Lampoon of Ukrainians living in Moscow during the late times of the Soviet Empire. Each character presents a version of derangement in terms both political and social. A comedy of universal error.
The literary scholar Alfrun Kliems explores the aesthetic strategies of Eastern European underground literature, art, film and music in the decades before and after the fall of communism, ranging from the ‘father’ of Prague Underground, Egon Bondy, to the neo-Dada Club of Polish Losers in Berlin. The works she considers are "underground" in the sense that they were produced illegally, or were received as subversive after the regimes had fallen. Her study challenges common notions of ‘underground’ as an umbrella term for nonconformism. Rather, it depicts it as a sociopoetic reflection of modernity, intimately linked to urban settings, with tropes and aesthetic procedures related to Surrealism, Dadaism, Expressionism, and, above all, pop and counterculture. The author discusses these commonalities and distinctions in Czech, Polish, Slovak, Ukrainian, Russian, and German authors, musicians, and filmmakers. She identifies intertextual relations across languages and generations, and situates her findings in a transatlantic context (including the Beat Generation, Susan Sontag, Neil Young) and the historical framework of Romanticism and modernity (including Baudelaire and Brecht). Despite this wide brief, the book never loses sight of its core message: Underground is no arbitrary expression of discontent, but rather the result of a fundamental conflict at the socio-philosophical roots of modernity.
By writing of Ukrainian national identity from a woman-centered perspective, female authors from the last Soviet generation established themselves as authoritative critics of their culture and paved the way to visibility and success for their younger female literary peers.
This collection of essays offers a comparative perspective on different forms of representation of social hybridity in contemporary novels through various cultural and linguistic lenses. It explores the various subcategories of their interdependent relationships, including power and domination between hegemony and marginality. The book revolves around five axes: namely, writing strategies and reterritorialization; marginality and intermediary spaces; revisited urban spaces; when periphery becomes center; and the modality of confrontation and construction of identity. It focuses on the identification and classification of spaces in order to understand their function in relation to the thematic strategy of the novel. Its main objective is identifying the textual representation of the challenge of center and periphery, as well as these concepts’ role and significance in diegesis. Thus, new light is shed on the subject and on the contemporary novel as a whole.
Honorable Mention - American Association for Ukrainian Studies (AAUS) 2018-2019 Book Prize Having exploded on the margins of Europe, Chornobyl marked the end of the Soviet Union and tied the era of postmodernism in Western Europe with nuclear consciousness. The Post-Chornobyl Library in Tamara Hundorova’s book becomes a metaphor of a new Ukrainian literature of the 1990s, which emerges out of the Chornobyl nuclear trauma of the 26th of April, 1986. Ukrainian postmodernism turns into a writing of trauma and reflects the collisions of the post-Soviet time as well as the processes of decolonization of the national culture. A carnivalization of the apocalypse is the main paradigm of the post-Chornobyl text, which appeals to “homelessness” and the repetition of “the end of histories.” Ironic language game, polymorphism of characters, taboo breaking, and filling in the gaps of national culture testify to the fact that the Ukrainians were liberating themselves from the totalitarian past and entering the society of the spectacle. Along this way, the post-Chornobyl character turns into an ironist, meets with the Other, experiences a split of his or her self, and witnesses a shift of geo-cultural landscapes.
The novel is based on the traditional Ukrainian folk song "Oi, ne khody Hrytsiu". The tragic story of a young man torn between two women and poisoned by one of them lends itself readily to literary interpretations. But in Kobylianska's interpretation, this is far more than a melodramatic love story with a predictable ending. It is not merely the love story of Tetiana and Hryts: it is a story of the eternal conflict between passion and reason, between personal happiness and social constraints, between freedom and its practical limitations. Kobylianska turns the love story into a feminist exploration of the psychology of two strong women, Tetiana and her mentor (and Hryts's mother) Mavra. Like figures in a classical Greek tragedy, Kobylianska's characters move in a graceful, stylized narrative ballet toward their inevitable fate, leading the reader into an ever-deepening thematic exploration of human emotions and social conventions.
The second part of this multi-volume project assembles a series of recollections and debates on the Ukrainian revolutions of 1990, 2004, and 2013–2014. After an introduction to the methodology of oral history, it presents twenty interviews with participants and eyewitnesses of the events in Ukraine, and documents a series of workshop discussions conducted at a symposium held in 2017. In these workshops, activists and observers of each of the three revolutions exchanged and compared their memories, analyses, and evaluations. This volume thus not only provides a comprehensive collection of firsthand accounts of the three historic Ukrainian upheavals, but also reveals the interrelations between them. The volume documents assessments from Barbara Krauz-Mozer, Markiyan Ivashchyshyn, Natalia Klymovska, Vakhtang Kipiani, Mykola Kniazhycki, Natalyia Zubar, Yulia Tymoshenko, Aleksander Kwaœniewski, Viktor Taran, Markiyan Matsekh, Yulia Tychkivska, Leonid Findberg, Yulia Mostova, Oksana Zabuzhko, Eduard Drach, Michailo Cherenkoff, Andriy Dudchenko, Oleg Mahdych, Rebecca Harms, Herman van Rumpoy, and Jacek Saryusz-Wolski.
The 1990s were a period of tremendous artistic vigour, experimentation, and liberation for Ukrainian culture. The artists who emerged at this time unleashed a tidal wave of creativity that deliberately and aggressively reshaped inherited models. In this first English monograph on contemporary Ukrainian literature, Mark Andryczyk provides an in-depth analysis of the cultural explosion that engulfed Ukraine in its first decade of independence. The Intellectual as Hero in 1990s Ukrainian Fiction weaves a fascinating narrative full of colourful characters by examining the prose of today's leading writers. Andryczyk delves into the role of the intellectual in forging a post-Soviet Ukrainian identity, and follows these protagonists as they soar and stumble in pursuit of redefining their creative realm. In addition to introducing readers to vibrant literary gems, this book explores the artistic tendencies that determined the course of the Ukrainian cultural scene in the 1990s, and continue to shape it today.
Yuri Andrukhovych is one of Ukraine’s preeminent authors and cultural commentators. In recognition of his literary writings and his role as a public intellectual he has received numerous awards including the Herder Prize, the Hannah Arendt Prize, and the Goethe Medal. My Final Territory is a collection of Andrukhovych’s philosophical, autobiographical, political, and literary essays, demonstrating his enormous talent as an essayist to the English-speaking world. This volume broadens Andrukhovych’s international audience and will create a dialogue with anglophone readers throughout the world in a number of fields including philosophy, history, journalism, political science, sociology, and anthropology. In their introduction, Mark Andryczyk and Michael M. Naydan reveal a somewhat lesser-known side of Andrukhovych’s writings that places him alongside such writers as recent Belarusian Nobel Prize winner Svetlana Alexievich. Eleven of the fourteen essays in this volume, including his seminal work "Central-Eastern Revision" and a brand-new essay on the Russo-Ukrainian War, appear here for the first time in English. My Final Territory showcases Yuri Andrukhovych’s unique voice and provides insight into the Ukrainian experience of nationality and identity.