharkiv, Secret] [The Tajemnycja. Andrukhovych, Yuri Serhiy Proskurnya,interview by author,the digital recording, 27April 2008 All the poets admit that they did notarrange the sequence and it seems that this was happy with the idea thatearly bird catches agood poetry Beethoven, butluckily, everything has itsend. The public applauds and round and oneverse to read each, itsounds absolutely blasphemous to orchestra rumbleswill you play yet”. Beethoven Conductor's flaps baton inthepit.The the first part of onlythe Fifth. after … We Pozayakhad lazily fill orchestral to pit.the who they We foundout are andwhatdo time they to readpass thehis lastnotverseis it and hangover, a had a we really game, till and advance in anything thearrange not did end:but … at“Life the began is toread withaparched mouth. nearly hour Ittook –weabsolutelyan samea good timeshit,greeting the present ladies andgentlemenThey with a hintiton hisnude bum, and is a game...One ofAt 9 thesleepy monsters people begun jumped off the upper tier of the soldier metal bed, 126 . Pozayak says that the theatre was packed notwith the young people, 127 , but it is hardly possible that they constitute a thousand constitute they that possible hardly is it but , 54 124 . Again Andrukhovych: Again . 125 CEU eTD Collection because the festival because thefestival todevelop Ukrainianseemsand languageandwas that culture, tobe in park the festival The first surpriseis thespeech Kotyk majorof the Lviv Bohdan of onthe opening of the people few dozensof beat a festivals inlate1989when police the “Chervona Ruta” to obstructions (comparing of absence absolute The power. to coming were which leaders political and of intellectuals nothingfact soastonishingin thethat power states that they already were making stiob on the nationalistideology which was coming to Kostyrko’s idea making of abadgewith Lenin’s bust on Ukrainian flag. LyubkoPetrenko ironic performanceslike putting sickleand together hammer andUkrainianflag or song in folktraditional style, and people joined in song this the song of the girl which came on a stage with a lot of Soviet orders and began to sing a ironicbe withoutseriously takingitpeople toor effect too seems the and formedphrase, this on them and letters the with backs their turned each dancer concept of Ukrainian historiography)traditional which was a break-danceandin its final case of the performancein like kitsch, and ironic such of “UKRAINE ismisinterpretation irony of turn next the But symbols. - RUIN” (this is a play of wordsalso for irony and mocking the Ukrainian nationalismtraditional and its ideology buildand on a crucial mentionNeborak forits such anonymous festival and peoplewhocriticized dissoluteness 131 deny disillusionment and criticism of the Ukrainian political oppositional movement. 130 129 128 132 Serhiy Arkhypchuk. Monolog (Monologue). In: interviewees of the most least At prospective. current the from overinterpretation berather to seems It 2008 April 7 recording, digital author, the by interview Kostyrko, Vlodko Serhiy Proskurnya,interview by author,the digital recording, 27April 2008 Nobody recalled this fact, but the major is on the one of the private photos from the festival. the from photos private the of one the on is major the but fact, this recalled Nobody 130 Despite this emphatic irony on the concepts of traditional nationalism, there is there nationalism, traditional of concepts the on irony emphatic this Despite Kaufman and perceptionsThere aremanyof offestival. the examples different . 132 . Regardless to the content of the festival, the authorities supported it, 131 ) demonstrates that the situation had been dramatically changed. dramatically hadbeen situation the that ) demonstrates Postup 55 “Vyvykh-90” [Progress], 2.10. 