UKRAINIAN LITERATURE IN ENGLISH:

SELECTED ARTICLES IN JOURNALS AND COLLECTIONS

published since 2000.

An annotated bibliography

by Marta Tarnawsky

This on-going selected annotated bibliography will attempt to document the most important articles on Ukrainian literature published in Anglo-American scholarly journals and collections. It is a continuation, albeit with a more narrow focus, of my comprehensive bibliographies covering books, articles, translations and book reviews, and published as Research reports by the Canadian Institute of Ukrainian Studies at the Universty of Alberta since 1988. Readers interested in earlier publications are encouraged to view the electronic variant of my bibliography at www.utoronto.ca/cius .

Prepared especially for the Ukrainian Quarterly, the present bibliography will be continued in forthcoming issues, as new materials become available to the compiler and as the articles are read and annotated. Transliteration of Ukrainian writers' names and titles of their work in the compiler's annotations follows the Library of Congress system, without the diacritical marks; it may differ from the one generally used in the journal and from direct quotations from the articles cited. Annotations attempt to provide a factual non-biased comment, with an occasional critical note, whenever the factual content of the material is found to be misleading or incorrect. Occasional quotations from the sources themselves used in annotations are meant to give the reader both the substance and the stylistic flavor of the original.

A1. Aheieva, Vira. "Mykola Khvylovy and expressionism." Journal of Ukrainian Studies. 25.1-2 (Summer-Winter 2000): 45-59.

Vira Aheieva's article on Khvylovyi was originally written in Ukrainian and has been translated for this special issue in honor of Jaroslav Rozumnyj by Myroslav Shkandrij, the quest editor of the issue. Aheieva discusses literary influences on the prose of Mykola Khvylovyi of German and Russian expressionists, such as Leonhard Frank, Georg Heym, Kasimir Edschmid, Boris Pilniak. For other articles in this issue see A77.

A2. Andrukhovych, Yuri. "Europe - my neurosis." Ukrainian Quarterly. 62.1 (Spring 2006): 64-68.

A speech given on 15 March 2006 on the author's acceptance of the "Leipzig Book Prize for European Understanding". The prize was given to Andrukhovych for his novel Dvanadtsiat' obruchiv published in a German translation. The speech, however, has a political character and does not deal with literature.

A3. Andryczyk, Mark. "Bu-Ba-Bu: poetry and performance." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 257-272.

Andryczyk focuses on the work of Iurii Andrukhovych, Oleksandr Irvanets' and Viktor Neborak - the trio who formed the literary group Bu-Ba-Bu, active in the 1990's - discussing the idea of performance as the key element of their creative philosophy. Poetry quotations are given in the original Ukrainian with literal English translations in footnotes [i.e. Irvanets': "Tse ie poeziia naivyshcha" (12 lines); Andrukhovych: "Ahov, moi malen'ki chorteniata" (24 lines); Neborak: "Prychynna (ty idesh odna mizh lilii)" (26 lines); "Lialia-Bo" (9 lines)]. The article appears in an issue dedicated to Danylo Husar Struk (guest editor: Roman Senkus). (cf.A75).

A4. Andryczyk, Mark. "New images of the intellectual in post-Soviet Ukrainian literature." Ukraine on its meandering path between East and West. Andrej N. Lushnycky & Mykola Riabchuk, eds. Bern, New York: Peter Lang [©2009]. (Interdisciplinary studies on Central and Eastern Europe, v.4). 183-200. Bibliography: 199-200.

The author examines the prose works of contemporary Ukrainian writers Volodymyr Dibrova, Iurii Izdryk, Kostiantyn Moskalets', Oksana Zabuzhko, Iurii Andrukhovych and Ievheniia Kononenko. These writers, in Andryczyk's view, introduced to Ukrainian literature three new prototypes of the Ukrainian intellectual: Andryczyk calls them "the swashbuckling performer", "the ambassador to the West" and "the sick soul". The Ukrainian intellectual as "an enchanting performer", according to Andryczyk, is represented best in Iurii Andrukhovych's novels Perverziia and Moskoviiada; "the ambassador to the West" appears primarily in Oksana Zabuzhko's Pol`ovi doslidzhennia z ukrains'koho seksu, Izdryk's Votstsek, Dibrova's Burdyk, Kononenko's Imitatsiia. For examples of the "sick soul" Andryczyk cites, in addition to the previously discussed Zabuzhko's, Izdryk's and Andrukhovych's novels, a work .

by Moskalets' entitled Vechirnii med. Fragments from Vechirnii med are quoted in hitherto unpublished Mark Andryczyk's translation, fragments from Andrukhovych's Perverzion are quoted as translated by Michael M. Naydan (2005), Zabuzhko's "Field work in Ukrainian Sex" trans. by Halyna Hryn in Agni no.53. (2001) and some paragraphs from Wozzeck (2006) are quoted in Marko Pavlyshyn's translation.

A5. Andryczyk, Mark. " Three posts in the center of Europe: postmodern characteristics in Yuri Andrukhovych's post-colonial prose." Ukraine at a Crossroads. Nicolas Hayoz, Andrej N. Lushnycky, eds. Bern, New York: Peter Lang [©2005]. (Interdisciplinary studies on Central and Eastern Europe, vol.1). 233-252. Bibliography: 251-252.

Andryczyk attempts "to find points where postmodernism and post-colonialism intersect" in the prose of Iurii Andrukhovych. He examines in some detail Andrukhovych's novels Rekreatsii, Moskoviiada, and Perverziia. Andrukhovych's prose, says Andryczyk, "is playful, humorous and innovative and includes stylistic devices that are characteristic of literature referred to as 'postmodern writing'", but it is also "driven by a post-colonial search for the Ukrainian identity and is a celebration of the right to explore that identity in literature."

A6. Babotová, Lubica. "Transcarpathian Ukrainian literature in the twentieth century." Perspectives on modern Central and East European literature: Quests for identity. Selected papers from the Fifth World Congress of Central and East European Studies. Ed. by Todd Patrick Armstrong. [Houndmills, Basingstoke, Hampshire; New York]: Palgrave [©2001]. 38-46. Notes: 45-46.

Babotová provides a survey of Ukrainian literature of the Transcarpathian territory ruled at the beginning of the 20th century by the Austro-Hungarian Empire, later by Czechoslovakia and the USSR. She lists both the writers of the Ukrainian orientation and those of the Russian orientation. The two groups, says Babotová, "differed in their understanding of national identity, both in their point of departure and in their ideological orientation. The more secular Ukrainian group argued for the integrity of the Ukrainian nation, while the more religious, abstract-conservative Russian group, with its passive messianic tendencies, believed in a 'single, undivided' Russian nation." This article - originally a paper read at the Fifth World Congress of Central and East European Studies in Warsaw in August 1995 - was translated from the Ukrainian by Vadim Marchuk, Anatoly Vishnevsky and Todd Patrick Armstrong. A note about the author appears on p. xv.

A7. Bahry, Romana. "Subversive themes in Dovzhenko's 'Earth'." ICCEES VII World Congress. Europe - Our Common Home? Abstracts. (Berlin, July 25-30, 2005): 38.

An abstract of a paper to be read at the VII World Congress of the International Council for Central and East European Studies in Berlin, in July 2005. Dovzhenko, says Bahry, "subverts the socialist realist narrative by using a poetic associational form which envelops the linear narrative within a circular thematic structure within which the images generate themes that contrast with and oppose the narrative." The focus of the paper is on Dovzhenko's film, rather than on the short story.

A8. Balan, Jars. "Vasyl Stefanyk's literary monument to the Ukrainian pioneers of Canada." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 51-61.

Vasyl Stefanyk never visited Canada, but a number of his works have Canadian themes. Of special importance and interest is the novella Kaminnyi khrest, whose protagonist is modeled on a real immigrant to Canada named Stefan Didukh, born in Stefanyk's native village - Rusiv in 1839. Jars Balan characterizes the novella, provides biographical data about Stefan Didukh, and cites Stefanyk's letter where the writer acknowledges "a most benign influence" of the man on his youth and his connection to Kaminnyi khrest. The article appears in an issue dedicated to Danylo Husar Struk (guest editor: Roman Senkus). (cf.A75).

A9. Cap, Jean-Pierre. " The Holodomor in historical and literary context; The Yellow Prince by Vasyl Barka." Ukrainian Quarterly. 64.1-2 (Spring-Winter 2008): 119-132.

Vasyl Barka's novel Zhovtyi kniaz' about the Great Famine of 1932/33 is discussed on pp. 126-130 as part of a subchapter on "Literary perspective".

A10. Chernetsky, Vitaly. "The trope of displacement and identity construction in post-colonial Ukrainian fiction." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 215-232.

Chernetsky provides a critical discussion of Iurii Andrukhovych's and Oksana Zabuzhko's prose, especially of the novels Rekreatsii, Moskoviiada and Perverziia by Andrukhovych and the novel Polovi doslidzhennia z ukrains'koho seksu by Zabuzhko. Chernetsky argues that "in these texts we find a major instance not only of an aesthetic depiction of, but also of a theoretical reflection on, the concept of displacement with relevance far beyond Ukraine's borders.

The article appears in an issue dedicated to Danylo Husar Struk (guest editor: Roman Senkus). (cf.A75).

A11. Chumachenko, Anna. "The twain shall meet: diaspora and Ukrainian modern drama in Larissa Onyshkevych's interpretation." Ukrainian Quarterly. 56.1 (Spring 2000): 96-99.

A review article of two anthologies of Ukrainian drama edited by Larissa Onyshkevych, i.e. Blyzniata shche zustrinut'sia (Lviv: Chas, 1997) and Antolohiia modernoi ukrains'koi dramy (Kyiv, Edmonton: Canadian Institute of Ukrainian Studies, 1998).

A12. Dmytry Chyzhevs'kyj: the man and his work. Proceedings from an international conference organized by the Slavonic Library (at the National Library of the Czech Republic) and three institutes of the Czech Academy of Sciences - the Slavonic Institute, the Institute of Czech Literature and the Institute of Philosophy, held in Prague, June 13-15, 2002. Prague: Slavonic Library at the National Library of the Czech Republic, 2004. 485 p. illus.

Contributions in Czech, Ukrainian, English, Russian and German. The Czech title on cover: Dmytro yževskyj: osobnost a d lo. Contents of the English language material: Introduction (pp.8-9). • George G. Grabowicz: Dmytro yževskyj: Literary history and the question of identity. (pp.23-41) • Ladislav Matejka: Dmytro yževs'kyj: Between East and West (pp.177-182).• Dmitry Shlapentokh: Whether Russia belongs to the West in the view of Dmytro iževskij (pp.320-338).

