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1–4 июля 2013 года при поддержке Института литературы имени Тараса Шевченко Национальной академии наук Украины на базе Нежинского государственного университе- та имени Николая Гоголя состоялся ІІІ Международный научный семинар из серии «Studia Sovietica». Тема этого семинара — «Хронология советской культуры: константы и транс- формации».
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Bruno Schulz’s essay on Ephraim Moses Lilien, a Jewish artist born in Drogobych, was published serially in 1937-1938 in "Przegląd Podkarpacia". Not only is it the only Schulz’stext on plastic arts, but also his only explicit statement on Jewish matters. In Schulz’sopinion, Lilien stimulated his interest in plastic arts and played an important role as a mythmaker of contemporary Zionism.
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The experts and admirers of Schulz’s plastic art have long known about his design ofa bookplate of Ella and Jakub Schulz, the children of Izydor, Schulz’s elder brother,made probably in 1930. A sheet of paper with a pencil sketch was glued to carton mostlikely by Schulz himself and then framed. In such a form, hiding the reverse, it was preserved for several decades. In 2015 it became an object of auction. During examination,the sheet was separated from its original background and it turned out that onthe reverse there are some unknown sketches by Schulz. One of them is a portrait ofthe writer’s mother, the other shows a homage of an elderly man to a young woman.Many known drawings by the writer have been made on sheets where both the reverseand the obverse have been used, which implies that, first, all the undersides of Schulz’sworks must be carefully examined since they may hide his works that are still unknown,and second, that Schulz’s pencil sketches must be treated as material wholes. Fragments of his works cannot be reproduced separately from their visual milieu. It is also undesirable to frame and publish his drawings in isolation, according to conventional genre categories, such as “portrait,” “self-portrait” or “nude.” Their publication should makea documentary foundation which will allow us to reveal the principles of a mysterious coexistence of disparate motifs, optical perspectives, and emotional tonalities.
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The paper is an attempt to analyze Schulz’s fiction in terms of Johann Jakob Bachofen’s idea of matriarchy. Particular emphasis has been put on “August,” the opening story of "Cinnamon Shops". In “August” which begins his “spiritual autobiography,” Schulz created a world whose center is constituted by three women, portrayed as if they had been archaic deities. By the same token, the beginning of Schulz’s private mythology seems parallel to the archaic core of the socio-religious order of Europe, i.e. matriarchy.
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When one compares the lots of two great European authors of the first half of the 20thcentury – the German poet Gottfried Benn (1886–1956) and the Polish-Jewish fiction writer Bruno Schulz (1892–1942) – at first sight their lives seem quite different and incomparable. Still, it is enough to reach under the surface of the so-called historical facts to realize that in some respects the two writers are indeed close to each other. Asregards politics and history, a common denominator of their biographies was Nazism as an emanation of pure evil from provincial East-Central Europe, and its belief that human nature may be improved which the historical process makes it possible to develop great geopolitical systems, even at the cost of suspending all ethical principles. A starting point for that daemonic parochial activism is mostly the “provincial spirit of utopia” or,to be precise, its irresistible “realistic nihilism,” to borrow a term coined by the Serbian philosopher Radomir Konstantinovic.
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The literary output of Bruno Schulz became known abroad in the 1960s, when "Cinnamon Shops" and "Sanatorium under the Sign of the Hourglass" were published in translations. The German translation of both volumes was published by Carl Hanser Verlag in Munichin 1961, providing a basis for the foreign editions of Schulz’s fiction in Denmark and Finland. For 45 years, the German market was cornered by those early translations by Josef Hahn, published 24 times either in collections or separately. A new German version,by Doreen Daume, appeared as late as in 2008 and 2011. Such a long break implies that translating Schulz’s poetic prose must be quite difficult. The paper reconstructs the German reception of Schulz and presents criticism of some German translations.
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Even though Bruno Schulz repeatedly criticized psychoanalysis, one may discover inhis fiction many traces of Freud’s theory. The writer from Drogobych not only proposed his own version of the Oedipal drama, but also explored perversions and fetishism aswell as various forms of compensation within a family based on radically different personalities of the father and mother. Dybel comes up with a psychoanalytic reading of“August,” the opening story of "Cinnamon Shops". He approaches it not just as a starting point of Schulz’s fiction, deeply rooted in the writer’s correspondence with Debora Vogeland others, but as its climax, at least as far as the libidinal power of nature embodied by women is concerned. Schulz presents in “August” five portraits of womanhood – from still innocent Lucia to monstrously fertile Agata – which constitute the femaleSuperego and Id, and even go beyond this division. By contrast, Dybel’s psychoanalyticinterpretation includes also weak or absent men from whom the protagonist, whether he likes it or not, must learn about life and complete his rite of passage.