1989. was supported by wassupported sixties the 129 . Therewereafewmore 128 . The other example is example other . The CEU eTD Collection festival in any case is not a opposition to such festivals as “Chervona Ruta”, “Oberig”, Ruta”, “Chervona as festivals such to a opposition not is case any in festival newspapers: “From beginning like very we the would toaskyou bearin mind thatour “mass” festival, and the position of the organizers is quite clearly stated“kontryky” in one of idea of “The vision: similar the has the Tsybulko becausetheir and they promoted political they needed business, youth crowds” young intellectuals and elderones:“They [people of 60s in neededpolitics] us stimuli,as which again reveals theWithin political thesebroad more cultural and festivalhad the purposes, specific one a ambiguity of conflict freedomform speak aboutfor .. youth, the to in languageof youth culture” the the and common activitiespathetic demonstrations, which actions, etc place every took otherday, wesuggestedthe and projects the besides youngof people. ideas So, bring to certain itto was necessary that time, active at the wrote his editor’s column full of sad disappointment with the policy of Chornovil. time at that leaders and political Studentske BratstvoIvashchyshyn did states, not have with anyrupture dissidents older As issues). practical other and (organization projects their realize to intellectuals duetotheoldwas tohelpusing their schemesofpersonalarrangements young power enough forits The Ukrainian nationalistsupport. opposition came powerin which to Lviv 136 135 134 133 Volodymyr Tsybulko. Assigned for studentsandyouth, festivals. these between difference wasaslighttime there that singers, butat bands pop and rock alternative both which combined Ruta” “Chervona This term was used by the Soviet propaganda concerning counterrevolutionaries and laterdissidents. Ibid. But infact politicalthe opposition gathered many times lager crowds than Vyvykh. Serhiy Proskurnya,interview by author,the digital recording, 27April 2008 MarkiyanIvashchyshyn, interview by the author, digital recording, 21April 2008 Proskurnya defines the main idea of festival notso “Media following: themainidea Proskurnya were as defines of the “The mass genres are very important in the period of mass psychosises”, points masspsychosises”, of in period the important very are genres “The mass 136 [counter-culture artists] and to form a few fronts”. The other one was one other The form afewfronts”. andto artists] [counter-culture 133 , and it would be a year later when Oleksandr Kryvenko Oleksandr when later year a be would it and , 56 “Vyvykh-90” “Vyvykh-90” was to bring together bring to was is considered to be a 134 135 . . CEU eTD Collection characteristics of cultural the by products young the intellectual of were which notintellectuals young the towards assigned was festival the was that consumersmeans time same of the Soviet pop [popsa]. This ambiguity is one of the main [Young Galicia], 10.05.1990. 140 werebands singing “like a fish”. 139 20.05.1990. its feature. The freedom for artistsand freedom both The Theitswas feature. first public. experience a newexciting freedom, andin victory ina senseof “anarchy” words. The word their isalsooften used as as festival the define interviewees the All modes. possible all inits freedom is intellectuals thinkingcomplexes” and without towards intellectualsthe with likedefinitions “young creative“independent Ukrainian” or advertisements of festival.the In one of the articles alternative culture seemsbe to oriented Lev” “Zolotyi 138 137 “Vyvykh-90” issuethe of special The whole would their groups aesthetics. other accept the expect that hardly wipe could and same time of they youth to at the ‘sovok’ apower which comes as newbe avant-guard a to mostly auditory as they production wanted the youth reckonedon festival. language was obligatory for obligatory language was unity” historical “new a into them transforming and nations of unification row. Of course, ..