The conference was organized to mark the 25^th anniversary of Chyzhevs'kyi's death and covers a variety of scholarly fields. Grabowicz, the author of a book-length critique of Chyzhevskyi's History of Ukrainian Literature, attempts in his essay to revisit his dialogue with Chyzhevs'kyi's historiography and to reflect on new developments in the field. • Matejka discusses Chyzhevs'kyi's connections to Prague and his research on 18^th century Czech philosopher and poet Jan Amos Komensk. • Shlapentokh surveys the trends in Russian history between self-centered isolation and European integration, and claims that Chyzhevs'kyi "believed that Russia as well as other countries should be integrated into Europe without loosing their national cultural specificity".

A13. Fizer, John. "Taras Shevchenko's homonymous poetic and artistic works: from text to painting or vice versa? Depictions: Slavic Studies in the Narrative and Visual Arts in Honor of William E. Harkins. Ed. by Douglas M. Greenfield. [Dana Point, CA.: Ardis, ©2000] (Studies of the Harriman Institute, Columbia University). 193-198. illus.

The article deals with the relationship between Shevchenko's poetry and his artistic works, especially between Shevchenko's epic poem "Kateryna" and his 1842 painting of the same title. Fizer concludes that literature and art were for Shevchenko "coextensive means to discover and to experience aesthetic and extra-aesthetic truth. The subservience of one to another," says Fizer, "would have necessarily dictated both formal and semantic equivalences. What we have instead are asymmetries or, borrowing a term from physics, broken equations."

A14. Fizer, John. "Ukrainian quest for modernity v. Canadian-Ukrainian retreat into ancestral past.' Ukrainian Quarterly. 56.3 (Fall 2000): 343-346.

A review article of Two Lands, New Visions. Stories from Canada and Ukraine. Ed. by Janice Kulyk Keefer and Solomea Pavlychko. Trans. from Ukrainian by Marco Carynnyk and Marta Horban. [Regina, SK]: Conteau Books, 1998. 312 p.

A15. Grabowicz, George G. "Paradoxical renaissance abroad: Ukrainian émigré literature, 1945-1950." in History of the Literary Cultures of East-Central Europe. Junctures and Disjunctures in the 19^th and 20^th centuries. Ed. by Marcel Cornis-Pope and John Neubauer. Amsterdam, Philadelphia: John Benjamins Pub. Co. [2004] 2: 413-427. (Comparative history of literatures in European languages, 19).

A critical examination of Ukrainian post-war literary life in the Displaced Persons camps of Allied occupied Germany and Austria. "The writing of the DP period was defined not only by the intense reciprocity between writer and reader, but also by shared experiences", says Grabowicz. Two phenomena, according to Grabowicz, are unique to this period, namely "the social-cum-organizational setting and the overarching notion of a 'Great Literature'." The period was dominated by "the preeminent literary organization, MUR" [Mystets'kyi Ukrains'kyi Rukh] and the great discussion about "Velyka literatura" (a Great Literature) which consisted of a series of "injunctions and exhortations, pious or grandiose desiderata, and polemics." "In terms of its illumination of the literary process", says Grabowicz, this debate is of the same order of importance as the 'Literary discussion' in the latter half of the 1920's, which posed the question whether Ukrainian literature in Soviet Ukraine should choose its own path or develop in the shadow of Russian literature..." Although MUR's program "emphasized artistic excellence and openness to different styles and ideas," says Grabowicz, "there is little doubt that the search for artistic excellence was subordinate to the national task." In its deep structures, according to Grabowicz, "the program of MUR paralleled to some degree the abhorred Socialist Realism" and the deep contradictions in the program "its espousal of a goal-oriented literature, one that derives its essential raison d'être from the specific extra-literary goal of the political and cultural independence of the fatherland, against the full artistic freedom and the search for artistic excellence - became the fatal flaw that made the collapse of MUR inevitable." Grabowicz points out that while MUR "associated the goal of "A Great Literature" with an orientation towards the West", towards Europeanism, the émigré Ukrainian literature of the DP camps was quite distant from a literary Europe "determined by cosmopolitanism, pluralism, and the predominance of the Avant-garde."

A16. Grabowicz, George G. "Subversion and self-assertion: The role of Kotliarevchshyna in Russian-Ukrainian literary relations." in History of the Literary Cultures of East-Central Europe. Junctures and Disjunctures in the 19^th and 20^th centuries. Ed. by Marcel Cornis-Pope and John Neubauer. Amsterdam, Philadelphia: John Benjamins Pub. Co. [2004] 1: 401-408. (Comparative history of literatures in European languages, 19).

Kotliarevshchyna, according to Grabowicz, "should be taken as a generic and non-evaluative term designating the nuanced and broadly ramified narrative style initiated by Kotliarevs'kyi's travesty of Virgil's Aeneid..." It illustrates such issues as ethnicity in literature, populism and canon-formation and has "remained a model that affects mutual perceptions, particularly Russian perceptions of Ukrainian culture..." Kotliarevshchyna illustrates also "that literary expression can be a basic vehicle for forming ethnic and then national identity" says Grabowicz. He takes issue with the traditional negative definition of kotliarevshchyna of such scholars as Serhii Iefremov and Dmytro Chyzhevs'kyi. He defends kotliarevshchyna as"the first broadly disseminated style of a new Ukrainian literature", a style that was absorbed not only by Ukrainian writers (Kvitka, Shevchenko, Kulish), but also by Gogol. The basic function of kotliarevshchyna, according to Grabowicz, "was to mock the inflated, self-important, artificial, and ultimately 'inhuman' world of imperial society and normative canonic literature." Kotliarevshchyna, in addition to its linguistic functions, "served as a mask or shield that allowed the author to assume without direct risk a subversive stance", says Grabowicz. "While projecting subversion and parody", kotliarevshchyna "also functioned as a mask of sincerity and solidarity with the narod." In conclusion Grabowicz claims that "the specifically Ukrainian rather than Russian Socialist-Realism draws its sustenance from the traditions and archetypes of kotliarevshchyna and the legacy of populism that animates it."

A17. Grabowicz, George G. "Ukraine after independence: a balance sheet for culture". Society in Transition: Social Change in Ukraine in Western Perspectives. Ed. by Wsevolod W. Isajiw. Toronto: Canadian Scholars Press, [2003]. 307-326.

A paper read as an after-dinner talk at the conference held in Toronto in November 1999. Discusses culture, its various definitions and its role in society and political implications. Does not deal with literature.

A18. Hnatiuk, Ola. "Nativists's discourse in contemporary Ukrainian literature". Aleksandra Hnatiuk. ICCEES VII World Congress. Europe - Our Common Home? Abstracts. (Berlin, July 25-30, 2005): 166.

An abstract of a paper to be read at the VII World Congress of the International Council for Central and East European Studies in Berlin, in July 2005. The paper analyses the anti-occidental attitudes expressed by Ukrainian young and middle-age writers and intellectuals over the past fifteen years.

A19. Hnatiuk, Ola. Nativists vs. Westernizers: Problems of cultural identity in Ukrainian literature of the 1990's". Slavic and East European Journal. 50.3 (Fall 2006): 434-451. Biblio. 449-450. Ukrainian summary: 450-451.

Nativism, in Hnatiuk's view, differs from traditionalism and chauvinism, but is hostile "not as much toward Russian culture (the threat of Russification), as toward Western (modernized) patterns". Today's debate about cultural identitity resembles that of "narodnyky" vs. "modernists" of a century ago. In contemporary Ukrainian literature nativism is represented by the so called "Zhytomyr school", with writers such as Ievhen Pashkovs'kyi, Viacheslav Medvid', Volodymyr Danylenko, Mykola Zakusylo, while the modernizers whom they oppose center around the so called "Stanyslaviv phenomenon" and include such writers as Andrukhovych and Izdryk. Hnatiuk's article appears in a special issue entitled "Mirrors, windows and maps: the topology of national identity in twentieth century Ukrainian literature" with guest editor Larissa Onyshkevych. (cf.A95).

A20. Holowinsky, Ivan Z. "National consciousness in the writings of Ivan Franko." Ukrainian Quarterly. 62.3-4 (Fall-Winter 2006): 298-304.

Ivan Holowinsky deals with Franko's concept of national consciousness - his idealism, and his beliefs in voluntarism and collective responsibility - as reflected in his writings. The article appears in an issue dedicated to Ivan Franko and edited by Leonid Rudnytzky. (cf.A67).

A21. Holowinsky, Ivan Z. "A psychodynamic interpretation of the Holodomor in Mykola Rudenko's poem 'The Cross'." Ukrainian Quarterly. 64.1-2 (Spring-Winter 2008): 36-43.

The author, a psychologist, analyzes Rudenko's poem from the point of view of etnopsychology and concludes that "Rudenko's poem is a powerful testament of how faith - grounded in Christian philosophy and supported by cultural archetypes - enabled Holodomor victims to overcome psychological trauma."

A22. Hryckowian, Jaroslaw. "Ivan Franko in the context of Polish literary scholarship." Trans. by Ihor Zielyk. Ukrainian Quarterly. 62.3-4 (Fall-Winter 2006): 305-310.

Hryckowian provides a survey of scholarly studies about Ivan Franko in Poland and expresses a regret about their paucity. The article appears in an issue dedicated to Ivan Franko and edited by Leonid Rudnytzky. (cf.A67).

A23. Hryn, Halyna. "The Renaissance modality: Khvyl'ovyi, Zerov, and the rearticulation of Ukrainian cultural identity." ICCEES VII World Congress. Europe - Our Common Home? Abstracts. (Berlin, July 25-30, 2005): 168-169.

An abstract of a paper to be read at the VII World Congress of the International Council for Central and East European Studies in Berlin, in July 2005. The paper focuses on the Ukrainian literary discussion of the 1920's and specifically on the recently discovered correspondence between Mykola Khvylovyi and Mykola Zerov.

A24. Hundorova, Tamara. "The canon reversed: new Ukrainian literature of the 1990s." Journal of Ukrainian Studies. 26.1-2 (Summer-Winter 2001): 249-270.