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This study analyzes the main period of the Ukrainian literary language history by the end of the 19th century. It outlines the formation of the Old Eastern Slavonic redaction of the Old Bulgarian literary language and other languages and their variations, which have formed and functioned in Old Rus' and, later, in the lands, inhabited by Ukrainian population. The paper describes the language situation and the specificity of the historical and cultural development of the Ukrainian people within the Grand Duchy of Lithuania and Polish-Lithuanian Commonwealth as well as the creation and the fate of the language phenomenon “prosta mova”. The study also discusses the decline of the Old Ukrainian language and the formation and evolution of the new Ukrainian literary language within the historic-cultural context of the time. The study highlights the negative impact of the lack of autonomy and statehood on the processes in question as well as the systematic and purposeful persecution of the Ukrainian language.
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The article presents an artistic interpretation of the Polish folk image of Sir Twardowski in Ukrainian romantic literature. The creative modification of the legend of the sorcerer, the plot of which became “migratory” in the literary world, is considered on the basis of Peter GulakArtemovskyi’s ballad Tvardovskyi and novels by Stepan Karpenko Pan Tvardovskyi, Panteleimon Kulish’s The Fire Serpent (a story from folk tales), Ivan Barshchevskii’s Slyakhtych Zavalnya, or Belarus in fantastic stories (chapter Tvardovskyi and the Apprentice) in the literary process of the 19th century. In the context of the mentioned topic, for the first time in Ukrainian literary studies, an attempt was made to analyze the forgotten prose work of Karpenko – Pan Tvardovskyi.
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The subject matter of this paper concerns the early phase of Vasily Grossman’s literary career in the mid-1930s. Prior to this period, the author proved his ability to evaluate the mechanisms of censorship and developed his understanding of what was publishable and what could be sanctioned through the publication process of his first novel (Bit-Yunan, Fel’dman 2019). The research material selected for this paper is the lesser-known short story Zhizn’ Il’i Stepanovicha [The life of Il’ya Stepanovich], published in 1935, and the aim is to provide a close reading and an interpretation key to this text. In order to expose the hidden ambiguity of the short story, the chosen research perspective includes a focus on the function of the protagonist as an entity that does not legitimise the socialist myth; a narratological approach on the use of proper names, on “perspective” and the role of the narrator with regard to the axiological structure of the text.
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Women’s freedom and its impact on the life of Nicholas Gogol is a lesser known and almost unstudied subject. This article aims to highlight some of the essential elements of the impact women had on the life of the Ukrainian-Russian classic Nicholas Gogol. Throughout the lifespan, humans are influenced by those who surround them. Some people influence through support and encouragement, others disappointing and betraying their vulnerable victims. Regardless of the positive or negative aspect of the impact, each of them contributes to the formation of attitude, character, vision and of life in general. It is well known, looking at Gogol’s writings and his correspondence, that he was certain of the fact that a woman has a special influence in the society. Gogol draws attention and encourages women to respect God’s standards in demeanor, communication and image in general, in such a manner that their influence makes the world a better place. The present article will analyse the social circle of N. Gogol, concentrating on the image of the woman who is present in the writer’s life, the one who had an impact, in a way or another, over his writings and over his life, in general.
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The concept of a “Skovorodian” or “follower of Skovoroda” (after M. Shlemkevych, Y. Lypa, V. Janiv, and others) is usually understood to be a Ukrainian from the second half of the eighteenth century, for whom the greatest authority was the itinerant Ukrainian philosopher Hrihorii Skovoroda and the latter’s supposed quietism – an escape to one’s inner self, Nature, and moral self-improvement, together with indifference towards all that is external, paltry, and social. The silent consent of such a follower supposedly accompanied the fall of the Hetmanate, while processes at the turn of the eighteenth century, with far-reaching consequences (the onset of modern Ukrainian literature and identity), took place already without his participation. The author of the article disputes with similar opinions by arguing that I. Kotliarevsky, founder of modern Ukrainian literature, viewed the world “through the eyes of a Skovorodian” (after M. Hrushevsky, O. Rusov, S. Yefremov, and L. Ushkalov), and situating the initial impulse for the works of T. Shevchenko within the domain of influence exerted by Skovoroda. Moreover, Rostislav Chopyk launches a thesis about the “crisis of Gogol’s prose” (after E. Bojanowska) and the existential decline of M. Gogol, whose last years were maintained in an anti-Skovoroda spirit. Skovoroda’s philosophy proves to be a criterion of the Ukrainian spirit upon the threshold of the self-formation of modern identity. A “Skovorodian” was compelled to choose “between Gogol and Shevchenko” (af ter J. Łucki), i.e. between a follower of Gogol, who accepted the empire, and that of Shevchenko, who challenged it.