“ in their songs inbutit fact wasnot abig since problem alot bandsthe of were actually not using words “Chetver – Zhurnal dlya Modernistiv” (“Chetver– Journal ForModernists”). In: Vlodko Kostyrko, interview by the author, digital recording, 7 April 2008. He says that metal and punk Zaproshennya na Festyval. (Invitation to the Festival). In: Festival). the to (Invitation Festyval. na Zaproshennya These last two festivals were ratherfolk traditional ones. The key which word defines the‘supply’,i.e. cultural the of product, youngthe The youngintellectualswere tryingget who the positions to on fieldthe of cultural leaflet is directed to the students and youth as well all the articles and 139 137 . To oppose and contrast to the Soviet pop culture was the prior aim of the . On the contrary, wethink that our Vyvykh” is opposing very ..toofficial culture… which in was effective “Vyvykh-90” 140 . Therefore, the mass character of the festival atthe festival the of mass the character . Therefore, , and it was , and it onlycondition the of participation, 57 Moloda Halychyna “Vyvykh-90” shouldbe continuing this “Vyvykh-90” [Young Galicia], Moloda Halychyna 138 . Ukrainian . . CEU eTD Collection would add also unconsciousness here) than here)arts than would addalsounconsciousness Vlodko Kaufman which considers it rather in terms of “anarchy of consciousness” (and I read Bakhtin already 143 works. his about know not did artist Lviv of 142 p. 71-82. society. ‘carnival’ in intellectual position implies objective reconsideration and the the of alsothe role, the of genres mass of splash a as carnival The individual. the of emancipation for means work) and all kinds of abuse and perversions as its anti-ideological (anti-clerical in Bakhtin’s forclear sharp.The“carnival”akeyword and which was very difference made their ideology of existence Parallel pressure. ideological formerthe of as areaction was with kitsch an masscult.obsession It a into it andtransforming culture general distinctiondefinition of between postmodern wipes that the ‘high’ the and ‘low’ production previousalternative tothe ideological moral thatdeterminevalues field the and of cultural an as masscult Western asthe aswell andconcepts, symbols ideological reversed people which itexpressed by theirbehavior and appearancewhich fitted the festival. whichgroup for creates milieu its narrow into thefreedom as mode lifea young of of intellectuals. The large audience of large audience the The intellectuals. rules and ideology. Freedom as a creative principle was the main symbolic capital of young on the contrary to the couldprevious create without any rules and it was their freedom which was considered to be novelty cultural products which were created according to some 141 Vlodko Kaufman, interview by author, digitalthe recording, 8April 2008 Proskurnya and Neborak state that Bakhtin was already well-known in their circle, but it seems that most For details see: Tamara.Hundorova. see: details For “The rupture of “Theof rupture swelling”the is –that one more definition of abuse, obscenities, alcohol sexuality, epatage intellectuals presented The young 141 . It means the turn to the ‘demand’ of the publicof to refers tothe‘demand’means broad and the . It turn the 142 at that time) is a masscult that uses namely is at time) sexuality that that amasscultand obscenity Pislyachornobylska Biblioteka “Vyvykh-90” 58 143 . For many people freedom means “to converts the freedom of marginal .[Library after Chornobyl] Kyiv,2005. “Vyvykh-90” “Vyvykh-90” (for those who by CEU eTD Collection participants in participants draw adunghillwrite and genitals, to obscene words” 145 144 Advices of Mr. Lyzunchak” and “The School of Love” of School “The and Lyzunchak” Mr. of Advices “Intimate like andrubrics “Putsch Sex”, and in Post-Postup articles to the later and of “ThePerestrioka” Results erotic sketches “KDB” to contest beauty the From ideology. of sexuality anda ‘natural’ of intoit putting fieldthe betweenrelations of powerand “Vyvykh-90” In case of such products. to interest the illustrate which stories few other a recalled exhibitions ofnude work women began to with a huge Myinterviewees attendance. the another after one time that During sexuality. and erotica both the to readers”) (“of our interest clear the to relations family of some aspects of descriptions medical and moral the gain fameand obscenity. and way makeof actions is themes sexuality easiest to to epatage resources (support of the state and sponsors) for the projects that need time and money, the and sametimenothe isat thereare