With the birth of Ukraine's independence, Ukrainian writers "felt released from the pressures of ideology", says Hundorova. "Literature seemed to be a field of freedom, of the pleasurable, self-sufficient play of the imagination, and of individual self-expression. This sense of freedom predominated during the first half of the 1990s and was nourished by the idea of a national renaissance." In the second half of the decade, however, according to Hundorova, "the conflict among the different literary groups, tendencies, and ideologies intensified, disappoint-ment with postmodernism spread, and, as a mass audience emerged, the incentive to write didactic literature became stronger." Hundorova focuses in her article on two literary orientations - neo-modernism and postmodernism - and the "increasingly visible and productive opposition" between its practitioners.

A25. Ilnytzkyj, Oleh S. "The contents and structure of the Concordance"/ Oleh S. Ilnytzkyj, George Hawrysch. A Concordance to the poetic works of Taras Shevchenko. New York, Edmonton: Shevchenko Scientific Society, USA; Canadian Institute of Ukrainian Studies Press, 2001. v.1, pp.xi-xvii.

The Concordance is a work in four volumes and is in Ukrainian or Russian. The editors' introduction appears both in English and in Ukrainian. This key word in context concordance, according to the editors, provides "a full accounting of the location and textual setting of every occurrence of every word in Shevchenko's Ukrainian- and Russian-language poetic oeuvre. Eighteen thousand four hundred and one unique word-forms are attested, pinpointed, sorted, and contextualized in each of their 83,731 appearances over a span of 22,241 lines." This concordance - the first of its kind in Ukrainian literature - is based on the first two volumes of Shevchenko's works published in Kyiv in 1989-1990 under the title Povne zibrannia tvoriv u dvanadtsiaty tomakh.

A26. Ilnytzkyj, Oleh S. "The 'imperial condition' and the rise of 'national' cultures: the case of Russia and Ukraine." ICCEES VII World Congress. Europe - Our Common Home? Abstracts. (Berlin, July 25-30, 2005): 174-175.

An abstract of a paper to be read at the VII World Congress of the International Council for Central and East European Studies in Berlin, in July 2005. Cases of writers such as Nikolai Gogol raise questions of national attribution and/or appropriation. The author proposes a new category: the "imperial" to explain culture developed under imperial conditions.

A27. Ilnytzkyj, Oleh S. "Italy in the works of Petro Karmansky." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 79-91.

Petro Karmans'kyi, characterized by Ilnytzkyj as "a poet, translator, publicist, diplomat, and political activist", "a fascinating example of the modernist intellectual in the twentieth century", spent several years in Italy, first as a student at the Ukrainian Catholic Seminary in Rome and later in 1919-1921 as a diplomatic representative to Vatican of the Ukrainian National Republic. Ilnytzkyj analyzes Karmanskyi's translations from the Italian and his own prose and poetry on Italian themes. Quotations from Karmans'kyi's poetry are in Ukrainian with line-by-line English translations provided in footnotes. [i.e. "Zdaietsia, ne davno... U kelii kholodnii" (24 lines)]. The article appears in an issue dedicated to Danylo Husar Struk with guest editor Roman Senkus. (cf. A75).

A28. Ilnytzkyj, Oleh S. "Rape in Taras Shevchenko's Trizna: Textual fact or theoretical fiction?" Journal of Ukrainian Studies. 25.1-2 (Summer-Winter 2000): 3-17.

Ilnytzkyj's essay on Shevchenko's "Trizna" is a polemic with George G. Grabowicz's interpretation of the poem made in his article "Nexus of the Wake" published in Harvard Ukrainian Studies in the 1979/1989 issue. Contrary to Grabowicz's claim, says Ilnytzkyj, there is, in his view, no sexual violence and thus no rape in "Trizna". The article is part of the Jaroslav Rozumnyj festschrift, with guest editor Myroslav Shkandrij. (cf.A77).

A29. Ivashkiv, Roman. "Postmodern approaches to representation of reality in Ukrainian and Russian literatures: the prose of Yuri Andrukhovych and Viktor Pelevin." Journal of Ukrainian Studies. 32.1 (Summer 2007): 37-61.

Ivashkiv examines similarities and differences between two novels: Perverziia by the Ukrainian writer Iurii Andrukhovych and Omon Ra by the Russian writer Viktor Pelevin and claims that both writers "have contributed significantly to revitalizing their national literatures through a postmodern representation of an absurd and carnivalesque reality, using multiple narrative voices, playful onomastics, and irony."

A30. Karpiak, Robert. "Demythifying a universal hero: Spyrydon Cherkasenko's vision of Don Juan." Journal of Ukrainian Studies. 25.1-2 (Summer-Winter 2000): 91-102.

Karpiak discusses Spyrydon Cherkasenko's "dramatic novel" Espans'kyi kabaliero Don Khuan i Rozita, written in 1928. Cherkasenko's work, according to Karpiak, is not only "an important Ukrainian variation on one of the world's great literary themes", but it provides also an interpretation of the hero "consonant with the postmodernist decline of Don Juan from the stature of a Promethean rebel to that of a contemptible libertine." Unlike Lesia Ukrainka's "Kaminnyi hospodar", where, says Karpiak, "the blend of tragedy and irony" elevates the tone and intensifies the emotive quality of the play, "Cherkasenko's rendition of the theme of Don Juan is strongly inclined towards a satirical and sarcastic interpretation."

The article appears in an issue dedicated to Jaroslav Rozumnyj (guest editor: Myroslav Shkandrij). (cf.A77).

A31. Koropeckyj, Roman. "Taras Shevchenko's encounters with the Kazaks." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 9-31.

Taras Shevchenko spent ten years of his punitive exile in Kazakhstan. Roman Koropeckyj analyses the poems Shevchenko wrote in his Kazakhstan exile, as well as his sketches, drawings and paintings on Kazak themes created at the same time. The article is illustrated with b/w reproductions of 11 Shevchenko's art works and his selfportrait from that period. Quotations from Shevchenko's poetry are in the original Ukrainian with literal line-by-line translations provided in the footnotes.[i.e. "A tut burian, pisky, taly..."(10 lines); "Hotovo! Parus rozpustyly" (15 lines); "Iz-za Dnipra shyrokoho" (6 lines); "Blukav ia po svitu chymalo" (14 lines); "Pokynute Bohom" (11 lines)]. The article appears in an issue dedicated to Danylo Husar Struk (guest editor: Roman Senkus). (cf.A75).

A32. Koscevic, Nevenka. "Jaroslav Rozumnyj: a bibliography." Journal of Ukrainian Studies. 25.1-2 (Summer-Winter 2000): 181-191.

This unnumbered bibliography of Jaroslav Rozumnyj's writings lists books he edited or co-edited, articles and reviews in books, journals, encyclopedias, newspapers and bulletins in Ukrainian and English. A substantial number of these are on Ukrainian literature. The bibliography is part of an issue dedicated to Jaroslav Rozumnyj (guest editor: Myroslav Shkandrij). (cf.A77).

A33. Koscharsky, Halyna. "The female voice in the poetry of Oksana Zabuzhko and Natalka Bilotserkivets: reinforcing or resisting existing configurations?" Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 287-294.

In comparing the poetry of Oksana Zabuzhko and Natalka Bilotserkivets', Halyna Koscharsky considers Zabuzhko's a "distinctly gendered alternative voice" articulating the female position, while Bilotserkivets's work is characterized as, in general, an ungendered, non-feminist poetry. Brief quotations of Zabuzhko's poetry are in English from her book A Kingdom of Fallen Statues (Toronto, 1996). Two poems by Bilotserkivets are quoted in Ukrainian (with a literal translation in footnotes), i.e. "Saksofonist (v zolotu trubu)" (6 lines); "V zabutim zakutku zanedbanoho mista" (9 lines). This article appears in an issue dedicated to Danylo Husar Struk (guest editor: Roman Senkus). (cf.A75).

A34. Koscharsky, Halyna. "The poetry of Kostiantyn Moskalets, Natalka Bilotserkivets and Viktor Kordun." Journal of Ukrainian Studies. 25.1-2 (Summer-Winter 2000): 131-138.

Focusing on poetry published in the journal Suchasnist during the 1993-1996 period, Halyna Koscharsky analyzes the work of three contemporary poets Kostiantyn Moskalets, Natalka Bilotserkivets and Viktor Kordun. Unlike the previous generation of poets who had the role as political voices of the nation, the three poets deal with philosophical questions of life and death, everyday existence, personal relationships, nature and religion and are concerned primarily with the self, with social and individual problems. Koscharsky's article is part of the Jaroslav Rozumnyj festschrift edited by the guest editor Myroslav Shkandrij. (cf.A77).

A35. Koznarsky, Taras. "A prisoner of the Caucasus and a captive of vernacular". Toronto Slavic Annual. 1 (2003): 158-167. Notes: 165-167.

About Mykhailo Makarovskyi's narrative poem "Haras'ko abo talan i v nevoli", written between 1843 and 1845 and first published in 1848 after the author's death. Makarovs'kyi's poem is a Ukrainian variation of Pushkin's tale "A prisoner of the Caucasus". Makarovs'kyi's work, says Koznarsky, "devised within the institutional and stylistic framework of Ukrainian vernacular literature of the time, transposes a fashionable romantic tale into the peasant world with its own narrative logic, horizon of expectations, and ethos."

A36. Kratochvil, Alexander. "Geopoetic models in postmodern Ukrainian and Czech prose." Journal of Ukrainian Studies. 32.1 (Summer 2007): 63-77.

The author defines geopoetics as "the analysis of the complex relations of literature and geo-referenced space, particularly, of the relations between discursive and aesthetic procedures and cultural projections of space." His analysis focuses on the works of Ukrainian writers Iurii Andrukhovych and Serhii Zhadan and the Czech writers Milan Kundera and Jáchym Topol.

A37. Liber, George O. "Till death do you part: Varvara Krylova, Yuliya Solntseva and Oleksandr Dovzhenko's muse." Australian Slavonic and East European Studies. 14. 1-2 (2000): 75-97.

About Dovzhenko's relationships with Varvara Krylova, Tansiya Markenovna, Elena Chernova and Iuliia Solntseva. Two of these women - Varvara Semenivna Krylova (died 1959) and Iuliia Ippolitovna Solntseva (born 1901) - became Dovzhenko's wives and played a major role in his life. For Dovzhenko, according to Liber, "Krylova represented first love, Ukraine, innocence and fertility, but she also stood for illness, deformity and loss..." Solntseva for Dovzhenko, says Liber, "represented Russia, the film-makers's vocation and greater security." Solntseva also insured Dovzhenko's legacy. "She organized, edited and contributed to several volumes of Dovzhenko's memoirs, published his works, and spearheaded the commemoration of the seventieth (1964), eightieth and ninetieth anniversaries of his birth," says Liber.