permitted when situation In everything production. the things on walls, but one can easily find that it is also concerns the field of cultural newspapers Ivashchyshyn was asked such a question “ “After first the such aquestion wasasked newspapers Ivashchyshyn humanities, theyoungintellectuals were makinga belated artrevolution. Inoneof the and from art Western the Isolated for artists. anovelty all Western not at already and which etc) were pop-art, constructivists, Russian Duchamp, twentieth (Marcel the century years.independent ironic speaking politics the about as obsessions two the late perestroika of the andfirst was that it is a defloration of our complexes. –Yes. In the West it would notbe considered See: Vlodko Kaufman, interview by author, digitalthe recording, 8April 2008 Post-Postup Looking is there Lviv Sovietnewspapers through an 1990-91 shiftfrom of evident In fact, the contest and its criteriafollow the ideas of avant-garde of the first half of sexuality sexuality was one of it butis main the themes, always ironic ‘deconstruction’ “Vyvykh-90” [Post-Progress], #12-14, 1991 drawing contest and also to those who write and draw such 59 144 145 . He refers to the people who were who people the He refersto . the sexuality becomes amode becomes of sexuality the Vyvykh” my opinion CEU eTD Collection 148 147 Progress], #4, 1991 producers opposingit to the ‘rustical’ and ‘farmer’ [khutoryanstvo] of the traditional cultural ‘postmodernism’ all which envelop activitiestheir and previous boheme of life style the term intellectuals adopted youngLater the more clear. generations gradually 262. 151 theory. postmodern 150 Relevantthe Ukrainian Literature]. No. 3. Ivano-Frankivsk, 2000. p. 117. 149 Chornobyl] Kyiv, 2005.p. 68-68 a rockstar into apoet of transformation promoting them.Mark Andryczyk analyses case the of Bu-Ba-Bu groupasa popular relaying without Unionsthe on publishing, whichwerereluctantto exhibiting and become to a chance had they actions mass and movements mass the of situation the carnival postmodernism,about and only and Proskurnya poets have already read Bakhtin about and them publicly criticized hooliganism” cultural and youth the of “cynicism as works and actions their considered from these remains of the totalitarian ideological system. As there were a lotof people who of work of the art andother features of Soviet both and ideologies. nationalists traditional of youngthe backwardness intellectuals.The include the ideologicalethical judgmentand Ukrainian field of cultural isproduction one more discursive formation isinthat focus the events…” as insomething extraordinary.it society But our was excelled among other the 146 For exact names and examples see; Tamara.Hundorova. see; examples and names exact For 2008 April 22 recording, digital author, the by interview Neborak, Viktor Andryczyk, Mark. “Bu-Ba-Bu: Poetry and Performance”. In: to due practices and ideas their to analyze and here term this use to benon-relevant to seems why it is That “Vyvykh Zhyvyi, Vyvykh Bude Zhyty” (Vyvykh is Alive, Vyvykh will be Alive). In: Pleroma At the time of free make whole the was to society of mission intellectuals young the Thus, the 150 . 149 146 . The young intellectuals turned to mass genres not because of the theory, but in but theory, the of because not genres mass to turned intellectuals young The . Mala Entsyklopedia Aktualnoyi Ukraiinskoii Literatury . . The concept of backwardness (in psychological terms of ‘complexes’) of the of ‘complexes’) of terms psychological (in backwardness of concept . The “Vyvykh-90” 148 , this made the dividing line between ‘old’ and ‘young’ and ‘old’ between line dividing the made , this the the artists like Kokh didand Kostyrko any not idea 151 . Literature performance (which appears in the appears (which . Literature performance 60 Pislyachornobylska Biblioteka Journal of Ukrainian Studies, [Pleroma. The Small Encyclopedia of Encyclopedia Small The [Pleroma. Post-Postup .[Library after .[Library 1-2 (2002). p. [Post- 147 CEU eTD Collection determinefind new ways of capitalgaining symbolic and competing inmarketeconomy and also to had intellectuals young The society. post-Soviet inthe intellectual of mission and role theirstate as the only way to this consecration were faced with an issue of reconsideration of the relations inconsecration the field fulfilling of cultural production and theideological demand of the of system non-market the destroy to aimed and belong not did who intellectuals public” with we wanted for genres muchto jumpto the from broader fact that hermetic poetry politics90” and gain popularity using new strategies and modes in their struggle for consecration. state. isby to their aim and poetry’ Union, the the‘eveningsorganized of were contrasting to arrange poets public which performances musicians.Young by performing poetry the rock late 80s) adopted of imagery rock’n’rollformsthe and itand included alsooften 152 reconsiderations and competition for consecration of ideasof andprojects. fortheir consecration and competition reconsiderations Viktor Neborak, interview by the author, digital recording, 22 April 2008 April 22 recording, digital author, the by interview Neborak, Viktor demonstrate their objective to be art for masses. “Our revolutionary character lay ina character for “Ourrevolutionary masses. be art to their objective demonstrate 152 All (placards, cultural the music,products performances, poetry,on etc) . In the situation of the absence of market of the cultural production, the production, cultural the of market of absence the of situation the In . 61 “Vyvykh-90” illustrates these illustrates “Vyvykh- CEU eTD Collection culture was not based on the definitions of the culture from the nationalism paradigm of the of Ukrainian time) concept andtheir atthat in latter appeared translations (the literature music especially and Western culture, rock towards oriented people 60s.Theywere the of and comparing from concepts had production with different mid-80s projects the quite cultural inproduction latethe 80s when opposition the was gradually power.coming to perestroika times. Consequently, language purpose of this and culture shapes thefield of in movement opposition Ukrainian the of ideology an becomes that nation the of unity andspiritual and as language historical the culture conceptof 60s presentedthe Ukrainian would play importantan role inmyfurther analysisof late80s.Thethe intellectuals of the UkrainianSoviet field of cultural andhighlightsproduction, intellectuals groups the of that of thepicture the byBourdieu. framework This outlines approach using theoretical the situation of the late 80s in the interconnectiontime. of the cultural,presentandreveal details that wiped thingsthe which presentvisionare from our of that social and politicalcontinuity issues of thesecultural in years Lvivinproduction eighteen ago bearing been Ihave mindthe always processes,step outof not to impossibleAnalyzingthem.“ since one should always combine the prospective of the culture alternative of festival of the is prospective the transformation of processes these present to mode the but thesis, whole in the is apparent aim This time. that of transformations the whichshaped explore discourses and practices the 80sandLviv intheto late Conclusions The group next youngof intellectuals which appearinbegun to fieldthe of cultural general the of preconditions the explore to was analysis my of point starting The The aim of this thesis has been very ambitious: to analyze the intellectual life in life intellectual the analyze to ambitious: very been has thesis this of aim The “Vyvykh-90” , even if it was very difficult to establish frames and sometimes 62 Vyvykh-90 ” and peculiarities of the field of field the of ” andpeculiarities CEU eTD Collection interpretation of folklorethe for contemporary Ukrainian culture. butthey with anew folklore), gave equate itself was culture ingeneral nationalists (and forfolklore whichwas for Ukrainian asacore considered traditional identity national between didandtraditional nationalist The latter intellectuals. young not break with Ukrainianthe for language which united andground efforts a common was cooperation of waspromotion key Another