A38. "Literature." in Culture and Customs of Ukraine / Adriana Helbig, Oksana Buranbaeva, and Vanja Mladineo. Westport, CT: Greenwood Press [©2009]. 127-146. Biblio. notes: 145-146, 184-185. (Culture and customs of Europe).

Chapter 8 in a popular illustrated book discussing various aspects of Ukrainian culture, such as religion, language, gender, education, customs, holidays, cuisine, media, music, theater and cinema. The chapter on literature provides a historical survey from the eleventh century through the 1990's with brief subchapters on the periods of renaissance and reformation, the baroque, classicism, romanticism, realism, modernism, the Soviet era and independence. One or more paragraphs are devoted to concise characterizations of such writers as Kotliarevs'kyi, Shevchenko, P. Kulish, Marko Vovchok, Ivan Nechui-Levyts'kyi, Panas Myrnyi, , Ivan Franko, M. Kotsiubyns'kyi, A. Kryms'kyi, O. Oles, Lesia Ukrainka, Olha Kobylians'ka, V. Stefanyk, V. Vynnychenko, Tychyna, Khvyl'ovyi, M. Kulish, the poets of the 60's and the Bu-Ba-Bu authors, as well as Oksana Zabuzhko, Lysheha and Vynnychuk. Recent titles in the "Culture and customs of Europe" series cover Spain, Germany, Italy, the Baltic States, Ireland, Czech Republic and Slovakia.

A39. Markus, Vasyl. "A note on the political dimensions of Honchar's Sobor." Ukrainian Quarterly. 56.1 (Spring 2000): 36-39.

Markus discusses the political ideas in the novel Sobor, such as questions of national identity and freedom, love of one's native land, interest and reverence for its history, critical exposure of human aberrations and bureaucratic shortcomings, as well as the hostile political response of the Soviet regime to Honchar's novel. This article appears in an issue dedicated to Oles'Honchar (guest editor: Kateryna Schray). (cf.A73).

A40. Melnitchenko, Eugene. "Ivan Kotliarevsky - father of Ukrainian literary renaissance" / Eugene Melnitchenko, Helena Lysyj Melnitchenko. Ukrainian Quarterly. 62.3-4 (Fall-Winter 2006): 311-316.

The authors call Kotliarevs'kyi "the father of Ukrainian intellectuals" and "the father of Ukrainian theatre". The article provides some biographical data and some historical background, as well as an examination of Eneida and Natalka Poltavka. Kotliarevsky's literary works, say the authors, "had a profound effect on the rebirth of Ukrainian consciousness and literature, led to a Ukrainian national reawakening, and encouraged other Ukrainian intellectuals to challenge the Russian view of "Little Russians".

A41. Naydan, Michael M. "In memoriam: John Fizer, 1925-2007." Slavic and East European Journal. 52.2 (Summer 2008): 271-273. illus.

A tribute by a former student to a mentor who is characterized as a "brilliant thinker, writer and a superbly well read scholar in the areas of philosophy and literary criticism". Illustrated with a group photo depicting John Fizer with his wife Mary and Lada Kolomiyets.

A42. Naydan, Michael M. "Teaching post-independence Ukrainian culture in Western cultural space." NewsNet (News of the American Association for the Advancement of Slavic Studies). 43.2 (March 2003): 7-8, 10-12.

Professor of Slavic Languages and Literatures at the Pennsylvania State University discusses his own experiences in teaching a course of Ukrainian Culture and Civilization at Penn State as well as the current availability of materials in print and on the internet for such a course. Naydan's special focus is on English translations of contemporary Ukrainian literature.

A43. Naydan, Michael M. "Two musical conceptions of the revolution: Aleksandr Blok's Dvenadtsat and Pavlo Tychyna's Zamist sonetiv i oktav." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 93-106.

In comparing the long poem Dvenadtsat of the Russian poet Aleksandr Blok with Pavlo Tychyna's poetic cycle Zamist' sonetiv i oktav, Michael Naydan focuses primarily on such features as "polyphonic structure, the technique of montage in their organization, the song as a structural device, and the elusive symbolist 'spirit of music'." This article appears in an issue dedicated to Danylo Husar Struk and guest edited by Roman Senkus. (cf.A75).

A44. Naydan, Michael M. "Ukrainian avant-garde poetry today: Bu-Ba-Bu and others." Slavic and East European Journal. 50.3 (Fall 2006): 452-468. illus.. biblio. 467-468. Ukrainian summary: 468.

"The Bu-Ba-Bu generation of writers" says Naydan, "particularly focused on creating a new sense of literary identity by breaking with the traditional icons of the Ukrainian past, by, in fact, playfully mocking them, and by focusing on aesthetic freedom as their primary concern". The younger writers focused on a new freer poetic language "that broke both Soviet and nationalistic taboos" and introduced a "spirit of Rabelaisian carnival". Naydan quotes a number of poetic texts in both the original and his own English translations, i.e. "A drum-tympanum (Paint a BABE naked BLUE)" by Viktor Neborak, "Love (Love Oklahoma! At night and at suppper)" by Oleksandr Irvanets', "Jamaica the Cossack (oh how many tough miracles are out there my stallion my brother)" by Iurii Andrukhovych (tr. by Vitaly Chernetsky); "Self-portrait in a frying pan (I bend over a frying pan)" and "A dream (with Antonych at the head of the bed) (they jeered at me) by Nazar Honchar. Naydan's article is illustrated with a caricature of Iurii Andrukhovych and another b/w illustration. The essay is part of a special forum entitled: "Mirrors, windows and maps: the topology of cultural identification in contemporary Ukrainian literature" (guest editor: Larissa Onyshkevych). (cf.A95).

A45. Naydan, Michael M. "Ukrainian literary identity today: The legacy of the Bu-Ba-Bu generation after the Orange Revolution". World Literature Today. 79. 3-4 (September-December 2005): 24-27. illus., biblio.

The so called "Orange Revolution" connected with the presidential elections in Ukraine in the late 2004, in Naydan's view, provides an assurance that the cultural future of Ukraine will have "a clear Western orientation". The seeds of that democratic revolution and the Western tilt, according to Naydan, "have been planted nearly two decades earlier during the last years of the Soviet Union by many of the innovative Ukrainian makers of culture" and "the main driving force behind innovation in Ukrainian literature unquestionably has been the literary performance group Bu-Ba-Bu..." Naydan discusses the rise to fame of the three Bu-Ba-Bu writers: Iurii Andrukhovych, Viktor Neborak and Oleksandr Irvanets' who led the rebellion against "the barrenness of socialist realism imposed on them by the all-controlling Soviet state, as well as against the kind of overt nationalism embraced by their immediate Ukrainian literary predecessors, the Poets of the Sixties". The Bu-Ba-Bu group (whose name is derived from Ukrainian terms for buffoonery, farce and burlesque) used irreverent humor and irony as their weapons and attempted to break down all kinds of traditional taboos in traditional Ukrainian literature, especially the linguistic and the sexual ones. Naydan compares the Bu-Ba-Bu group, which fused literary and visual arts with music and performance, to the American Beats of the 1950's and 1960's. While the focus of the paper is on the three Bu-Ba-Bu writers, Naydan discusses briefly also the work of Oksana Zabuzhko the writer and Iurko Koch, the graphic artist. The article is illustrated with a group photo of Irvanets, Andrukhovych and Neborak.

A46. Onyshkevych, Larissa. "Characters revealing issues of identity: in terms of history, nation, religion, and gender in post-Soviet Ukrainian drama". Society in Transition: Social Change in Ukraine in Western Perspectives. Ed. by Wsevolod W. Isajiw. Toronto: Canadian Scholars Press, [2003]. 327-345. Notes: 340-342.

"Although most Ukrainian theaters now prefer to stage only well-established plays, since 1991 many new playwrights either follow a superficial 'postmodern' style full of cynicism, sarcasm, carnivalization, and intertextuality while baring the human soul, or have joined the more introspective trend of the 'Ukrainian alternative theater'". Onyshkevych discusses 60 plays written in the 1991-1999 period. These plays, according to Onyshkevych, "expose many aspects and issues of individual identification in terms of self-expression, historical and national consciousness, ethnicity, Europeanness, gender, or religion. They provide a slice of contemporary life in Ukraine..." Onyshkevych's article is accompanied by a supplemental table (p.343-345) that identifies the plays by author, title, source of publication and place and year of each playwright's birth.

A47. Onyshkevych, Larissa. " Cultural perceptions, mirror images, and Western identification in new Ukrainian drama" / Larissa M.L. Zaleska Onyshkevych. Slavic and East European Journal. 50.3 (Fall 2006): 409-433. Biblio. 430-433. Ukrainian summary: 433.

An examination of how "national or ethnic stereotypes and symbols manifest themselves in new Ukrainian drama", based on a study of some 120 post 1990 plays written in Ukrainian. Current Ukrainian drama, according to Onyshkevych, "does not feature earlier Soviet-era negative stereotypes, the xenophobia toward the West... or toward's Ukraine's many ethnicities..." Now we find mostly a rather frank demonstration of casual personal acceptance or non-acceptance of individuals based on their own merit". In contemporary Ukrainian plays, says Onyshkevych, "there are more references to well-known Western individuals than to Russian or Soviet ones" and Ukrainian protagonists are not usually depicted as victims or glorified, but "are often criticized more harshly than non-Ukrainians". Among the writers discussed, Onyshkevych singles out for special attention Valerii Shevchuk, Olena Klymenko, Les' Podervianskyi, Bohdan Zholdak, Oleksandr Irvanets', Neda Nezhdana. The essay is part of a special forum entitled: "Mirrors, windows and maps: the topology of cultural identification in contemporary Ukrainian literature" (guest editor: Larissa Onyshkevych). (cf.A95).

A48. Onyshkevych, Larissa. "The problem of the definitive literary text and political censorship." Perspectives on modern Central and East European literature: Quests for identity. / Larissa M.L.Z. Onyshkevych. Selected papers from the Fifth World Congress of Central and East European Studies. Ed. by Todd Patrick Armstrong. [Houndmills, Basingstoke, Hampshire; New York]: Palgrave [©2001]. 25-37. Notes: 34-37.