objective time.of that is keyconcept “freedom” which the word one the by be described can aim general their therefore, regime, the and opposition youngof These with intellectuals. the correlate political actions struggle between with material and organizational issues for the concerts, festivals, etc, i.e. for the promotion opposition, they supported the dissidents of the nationalistmovement and the latter assisted resultedtheir of inmanyAs cultural that products political activethe actions. participants publicbroad for Ukrainian cultural products. the of ‘demand’ cultural substantial the demonstrated also which changes ‘revolutionary’ non-relevant to take in this positionsthe cultural situation of the meant of producers the Consequently, previous ofart. andideologicalconsecration of works system the criteria of production, young aimed changethisfieldthrough the the intellectuals removing to iceberg are young,who people of changes.the want and creative marginal artist orwriter into a part of the powerful unity that presents itself as a peak of the the converts ‘generation’ to Belonging generation. sixties the to opposing also time an “imagined community” between thesixties intellectualsof represent themselves asarupture and generation. They which is opposing difference the consider intellectuals of to group This the century. twentieth the of Sovietbeginning cultural elite and at the same The informal milieu of groupwasverythis andhadcreative a clear aim promote to Promoting theirideas of change in all spheres,the especially,infield the of cultural 63 CEU eTD Collection performances and other mass action, like mass action, and other performances public, tothebroad turned youth, artists particularly the invented new of genres boheme circles and even in broad public. To present their works which seems beto already etc, buta politician,notetc, ideological or –thatwas main demagogue, worker the difference musician, director, artist, writer, as aprofessional intellectual society.The post-totalitarian inthe intellectual the of mission and role the of reconsideration the meant also intellectuals complicated ambivalence – that are the main principles of their works. seriousthe issues in languagethe irony, of simplification deliberate sameand atthe time of obscenities, sexuality, kitsch, etc – that is the stricking features of the works of participants ideology, and slang Reverse Soviet inof reflected works youngthe intellectuals. is field Thiscultural of production. turn principlethe popularity the newrulingas the of young in intellectuals struggletheir for consecration. the of capital symbolic and value main aesthetic onewasthe latter the and generations, between define difference the to concepts “freedom” wereother and “Complexes” festival. “Anarchy” and “freedom”, was ideology a ‘deconstruction’ of any for sakewithoutideological the ofnew arts rules. but not “art” areitideology,but not only Soviet against wasdirected festival The nationalists. traditional the key word which is and sameitintellectuals atthe was in of headed course the political by opposition used to describe the ideasyoung the youth topromote of culture the festival assigned asa alternative of was It Proskurnya. Serhiy festival the of director state”, tells the Soviet the teasing were “We ones. further the reveals and issues above the all illustrate which intellectuals “Vyvykh-90” The transformation of the field of cultural production that was an aim of the young Sovietsystem the Opposing to of intellectualsyoungconsecration, the to resorted The festival who were mostly the milieu of young intellectuals already consecrated in consecrated already intellectuals young of milieu the mostly were who “Vyvykh-90” was one of the examples of the activities of the young “Vyvykh-90” 64 , to gain popularity. To speak about gain To , to popularity. CEU eTD Collection their adepts, in other words,‘popsa’ ideological[low-quality production, to masscult], sixtiesto the intellectuals and they still consider which state supports tothe freedom, alternative and alternative the with themselves themselves as a part of