Self-sensorship, "when authors, under duress, either independently or with the aid of editors" make deletions, insertions or other changes into their literary texts - a practice well known under Soviet and Nazi rule - presents a dilemma for literary scholars. "Which variant should then be considered the definitive text?" Onyshkevych discusses this problem in general and on the basis of a specific example: the play Patetychna sonata by Mykola Kulish. In the subsequent variants of the play written to satisfy the censor, says Onyshkevych, "not only are the endings different, showing the opposing sides as victors, the protagonists' characters and integrity are different, too, creating almost a new play, and creating confusion regarding the play's appreciation and reception. In such situations the ontology of the text is extremely difficult to unravel." One solution suggested by Onyshkevych in this particular case is to search for "the unity of archetypal myths and imagery, or the parallelism with a musical composition", i.e. the Beethoven sonata. The Fifth World Congress of Central and East European Studies was held in Warsaw , 6-11 August 1995. A bio-bibliographical note about the author appears on p. xvi.

A49. Onyshkevych, Larissa. "Tradition and innovation in twentieth -century Ukrainian verse drama." / Larissa M.L. Zaleska Onyshkevych. Journal of Ukrainian Studies. 25.1-2 (Summer-Winter 2000): 139-157.

Drama written in verse, says Onyshkevych "relies heavily on language - its diction, poetry, imagery, and emotional intensity" and is usually "not suitable for the stage owing to the lack of verisimilitude and its limited dramatic action." Onyshkevych provides a chronological survey of Ukrainian verse drama from 1900 to 1990's and pays special attention to what she considers "verse dramas created by outstanding poets", namely those by Ivan Kocherha, Leonid Mosendz, Iurii Lypa, Ivan Drach, Lina Kostenko and Vira Vovk. This article appears in an issue dedicated to Jaroslav Rozumnyj (guest editor: Myroslav Shkandrij). (cf.A77).

A50. Onyshkevych, Larissa. "Ukrainian drama 1930-2004 and the European Zeitgeist."

ICCEES VII World Congress. Europe - Our Common Home? Abstracts. (Berlin, July 25-30, 2005): 301.

An abstract of a paper to be read at the VII World Congress of the International Council for Central and East European Studies in Berlin, in July 2005. Ukrainian playwrights, such as Mykola Kulish, Ihor Kostets'kyi and Ilarion Cholhan "spoke with the same literary language as their better-known Western European colleages", says Onyshkevych, as they dealt with philosophical tenets such as existentialism and utilized Western cultural symbols and literary devices. Contemporary playwrights, such as Valerii Shevchuk, reflect many aspects typical of a post-colonial literature; some younger writers turn to post-modernism.

A51. Patrylak, Stephen. "Two notes on the reception of Oles' Honchar's works in the English-speaking world." Ukrainian Quarterly. 56.1 (Spring 2000): 40-49.

Patrylak reports on his survey of the 1240 members of the American Association for the Advancement of Slavic Studies - a survey designed to test the respondents' knowledge of Ukrainian writer Oles' Honchar and his contribution to literature. Patrylak's conclusions are based on the 193 responses he received. He also comments on the quality of Honchar's translations into English. This article appears in an issue dedicated to Oles ' Honchar (guest editor: Kateryna Schray). (cf. A73).

A52. Pavlyshyn, Marko. "Diary, autobiography and autobiographical fiction: Reading Ol'ha Kobylians'ka." New Zealand Slavonic Journal. 2000. 43-58.

This paper was delivered originally at the International Conference of the Australian and New Zealand Slavists Association held from 3-4 February 2000 at the University of Canterbury, Christchurch, New Zealand. The topic of the conference was "Life-writing (Auto/Biography) in Slavic Cultures". Pavlyshyn examines Kobylians'ka's early novel Liudyna (written in 1886 and published after revisions in 1894) in the light of the writer's diary kept between 1883 and 1891, and her autobiographies or autobiographical notes from the years 1898, 1903, 1921-22 and 1927. "Some of the intentional meanings in the novel", says Pavlyshyn, "bear a clear relationship to the topical debates of the period. The diary contains all the elements which, in the novel, are organized so as to generate these meanings: physical desire for biologically strong, even animal-like men; a different kind of psycho-sexual desire, heightened by the excitements of intellectual exchange, for men of culture; a suspicion that intense forms of the latter may be symptoms of nervous abnormality; and the thesis that humankind is divided into a philistine rabble and a sensitive elite. These motifs are as central to an interpretation of both texts as is the issue of feminism which has dominated interpretations of the novel in the past".

A53. Pavlyshyn, Marko. "Demystifying high culture? 'Young' Ukrainian poetry and prose in the 1990's." Perspectives on modern Central and East European literature: Quests for identity. Selected papers from the Fifth World Congress of Central and East European Studies. Ed. by Todd Patrick Armstrong. [Houndmills, Basingstoke, Hampshire; New York]: Palgrave [©2001]. 10-24. Notes: 22-24.

Pavlyshyn examines the views on "the function of literature in society" held by various literary groups in the post-USSR Ukraine in an attempt to determine "the extent to which they may be regarded as 'post-colonial'." The term 'post-colonial', as used here by Pavlyshyn, "applies to those entities in culture which recognise the real and implicit violence of the colonial, on the one hand, and the reactive and limited quality of the anti-colonial, on the other" while identifiying with neither one of them. In this context, Pavlyshyn discusses the work of young Ukrainian writers, such as the Bu-Ba-Bu Group (Iurii Andrukhovych, Oleksandr Irvanets, Viktor Neborak), Luhosad (Ivan Luchuk, Nazar Honchar, Roman Sadlovs'kyi), Propala hramota (Semen Lybon', Iurko Pozaiak, Viktor Nedostup), Nova deheneratsiia (Ivan Andrusiak, Stepan Protsiuk, Ivan Tsyperdiuk), three new periodicals: Avzhezh, Chetver and PostPostup, the writers Iurii Vynnychuk, Volodymyr Tsybulko, Bohdan Zholdak, Viacheslav Medvid, Ievhen Pashkovskyi, Oles' Ulianenko and the Creative Association 500. "The breaking of tabus, the challenges to aesthetic conventions, the deliberately scandalous use of obscenity, the tendency toward self-irony and parody and obscurity testify to the participation of these young Ukrainian writers in a global trend of post-modernism." syas Pavlyshyn. In some of this writing, however, in Pavlyshyn"s view, there is "an irreducible echo of the colonial inferiority complex that requires constant measurement of the ex-colonial self against outside standards..." Writers such as Pashkovskyi and Medvid "aspire to aesthetic distinction through their style", but they "are the very model of contemporary anti-colonialism", and theirs is "a literature of opposition". "The advocates of high national culture, serious and severe, then, are not post-colonial", concludes Pavlyshyn. The Fifth World Congress of Central and East European Studies was held in Warsaw , 6-11 August 1995. A bio-bibliographical note about the author appears on p. xvii.

A54. Pavlyshyn, Marko. "Invocations of Central Europe: the rhetoric of geography in Ukrainian literature at the turn of the 20th and 21st centuries." ICCEES VII World Congress. Europe - Our Common Home? Abstracts. (Berlin, July 25-30, 2005): 308.

An abstract of a paper to be read at the VII World Congress of the International Council for Central and East European Studies in Berlin, in July 2005. The paper deals with "the Central Europe of the Ukrainian literary imagination" represented by its most ardent advocate, Iurii Adrukhovych.

A55. Pavlyshyn, Marko. "Rereading the classics in a post-Soviet world: the case of Olha Kobylianska." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 33-50.

Marko Pavlyshyn's essay on Ol'ha Kobylians'ka originated as the first Danylo Husar Struk Memorial Lecture at the University of Toronto on 2 June 2000. Pavlyshyn proposes a reappraisal of Kobylianska's work and a reassessment of her place in Ukrainian literary history. "Today we might be indifferent to the reasons for much of the praise that was heaped upon Kobylianska in the past - the beauty of her nature descriptions that so moved many critics early in the twentieth century, for example. But we might not be indifferent to the passion, movement, and mystery of some of her works, nor to the questions they ask about human fate and the special fate of women", says Pavlyshyn. He stresses the importance of

feminist approches to Kobylianska's works - but these, in his view, are still "interpretations waiting to be made." This article appears in an issue dedicated to Danylo Husar Struk (guest editor: Roman Senkus). (cf.A75).

A56. Pavlyshyn, Marko. "The Soviet Ukrainian whimsical novel." Journal of Ukrainian Studies. 25.1-2 (Summer-Winter 2000): 103-119.

Whimsical novels became fashionable in Soviet Ukrainian literature in the 1970's. They were a departure from the established socialist realism mode and attracted considerable attention. According to Pavlyshyn, their main components were Ukrainian ethnographic detail, a rural setting, historical references, fantastic and supernatural motifs, eccentric style, erotic allusions and humor. The whimsical novel, says Pavlyshyn, "defined national difference in terms of quaintness, outdatedness, and rustic provinciality" - qualities that were "the opposites of modernity". Some whimsical novels, says Pavlyshyn, "did challenge the dominant culturally evaluative tendency of this subgenre". He selects as examples Pavlo Zahrebel'nyi's novel Levyne sertse and Valerii Shevchuk's Dim na hori and analyses them in considerable detail. They are, in Pavlyshyn's view, parodies on and polemic with the whimsical novel genre. This essay is part of the Jaroslav Rozumnyj festschrift (guest editor: Myroslav Shkandrij). (cf.A77).

A57. Pylypiuk, Natalia. "Hryhorii Skovoroda's rejection of panegyrical amplificatio." ICCEES VII World Congress. Europe - Our Common Home? Abstracts. (Berlin, July 25-30, 2005): 330.

An abstract of a paper to be read at the VII World Congress of the International Council for Central and East European Studies in Berlin, in July 2005. Pylypiuk analyses Skovoroda's poetry collection, especially three poems, Songs 25, 26 and 27, generated by public occasions involving appointments or elevations of bishops H. Iakubovych, I. Kozlovych and I. Mytkevych.

A58. Pylypiuk, Natalia. "Meditations on stained glass: Kholodny, Kalynets, Stus." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 195-214.

Ihor Kalynets's poem "Vitrazhi (Upaly z arkovykh tsilyn)", written possibly under the influence of stained glass windows in a Lviv church created by the painter Petro Kholodnyi, Sr. (1876-1930) is compared by Natalia Pylypiuk with the poem "Toi obraz, shcho v vidslonakh merekhtyt'" by Vasyl Stus. Both poems, according to Pylypiuk, "validate Ukrainian culture by references to its historical past". She considers it remarkable that both poets chose for their meditations "an art form associated more closely with Western rather than Eastern Christianity." Both poems are quoted in the original Ukrainian with literal translations in footnotes. [Kalynets' 33 lines, Stus: 14 lines]. Pylypiuk's essay appears in the issue dedicated to Danylo Husar Struk (guest editor: Roman Senkus). (cf. A75).

59. Rewakowicz, Maria G. "Alternative history, science fiction and nationalism in V. Kozhelianko's novels." ICCEES VII World Congress. Europe - Our Common Home? Abstracts. (Berlin, July 25-30, 2005): 337-338.

An abstract of a paper to be read at the VII World Congress of the International Council for Central and East European Studies in Berlin, in July 2005. Vasyl Kozhelianko, the author of Defiliada v Moskvi and other novels, "blends history (real and made-up) with science fiction in order to parody many faces of nationalism, regardless of its origin", says Rewakowicz. "This peculiar amalgam of history, science fiction and nationalism, with strong allusions to the current political situation in Ukraine, is Kozhelianko's trademark and uniquely his in the context of contemporary Ukrainian literature."

A60. Rewakowicz, Maria G. "Introducing Ukrainian émigré poets of the New York Group." Toronto Slavic Annual. 1 (2003): 34-36; poetry: 36-48; notes on the poets and translators: 48-50.

The New York Group of Ukrainian poets, according to Rewakowicz, consisted originally of seven members: Bohdan Boichuk, Iurii Tarnavs'kyi, Zhenia Vasyl'kivs'ka, Bohdan Rubchak, Patrytsiia Kylyna, Emma Andiievs'ka and Vira Vovk. A decade later the original seven were joined by what the author calls "fellow travelers": Iurii Kolomyiets, Oleh Koverko, Marko Tsarynnyk, Roman Baboval and the author herself. What the New York Group members have in common, according to Rewakowicz, are "the same inclination toward formal experimentation", "universally poetic themes of love and death", "motifs of the erotic, the city, alienation and unease", "a highly subjective, intellectual, often playful and ironic" mode of expression. Rewakowicz provides a selection of two or three poems for each poet in the original Ukrainian and one in an English translation, and gives a brief characterization of each author.

A61. Rewakowicz, Maria G. "(Post)modernist masks: the aesthetics of play in the poetry of Emma Andievska and Bohdan Rubchak." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 183-193.

The author attempts to trace the internal evolution of Emma Andiievs'ka and Bohdan Rubchak "in their treatment of the play-element in their poetry and "to pinpoint the shifts in their poetic texts from modernism to postmodernism." Quotations are in the original Ukrainian with English literal translations in footnotes [i.e Rubchak: "V kimnati sta liuster (Chasto ia zodiahaiu pyshni shaty. Vony)" (8 lines); "Virsham i snam ne vir" (4 lines); "Takoho khliba treba b zamisyty" (8 lines); "Ars poetica (Shukaty lysh sut', lysh hole buttia shukaty - sut' buttia" (4 lines); Andiievs'ka: "Mov siti, babku vytiahnuvshy z del't" (8 lines); "Butiia nema, sichka - monoloh" (4 lines)]. This article appears in an issue dedicated to Danylo Husar Struk (guest editor: Roman Senkus). (cf.A75).

A62. Rewakowicz, Maria G. "Ukraine's quest for identity." Ukrainian Quarterly. 62.3-4 (Fall-Winter 2006): 382-387.

A review article of a special issue of the Slavic and East European Journal (50.3 (Fall 2006) entitled "Forum: Contemporary Ukrainian literature and national identity", edited by Larissa M.L.Z. Onyshkevych. (cf.A95).

A63. Romanets, Maryna. "Erotic assemblages: field research, palimpsests, and what lies beneath." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 273-285.

As examples of "a literary vogue for 'erotomaniac' fiction", Maryna Romanets selects three works for a comparative cross-gender analysis, namely Poliovi doslidzhennia z ukrainskoho seksu by Oksana Zabuzhko, the short novel Votstsek by Iurii Izdryk and a prose collection Te, shcho na spodi by Iurii Pokal'chuk. She analyzes Zabuzhko's "liberated sexuality" and "spectralized selves" in Izdryk's novel, but considers Pokalchuk's stories of pseudo-erotica a typical example of pornographic literature, "no more than an adolescent fantasy of sexuality and sexual liberation." This article is part of the special issue dedicated to Danylo Husar Struk (guest editor: Roman Senkus). (cf. A75).

A64. Rozumnyj, Jaroslav. "My soul agonizes over your future, my people..." Trans. by Ihor Zielyk and Serhiy Zhykharev. Ukrainian Quarterly. 62.3-4 (Fall-Winter 2006): 266-270.

Rozumnyj focuses on Franko's ideals of "the whole man" and the interrelationships between a man, as an individual and as a leader of his people. With these ideas in mind, he analyzes three of Franko's long poems: "Smert' Kaina", "Ivan Vyshens'kyi" and "Moisei". This article appears in an issue dedicated to Ivan Franko and edited by Leonid Rudnytzky. (cf. A67).

A65. Rudnytzky, Leonid. "A note on the Holodomor in imaginative literature." Ukrainian Quarterly. 64.1-2 (Spring-Winter 2008): 6-16.

About Ukrainian famine of 1932-33 as reflected in poetry and fiction. Singled out for special attention are Oleksa Hai-Holovko, Andrii Lehit, Mykola Rudenko and Vasyl Barka. Excerpts from Hai-Holovko's and Lehit's poetry are quoted in the author's own translation, while Rudenko's selections are translations by Roman Tatchyn.

A66. Rudnytzky, Leonid. "Oles' Honchar - selected documents." Ukrainian Quarterly. 56.1 (Spring 2000): 79-86.

Leonid Rudnytzky provides excerpts from the diaries of Honchar and P. Shelest and the text of his own letter nominating Honchar for the Nobel Prize in Literature sent to the chairman of the Nobel Committee Lars Gyllensten in October 1989. This material is part of an issue dedicated to Oles' Honchar (guest editor: Kateryna Schray). (cf.A73).

A67. Rudnytzky, Leonid. "The sesquicentennial anniversary of Ukraine's man of letters extraordinaire: Ivan Franko (1856-1916)." Ukrainian Quarterly. 62.3-4 (Fall-Winter 2006): 261-265.

Part of this issue of Ukrainian Quarterly is dedicated to Ivan Franko on the occasion of his 150^th birth anniversary. Rudnytzky, the associate editor, provides an introduction, surveying the studies published on this occasion in Ukraine and expressing a hope that Franko and his work would "merit wider international recognition". The articles on Franko included in this issue are by Jaroslav Rozumnyj (cf.A64), Kateryna Schray (cf.A71), Nicholas Rudnytzky (cf.A69), Ivan Z. Holowinsky (cf.A20), and Jaroslaw Hryckowian (cf.A22).

A68. Rudnytzky, Leonid. "The undiscovered realm: notes on the nature of Ukrainian literature." Ukraine at a Crossroads. Nicolas Hayoz, Andrej N. Lushnycky, eds. Bern, New York: Peter Lang [©2005]. (Interdisciplinary studies on Central and Eastern Europe, vol.1). 215-232. Bibliography: 231-232.

A variant of this article was published previously in the "Festschrift fr Prof. Dr. Antonin Mest'an zu seinem 70. Geburtstag", Germanoslavica: Zeitschrift fr germano-slawische Studien. (Prag) VII (XII), no.1, pp.195-208.

Throughout history, says Rudnytzky, literature "has been the mainstay of the Ukrainian national identity". It is, however, "virtually unknown outside the Slavic literary realm". In Rudnytzky's view, four characteristics of Ukrainian literature are resposible for its marginalized position in world literature: 1/ Ukrainian literature is a literature between two worlds, with a dialectic tension between East and West; 2/ it is a literature with a mission, littérature engagée, serving an idea or an ideology; 3/ it is characterized by intense lyrical emotionality and represented primarily by poetry which is difficult to translate: and 4/ it is deeply religious and even in a secular age , according to Rudnytzky, it "still reflects the Christian ethos". Brief poetry and prose quotations are used as illustrations.

A69. Rudnytzky, Nicholas. "Ivan Franko and Lazar Baranovych: a case of certitude in ambiguity." Ukrainian Quarterly. 62.3-4 (Fall-Winter 2006): 289-297.

Nicholas Rudnytzky writes about Franko's scholarly interest in Lazar Baranovych, a prominent 17^th century Ukrainian church figure and writer, and claims that Franko's assessment of Baranovych was vacillating, inconsistent and contradictory. This article appears in an issue dedicated to Ivan Franko and edited by Leonid Rudnytzky. (cf.A67).

A70. Scherer, Stephen P. "Skovoroda by the numbers: numbers and geometric figures in the philosophy of Hryhorij Skovoroda (1722-94)." East European Quarterly. 42.4 (Winter 2008): 435-450.

The author attempts to analyze "Skovoroda's predisposition to employ numbers and geometric figures in his work and, as a result, to establish the crucial role they played in his thinking."The running numbering on every page of this particular issue says "East European Quarterly, XLII vol.4 (January 2009)" [sic].

A71. Schray, Kateryna. "Apocrypha and folklore in Ivan Franko's 'Legenda pro Pilata'." Ukrainian Quarterly. 62.3-4 (Fall-Winter 2006): 271-288.

Schray analyzes in detail sonnets 36, 37 and 38 in Franko's cycle of prison sonnets ("Tiuremni sonety"). Together they form the so called "Legenda pro Pylata", i.e. they deal with the story of Pontius Pilate, the Roman procurator who condemned Jesus Christ. The author surveys other literary treatments of the theme and provides insights as to the sources used by Franko. The three sonnets are quoted in full in Percival Cundy's translation. ("So Pilate yielded Christ to their demands" (14 lines); "Thus God marked Pilate with eternal stain" (14 lines);" Then someone dragged his corpse off by the feet" (14 lines). This article appears in an issue dedicated to Ivan Franko and edited by Leonid Rudnytzky. (cf.A67).

A72. Schray, Kateryna. "Builders and destroyers: theoretical approaches to Oles' Honchar's Cathedral in the American classroom." / Kateryna A.R. Schray. Ukrainian Quarterly. 56.1 (Spring 2000): 50-78.

Schray's article is intended as a practical guide for instructors of American colleges who would like to include Honchar's novel Sobor (in the English translation) into the syllabi of their specialty courses on Slavic literature. She discusses major themes and ideas presented in the novel, as well as several possible theoretical approaches, such as readings from the new critical, structuralist, historical or feminist perspectives. The article appears in an issue dedicated to Oles' Honchar and guest edited by Kateryna Schray herself. (cf.A73).

A73. Schray, Kateryna. "Guest editor's introduction: Reading, interpreting, and teaching the stories of Oles' Honchar." / Kateryna A.R. Schray. Ukrainian Quarterly. 56.1 (Spring 2000): 6-8.