significance of their symbolic the alternative time same the at and point starting is a which works) and positioninterviews public in the field in of (especially culturalnarrative their of topoi permanent are production. threshold its and 80s late The one. They associate a consecrated not but elite, cultural asalternative themselves consider They still processes. manyinterpretationsthat me suggestions and ideasabout and prompted that conclusions and of participants were coordinators who version oftheintellectual late 80sinlife inmy but USSR), interviews to people with the intellectuals in the Soviet Union in general (on the contrary, the case Lviv contradicts some of Serhiy Proskyrnya) . bespheres oflife soeasilynot could by wiped (by “shocking simple therapy” words rather in bepast deliverance butthe Soviet from the easilycrossed, desired all to the threshold once by means of demonstrating the unlimited freedom. The festival seems to be the mass is by consciousness manifested its butorganizers, the of change the i.e. festival, the of aspect social The society. post-totalitarian transitional sexuality inmodedisplaceand ironic obscenities seemsissues to serious the of the concept of culture as ideological tool of state policy. In theyhad support. words, likeother free ahope that arts, would ideological in freeof demands exchangeitsof state the for material and symbolic The works. idea new Ukrainian young wasthat fieldthis of people of cultural production distinguishthat from both sixties them intellectuals andideological of Sovietproducers The above conclusions refer mostly not to the secondary literature about the about literature secondary the to not mostly refer conclusions above The Looking from the prospective of its reasonable critics, obsession with kitsch, with obsession critics, reasonable its of prospective the from Looking 65 “Vyvykh-90” “Vyvykh-90” “Vyvykh-90” . It was their contemporary could not rework it at would replace the “Vyvykh-90” , i.e. CEU eTD Collection reminds meabit“The of Interpretations about Dreams”. interpretation of words,images, hints, silence, distortions, rhetoric, obscurity, discoveries more than its precondition, context, Thecaseof context. its and event particular of history the grasp andwrite to when tries account one into taken projects and results. USSR. collapsethe of after newconditions to the adapt significantfuture. Theseintellectual demonstrated people skills mind flexibility and to of Alsofor plans bright very had they and it, to antagonism with nor thisideology Soviet the with researchneither obsessed times, theSoviet victims of not are who people of the portrait collective asmore one present the butto ideas andworks, of their for consecration of their competition an result final the explore to not was My aim etc. meetings, declarations, of means by regime been shaded almost with of wide-spreadpicture the political struggle of with dissidents very but voice andhadlarge-scale their wasnot strong has aof and total changes, itproject one. masscult be cannot consideredif asmarginal, even isauditory manytimes lessthan their the which least artist andsuccessive cultural at professional or belongelite of to already them creative irregularity and search for new and alternative to mainstream. At the same time all inherent part and result of every interpretation, thus festival thus interpretation, every andof result part inherent included.which isnot Thatreminds meaboutoverdetermination interms ofFreudas an andfollowing decomposing, assembling thereis them altogether, always somethingmore Still working on this thesis revealed many other relevant paths which should be should which paths relevant other many revealed thesis this on working Still Rather small and evenmarginal of group youngthe intellectuals its with Lviv core “Vyvykh-90” is not a sum of components, and even after analyzing after even and components, of a sum not is 66 “Vyvykh-90” is something is CEU eTD Collection Vyvykh, Spetsvypusk “Profspilkovogo Visnyka” Vyvykh, “Profspilkovogo Spetsvypusk Viche Vilna Ukryina Spadshchyna Ratusha Post-Postup Postup Nova Doba Molod