Kateryna Schray acted as a guest editor for this special issue of Ukrainian Quarterly dedicated to the writer Oles' Honchar on the fifth anniversary of his death. She provides brief characterizations of the articles included, some of which originated at scholarly conferences held previously. This special issue contains articles on Honchar by Maxim Tarnawsky (cf.A90), Danylo Husar Struk (cf.A88), Vasyl Markus (cf.A39), Stephen Patrylak (cf.A51), Kateryna Schray (cf.A72) and Leonid Rudnytzky (cf.A66) plus a brief introductory note by Ukrainian Quarterly's general editor Wolodymyr Stojko (cf.A87).

A74. Segel, Harold B. "Ukrainian literature fields a major writer." in his The Columbia Literary History of Eastern Europe since 1945. New York: Columbia University Press [©2008]. 327-329.

Chapter 11 with the general title "The Postcolonial literary scene in Eastern Europe since 1991". According to Segel, "the brightest star of contemporary post-Soviet Ukrainian literature is the poet and prose-fiction writer Oksana Zabuzhko." He discusses Zabuzhko's work in some detail, covering her novel, short stories, poetry and essays. "Field studies on Ukrainian sex" he considers Zabuzhko's "best work to date" in which the author's "resentment over Ukrainians' submissiveness to the Soviets analogizes with her resentment over a woman's submissiveness to men..." In his view, Zabuzhko's "unequivocal feminist perspective" is also visible in her poetry. Segal considers "Klitemnestra" "one of her best poems" and quotes 24 lines of the poem (beginning with the line "Agamemnon's coming") in an unattributed English translation. Zabuzhko's essays, says Segel, "establish her as a writer of high intelligence, broad learning and a sophisticated ability to tie together culture and politics."

A75. Senkus, Roman . "Introduction." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 1-8.

Senkus, the guest editor of this Special issue in memory of Danylo Husar Struk, provides a biography of D.H. Struk (1940-1999), personal reminiscenses about him, and brief characterizations of the contents of this posthumous memorial issue. The issue contains articles by Roman Koropeckyj (cf.A31), Marko Pavlyshyn (cf. A55), Jars Balan (cf.A8), Myroslav Shkandrij (cf. A79), Oleh S. Ilnytzkyj (cf. A27), Michael M. Naydan (cf. A43), Marko Robert Stech (cf. A84), Lidia Stefanowska (cf. A86), Maxim Tarnawsky (cf. A91), Walter Smyrniw (cf.A81), Maria G. Rewakowicz (cf.A61), Natalia Pylypiuk (cf.A58), Vitaly Chernetsky (cf. A10), Mark Andryczyk (cf. A3), Maryna Romanets (cf.A63), Halyna Koscharsky (cf.A33), as well as an unsigned select bibliography of D.H. Struk's writings. In addition, this memorial issue contains also two additional literary articles in Ukrainian: one by Iurii Andrukhovych on the poet Bohdan-Ihor Antonych, the other by Tamara Hundorova on the literary group Bu-Ba-Bu.

A76. Shevelov, George Y. "Nikolai Ge: an artist in a different context. Depictions: Slavic Studies in the Narrative and Visual Arts in Honor of William E. Harkins. Ed. by Douglas M. Greenfield. [Dana Point, CA.: Ardis, ©2000] (Studies of the Harriman Institute, Columbia University). 172-192. illus.

In this article about the Russian religious painter Nikolai Nikolaevich Ge (d. 1894) pages 183-189 are devoted to the affinities between Ge's late paintings and the late poems of Taras Shevchenko.

A77. Shkandrij, Myroslav. "Introduction." Journal of Ukrainian Studies. 25.1-2 (Summer-Winter 2000): 1-20.

An introduction by the guest editor of this special issue of the Journal entitled Creating a modern Ukrainian cultural space: essays in honour of Jaroslav Rozumnyj. The introduction provides a scholarly silhouette of Jaroslav Rozumnyj, professor of Ukrainian literature at the University of Manitoba. This special issue contains articles by Oleh S. Ilnytzkyj (cf.A28), Roman Weretelnyk (cf.A93), Maxim Tarnawsky (cf.A92), Vira Aheieva (cf. A1), Myroslav Shkandrij (cf.A80), Robert Karpiak (cf. A30), Marko Pavlyshyn (cf. A56), Walter Smyrniw (cf.A82), Halyna Koscharsky (cf.A34), Larissa M.L. Zaleska Onyshkevych (cf. A49), and Nevenka Koscevic (cf.A32). as well as book reviews. The Rozumnyj festschrift was issued also separately as a book by the Canadian Institute of Ukrainian Studies.

A78. Shkandrij, Myroslav. "The Jewish voice in Ukrainian literature." Ukrainian Quarterly. 62.1 (Spring 2006): 69-94.

The Jewish voice is defined as "one that expresses explicitly Jewish concerns and articulates the problems of a Jewish-Ukrainian identity". Shkandrij examines the work of three Ukrainian writers: Hrytsko Kernerenko, Leonid Pervomais'kyi and Moisei Fishbein. Kernerenko, known also as Hirsch Kerner, was born in 1863 and according to Shkandrij, "appears to have been the first Jewish author to write in Ukrainian." He was the author of four books of poetry, a short story and a play and had his works published in Ukrainian periodicals and anthologies. "Much of Kernerenko's poetry", says Shkandrij, "is about the universal themes of love and loneliness, but he also published civic poetry dealing with Ukraine and the importance of the poet's role." Pervomais'kyi, according to Shkandrij, "is the greatest talent in the large cohort of Jewish writers who entered literature in the twenties, worked alongside Ukrainians and assimilated into Ukrainian life." Pervomais'kyi wrote both prose and poetry and some of his works are discussed and analyzed in greater detail. In Shkandrij's view, Pervomais'kyi's work "captures the complexities and contradictions of the Jewish writer's entanglement with Soviet reality throughout six decades"..."he began as a communist neophyte - but gradually eliminated almost everything 'Soviet' about himself." His best lyric poetry was written at the end of his life and, his novel Dykyi med (published in 1963) is, according to Shkandrij, "one of the best novels of the Soviet period." Moisei Fishbein, born in 1946, is a prominent contemporary Ukrainian poet. He "combines and reconciles the two aspects of his identity", Christian and Old Testament imagery are mixed in his poetry, his Jewishness is combined with his attachment to Ukrainian language and culture. The poet has become "a symbol of pluralism and tolerance in the post-independence period", but his best poetry, says Shkandrij, "rises above contemporary concerns and transports the reader to a realm where a deep peace reigns, where the mind can concentrate on the details of human perception and sensation." The article is interspersed with fragments of poetry, where texts are provided both in the transliterated Ukrainian and in a literal English translation, apparently by the author himself.

A79. Shkandrij, Myroslav. "The politics of high culture: Petro Karmansky's 'Malpiache zerkalo'." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 63-78.

Ukrainian modernist writer Petro Karmans'kyi was invited in 1913 to lecture at a

government school for Ukrainian teachers in Canada. While in Canada he wrote a series of satirical articles under the title "Malpiache zerkalo" for the Ukrainian language newspaper Kanada published in Winnipeg. Shkandrij relates the polemic and political scandal provoked by this publication. Karmanskyi defended bilingual English-Ukrainian schools whose proposed closure by the Liberal Party was a burning issue in the imminent provincial elections. Shkandrij's article is part of the special issue dedicated to Danylo Husar Struk and guest edited by Roman Senkus. (cf.A75).

A80. Shkandrij, Myroslav. "The rape of civilization: recurrent structure in Myroslav Irchan's prose." Journal of Ukrainian Studies. 25.1-2 (Summer-Winter 2000): 61-72.

Myroslav Irchan expected and encouraged a Marxist interpretation of his work, but, says Shkandrij, "a careful analysis of his form uncovers complicating messages that to a large degree subvert the stated intention." In his article Shkandrij analyses Irchan's prose, especially such books as Trahediia pershoho travnia (1923), Filmy revolutsii (1923), Karpats'ka nich (1924), V burianakh (1925), Proty smerty (1927) and individual stories such as "Bat'ko", "Moloda maty", "Smert' Asuara", "Kanads'ka Ukraina", "Bila malpa", "Nadii", "Apostoly", "Vudzhena ryba", "Avtoportret", "Kniazhna", "Zmovnyky", "Prysmerky mynuloho", "Tse bulo tak davno", "Taina nochi", "V poloni morskoi ordy". This article is part of the Jaroslav Rozumnyj festschrift with Myroslav Shkandrij himself as guest editor. (cf.A77).

A81. Smyrniw, Walter. "The first space voyages in Ukrainian science fiction." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 173-182.

Soviet critics cite Volodymyr Vladko (1900-1974) as the first science fiction writer in Ukrainian literature. His novel Arhonavty vsesvitu first published in 1935 deals with an interplanetary journey. According to Walter Smyrniv, however, priority in that field should be given to Myroslav Kapii, author of Kraina blakytnykh orkhidei published in 1932. Kapii's novel, says Smyrniw, was excluded from the accepted repertoire of Ukrainian science fiction because of ideological reasons. Kapii's novel was set in the 21^st century, in an independent Ukrainian state ruled by a hetman, and included references to Ukrainian nationalist heroes, such as Ivan Mazepa and Symon Petliura. That made it unacceptable to Soviet critics. Smyrniw claims that Kapii's novel is based in part on Francis Bacon's utopian novel The New Atlantis (1627) and that in Kapii's work the journey to Mars is prompted by a divine inspiration. Smyrniw compares Kapii's and Vladko's novels - the latter being a fictionalized account of a Soviet expedition on route to the planet Venus. This article appears in an issue dedicated to Danylo Husar Struk (guest editor: Roman Senkus). (cf. A75).

A82. Smyrniw, Walter. "The function of time in Lina Kostenko's dramatic works." Journal of Ukrainian Studies. 25.1-2 (Summer-Winter 2000): 121-129.

Walter Smyrniw examines Lina Kostenko's "preoccupation with the phenomenon of time" in her collections Nepovtornist and Sad netanuchykh skulptur. "By way of striking metaphors and direct allusions she touches on several temporal notions, including cyclical time, linear time, the bidirectional time flow, and space-time continuum", says Smyrniw. This article is part of the Jaroslav Rozumnyj festschrift, guest edited by Myroslav Shkandrij.(cf. A77).

A83. Sobol, Walentyna. "Yuriy Lypa in the intellectual life of the Second Republic of Poland. Ukrainian Quarterly. 61.4 (Winter 2005): 392-398.

Iurii Lypa (1900-1944) was a poet, prose writer, playwright as well as a physician, archeologist and scholar. This bio-bibliographical article provides not only basic data about Lypa's literary activity, his associations with literary groups Mytusa and Tank, his poetry collections and literary essays, but also about his medical monographs (written in Polish), his vision of Ukrainian history and Ukraine's struggle for independence expressed in political treatises, and his role as the founder of Ukrainian Black Sea Institute, a scholarly center founded in Warsaw in 1940, focusing on geopolitical, cultural and economic problems of Ukraine.

A84. Stech, Marko Robert. "The concept of personal revolution in Mykola Kulish's early plays." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 107-124.

Stech focuses on two early plays by Mykola Kulish: ""97" and "Komuna v stepakh". Most critics consider these as propaganda plays describing the revolutionary class struggle. Stech, on the contrary, believes that even in these early plays the author was "preoccupied primarily with the subtle psychological motivations of characters for whom the revolutionary conflict reflects a personal struggle for 'a new life'... As a result, the revolution is perceived by these characters as quasi-religious in nature, and Soviet ideology is transformed into popular religion." The motifs and ideas of his early plays are also found in Kulish's masterpieces "Narodnii Malakhii" and "Patetychna sonata", where motivations of the plays' protagonists are "inextricably linked with their quasi-religious quests for self-enlightenment and truth." Quotations from the plays are in the original Ukrainian with English translations given in the footnotes. Stech's article appears in an issue dedicated to Danylo Husar Struk (guest editor: Roman Senkus). (cf.A75).

85. Stech, Marko Robert. "Kulish and the Devil." Trans. from the Ukrainian by Taras Zakydalsky. Journal of Ukrainian Studies. 32.1 (Summer 2007): 1-35.

Stech examines two early plays by Mykola Kulish: "Otak zahynuv Huska" and "Khulii Khuryna" He claims that certain aspects of these plays and their reception and interpretation in the 1920's point "to religious and quasi-religious ideas and , in particular, to the question of the devil and the actual existence of metaphysical evil in human society." Stech discusses the influences and affinities between Kulish's plays and the works of Nikolai Gogol, Gogol's interpreter Dmitrii Merezhkovsky, and other Russian writers, such as Mikhail Bulgakov and Ilya Ehrenburg. Mykola Kulish, according to Stech, "more than most of his Russian and Ukrainian contemporaries, exhibited a characteristically Western mentality, worldview and temperament" and had the unrealized potential of becoming "one of the important inspirers of existentialism."

A86. Stefanowska, Lidia. "The poetics of liminality: Bohdan Ihor Antonych in the context of interwar Polish literature." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 137-159.

Lidia Stefanowska discusses Polish influences on the poetry of Bohdan Ihor Antonych, especially of such Polish poets as Kazimierz Wierzyski, Julian Tuwim and Tadeusz Peiper. Excerpts from Antonych's poetry are quoted in the original Ukrainian with literal translations provided in the footnotes. [i.e. "Dlia molodykh plechei lehkyi ie neba v'iuk" (8 lines); "Nabrav povitria v hrudy" (16 lines); "Chervoni kuby muriv, kola zhovtykh ploshch, kvadraty skveriv" (8 lines); "Lopochut' zori na topoliakh" (4 lines); "Stil obrostaie buinym lystiam" (4 lines). The article appears in an issue dedicated to Danylo Husar Struk and guest edited by Roman Senkus. (cf.A75).

A87. Stojko, Wolodymyr. "Note from the editor" / W.S. Ukrainian Quarterly. 56.1 (Spring 2000): 5. port.

In a special issue of the journal dedicated to Oles' Honchar, the editor of Ukrainian Quarterly introduces the guest editor of the issue Kateryna A.R. Schray (cf. A73). He characterizes Honchar as "a writer, who in the era of totalitarian tyranny and national subjugation, found ways to inject into his works both human and national values".

A88. Struk, Danylo Husar. "Oles' Honchar - a postmortem." Ukrainian Quarterly. 56.1 (Spring 2000): 19-35.

D.H. Struk considers Honchar "the socialist realist writer par excellence". He surveys the critical reception of Honchar's works both in the diaspora and in Ukraine In Struk's view, Honchar's "merit is mostly extra-literary", such as his constant protests against cultural genocide and his "steady interest in the preservation of Ukraine's historic memory." The article appears in an issue dedicated to Oles' Honchar (guest editor: Kateryna Schray). (cf.A73).

A89. Tarnawsky, Maxim. "Borrowed theory, native practice: literary criticism in Ukraine." ICCEES VII World Congress. Europe - Our Common Home? Abstracts. (Berlin, July 25-30, 2005): 423.

An abstract of a paper to be read at the VII World Congress of the International Council for Central and East European Studies in Berlin, in July 2005. The two most prominent features that distinguish contemporary Ukrainian literary scholarship, according to the author, are "the attention to previously taboo subjects" and "a pronounced interest in applying the methods of Western literary scholarship to the fabric of Ukrainian literature."

A90. Tarnawsky, Maxim. "The humanist clay of Honchar's works." Ukrainian Quarterly. 56.1 (Spring 2000): 9-18.

In discussing Honchar's works, Maxim Tarnawsky focuses on the novels Liudyna i zbroia and Sobor. In Honchar's novels, says Tarnawsky, the examples and allusions to "material and intellectual human artifacts from the past" are "important talismans in the iconic world of the author's ideology". Honchar frequently "associates his positive characters with a particularly humanistic set of values"and for him "Humanism is a system of value beyond utilitarian arguments," says Tarnawsky. The article appears in an issue dedicated to Oles' Honchar (guest editor: Kateryna Schray). (cf. A73).

A91. Tarnawsky, Maxim. "Mykhailo Rudnytsky - literary critic." Journal of Ukrainian Studies. 27.1-2 (Summer-Winter 2002): 161-172.

Mykhailo Rudnyts'kyi (d. 1975) was a prominent literary critic in Western Ukraine, active especially between the two World Wars. Maxim Tarnawsky analyses Rudnyts'kyi's two major critical books Mizh ideieiu i formoiu (1932) and Vid Myrnoho do Khvylovoho (1936) and finds four basic principles, that characterize Rudnyts'kyi's consistent outlook on culture: judgment, aesthetics, psychology and Europe. Ukrainian literature, says Rudnyts'kyi, must be judged according to general aesthetic criteria to overcome its provincialism and backwardness; "the value of literature should not be tied to its social function", "the quality of a literary work depends not on the nature of the idea... but on the author's ability to translate his idea into form and content."; psychology of the author is important in the work's production, an author should endow his work with an element of his own personality; and finally, according to Rudnyts'kyi, Ukrainian literature should advance through interaction with more mature cultures of Western Enrope. Maxim Tarnawsky takes issue with some of Rudnyts'kyi's views, as well as with the views on Rudnyts'kyi, the critic, by contemporary Ukrainian scholar Mykola Il'nyts'kyi. The article appears in an issue dedicated to Danylo Husar Struk (guest editor: Roman Senkus). (cf.A75).

A92. Tarnawsky, Maxim. "Mykola Ievshan: modernist critic?" Journal of Ukrainian Studies. 25.1-2 (Summer-Winter 2000): 33-43.

Mykola Ievshan (Fediushko) has the reputation of being the primary Ukrainian modernist critic. Maxim Tarnawsky takes issue with this view and claims that Ievshan's critical works are "prime examples of the theoretical ambiguity that characterizes Ukrainian modernism" and that Ievshan"by personal inclination and ideological necessity" is "a critic of hybrid, mixed approaches." This article is part of the Jaroslav Rozumnyj festschrift guest edited by Myroslav Shkandrij. (cf.A77).

A93. Weretelnyk, Roman. "On Varvara Repnina's 'Devochka'." Journal of Ukrainian Studies. 25.1-2 (Summer-Winter 2000): 19-31.

Princess Varvara Repnina, according to Weretelnyk, wrote an unfinished novel about Shevchenko, a fragment of which she presented to the poet as a short story about her own life. Weretelnyk discusses the relationship between Shevchenko and the princess. This article appears in an issue dedicated to Jaroslav Rozumnyj (guest editor: Myroslav Shkandrij). (cf.A77).

A94. Znayenko, Myroslava Tomorug. "Beauty and sadness in 'A Strange Episode': a few remarks on Vynnychenko's aesthetic consciousness." Depictions: Slavic Studies in the Narrative and Visual Arts in Honor of William E. Harkins. Ed. by Douglas M. Greenfield. [Dana Point, CA.: Ardis, ©2000] (Studies of the Harriman Institute, Columbia University). 92-100. Biblio. notes.

A modified version of a paper delivered originally in Ukrainian at the 3rd International Congress of Ukrainian Studies held in Kharkiv in August 1986. This study is an attempt to explore Volodymyr Vynnychenko's "conception of aesthetic beauty" and to "delineate the parameters of his visual and textual semiotics" on the basis of his short story "Chudnyi epizod". According to the author, Vynnychenko "consciously 'deconstructs' all traditional concepts of 'Being, Goodness, and Truth'. His 'transvaluation of values' is Nietzschean, for to Vynnychenko all ideals, including the ideal of beauty, must represent a synthesis of what has been perceived to be true by intellect and intuition. The ultimate purpose of art is to come as close as possible to this subjective ideal; an ideal which can engage one's entire being, bringing both 'tenderness and joy, and grief and hopelessness' to the heart. To achieve this goal, an artist must follow his inspiration regardless of sacrifice, projecting into it his entire being".

A95. Zubrytska, Maria. "Mirrors, windows and maps: the topology of cultural identification in contemporary Ukrainian literature". Slavic and East European Journal. 50.3 (Fall 2006): 404-408. Biblio.

An introduction to a special forum published in this issue under the title: "Mirrors, windows and maps: the topology of national identity in twentieth century Ukrainian literature", edited by the guest editor Larissa M.L. Zaleska Onyshkevych and consisting of articles by Onyshkevych [cf.A47], Hnatiuk [cf.A19] and Naydan [cf.A44], There are additional non-literary articles by Marko Pavlyshyn (on Ruslana, the singer) and Valerii Polkovsky (on language). Zubrytska describes the primary focus of this forum as "an attempt to consider the socio-political and cultural aspects of the rich and multifaceted trnsformations of national identity in Ukrainian culture" with national literature serving both as "a mirror of reality" in which one sees oneself, and as a window, where one sees the reflections of the world of others.

(To be continued).