Ukrayiny Moloda Ukraiina Halychyna Moloda Leninska Molod Lvovskaia Pravda Bratstvo Periodicals Primary Sources Bibliography Za VilnuUkrayinu Herald] –Lviv 20(25.05.1990) [Popular Assembly](1989),3-16 1-3 (1990) –Lviv [Progress] 1-14 [Progress] (1989), 1-7 (1991)– Lviv [City [City –LvivHall] (1990) 02.10–28.12 [Brotherhood], 1-4 [Brotherhood], (1989), 1-4 (1990) – Lviv [OurTimes] 1(1989),2(1990) –Lviv [Post-Progress] 1-14(1991)–Lviv [Legacy]1-2(1989),1-9 – (1990) Lviv [FreeUkraine] 1990-1991–Lviv [Lenin’s (1990)– Youth] Lviv [Youth [Youth of Ukraine](1990) –Kyiv 01.04–26.06 [Young Ukraine], (1989), 5-11 (1990) 1-4 – Lviv [Lviv (1990)–LvivTruth] [ForFreeUkraine] (1990) –Lviv 1.07-28.12 [Young Galicia]– Lviv (1990) 67 [Twist. Special [Twist. of Issue Trade-union’sthe CEU eTD Collection Pleroma Antolohiia Bu-Ba-Bu. Kryvenko, Oleksandr, and Volodymyr Pavliv. Bu-Ba-Bu. T.v.o./../ry Andrukhovych, Yurii. Anthologies Published primary sources Volodymyr Tsybulko, Kyiv, digital recording, 24 April 2008 Serhiy Kyiv, Proskurnya, digital 27April recording, 2008 Yurko Pozayak, Kyiv, digital recording, 24April 2008 Yurko Prokhasko, Lviv, digital 23April2008 recording, Lyubko Petrenko, Lviv, digital 17April2008 recording, Ostap Patyk, Lviv, digital recording, 20April 2008 Neborak,Viktor Lviv, digital recording, 22April 2008 Vlodko Kostyrko, Lviv, digital 7Aprilrecording, 2008 Yurko Kokh, Lviv, digital 8April recording, 2008 Vlodko Kaufman, Lviv, digital 20April 2008 recording, Markiyan Ivashchyshyn, Lviv,digital 21April recording, 2008 Yurko Duda,Lviv, digital 19April recording, 2008 Krystyna Duda,Lviv, digital recording, 19April 2008 Oral interviews byauthor Encyclopedia of the Relevant Ukrainian Literature]. No. 3. 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Zayarnyuk, Andriy. “Lviv iak ray dlia intelectualiv” [Lviv as a paradise for intellectuals]. for aparadise as [Lviv intelectualiv” dlia ray iak “Lviv Andriy. Zayarnyuk, Zayarnyuk, Andriy. “Povsyakdennaradyanskist syogodennya” postradyanskogo [Everyday Rosenfeld, Alla and Norton T. Dodge, eds. Romanov, Pavel, and Elena Iarskaia-Smirnova. “Sotsial’noe kak irratsionalnoe (Diagnozy Risch, William Jay. Yurchak, Alexei. Yurchak, Ries, Nancy Uliura, Anna. “Mit’ki ne seksual’ny,ili ‘pogranich’ia’ obraztsa 1990goda”Erotizatsiia Schuman, Howard, and Amy Corning. “Collective Knowledge of Public Events: The Pavlyshyn, Marko. “Ukrainian Literature and the Erotics of Postcolonialism: Some In: In: Soviet motives of the post-Soviet nowadays]. In: 1990 goda)” [Social as Irrational (Diagnosis’ of the 1990)]. In: in L’viv,1953-1975 Generation [Mit’ki are notsexual, orerotization of the “borderland” of 1990]. In: 4 (2000). In: Purge toGlasnost”. Era from Great the Soviet theSoviet from Union. Modest Propositions”. In: NLO Krytyka , 83 (2007). , Russian Talk:CultureandConversation duringPerestroika , 1-2 (2008). , 1-2 . Princeton: 2006. Everything was Forever,It was until noMore: theLast Soviet Ukraine’s Window Ukraine’s Window to theWest: Identity and Cultural Nonconformity . Unpublished dissertation. University, OhioState 2001. New York, 1995. Harvard Ukrainian Studies From Gulag toGlasnost:Nonconformist Art 74 Krytyka, The American Journal of Sociology The AmericanJournalof , 1-2 (1993). , 3 (2006). NLO , 83(2007). . Ithaca, 1997. NLO , 83(2007). , CEU eTD Collection Vlodko Kostyrko, Appendix 1. Appendixes “Vyvykh-90”, Prokydannia Poezii 75 [Awakening of Poetry] CEU eTD Collection Vyvykh”] Yurko Kokh, “ Appendix 2. Vyvykh-90” poster, “Vidkrytyi Vyvykh” [“The Closing Concert of 76 CEU eTD Collection Yurko Kokh, “ Appendix 3. Vyvykh-90” poster, Welcome poster, 77 CEU eTD Collection Yurko Kokh, “ Appendix 4. Vyvykh-90” poster, “Vyvykhy na Mistsyah” Spots] at[Vyvykhs 78 CEU eTD Collection Yurko Kokh, “ Appendix 5. Vyvykh-90” poster, “Masshtabnyi Vyvykh” [“Large-Scale Vyvykh”] [“Large-Scale “Masshtabnyi Vyvykh” poster, 79 CEU eTD Collection Vlodko KOstyrko, “ Appendix 6. Vyvykh-90” poster, “Malyaskyi” [“Art Competition”] [“Art “Malyaskyi” 80 CEU eTD Collection Yurko Kokh, Appendix 7. “Vyvykh-90” poster, Koroleva Debiliv 81 [Queen of Morons]