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Latvian and Ukrainian literary relations are primarily characterized by a history of translations and encyclopedic information about writers and their work. The first renderings of Latvian literature into Ukrainian were published in the early 1920s. Most Ukrainian versions of Latvian prose and poetry were created in the Soviet period, starting from the 1950s; much less of them appeared in independent Ukraine. Ukrainian readers have the opportunity to get acquainted with the works of Vizma Belševica, Aleksandrs Čaks, Regīna Ezera, Nora Ikstena, Vilis Lācis, Linards Laicens, Rainis, Zigmunds Skujiņš, Andrejs Upīts, Ojārs Vācietis, Imants Ziedonis and others. Among the translators are Hryhorii Kochur, Konstiantyn Overchenko, Yurii Zavhorodnii, Yurii Sadlovskyi and others. These translators can be divided into three groups. The first group includes those who were fluent in the Latvian language and translated from the original. The second group includes those who had an idea of the grammatical and lexical features of the Latvian language and mainly used the original Latvian text for translation. The third group translated from the available Russian translations of the Latvian texts. In Ukraine the information about Latvian writers can be found in various encyclopedias, mainly in the Ukrainska literaturna entsyklopediia (Encyclopedia of Ukrainian Literature) (1988, 1990, 1995) and the Shevchenkivska entsyklopediia (Shevchenko Encyclopedia) (2012–2015), as well as in internet resources in Ukrainian. The objects of the research are only texts published in the Ukrainian language.
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The article deals with the role of autobiographical writings of women intellectuals and their depiction of the post-war transitions, and focuses on the conflict between the object and the technique of narration in a narrative of unresolved trauma. The study is based on the memoirs of Ukrainian journalist and scholar Nadiya Surovtsova about her unjustified arrest and 27-year stay in prisons, camps and exile. The peculiarity of these memoirs is that they were written in the USSR, when the author was under the supervision of repressive authorities. Writing memoirs was supposed to help Surovtsova forget the Gulag’s experience and create a less traumatic version of her past, for herself and for the ideological society that refused to discuss the crimes of the authorities. The circumstances of the constant threat of new repressions prevented the creation of a logical and consecutive narrative. That is why the narration is characterized by fragmentation, internal contradictions, omissions, metaphors, and euphemisms. The article considers how the themes of 1) a falsely accused communist and 2) womenʼs experience are developing and conflicting in the second part of her memoirs (titled “On the Other Side”). The general strategy of Surovtsovaʼs writing is silencing the most annoying moments. Omitting crimes and brutality, Surovtsova was trying to forget them and write a better story of her past. In the last part of the memoirs, she rejects euphemisms and omissions, regains the ability to talk about authentic experiences and testifies not only about prison crimes but also about the theft of her life and opportunity of self-realisation. The case of Nadiya Surovtsova’s Memoirs demonstrates how the ideological pressure and patriarchal prejudices about what is worth telling from a womanʼs life caused the traumatic physical and emotional experiences to be a realm of the unspoken and how it needs to be read, decoding the story from contradictions and omissions.
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The article presents the process of modernization of Ukrainian literature at the turn of the 19th and 20th centuries. On the one hand, the author analyzes the adaptation of the European idea and culture to Ukrainian realities, on the other hand, the evolution of nationalism reaching its maturity phase is observed in the text. This is evidenced by the declarations and programs published in such magazines as Ukrain'ska Khata [Ukrainian Hut] during the years 1909–1914, especially by the articles of Mykola Yevshan and Andriy Tovkachevsky. The discussions that took place during that period were particularly signifi cant in establishing the direction for the development of national culture. Ukrainian literature acquires the features of cultural openness and dialogue, which are clearly illustrated by the works of its prominent authors such as Ivan Franko, Lesia Ukrainka, Mykhailo Kotsiubynsky, Olha Kobylianska, Ahatanhel Krymsky.
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The article analyzes the parenthetical (inserted) constructions in the historical novel "The Miracle" by Pavlo Zahrebelny. It has been established that parenthetical elements have a different syntactic structure. They are represented by words, phrases and various types of sentences, including textual formations. There is a small number of one- and two-component parentheticals. Most of them are multicomponent insertions. The grammatical compatibility of the parenthetical constructions with the main clause is taken under consideration. It has been established that parentheticals are joined to the main clause by both conjunctive and non-conjunctive relations. Attention is paid to the punctuation marks of the inserted components and their place in the sentence. The functional diversity of parentheses is determined. It has been found that they are used to clarify, explain, express desire, satisfaction, dissatisfaction, assumption, objection, doubt, etc. Particular attention is paid to parenthetical constructions as a means of expressive syntax and a marker of sentence modality. The expressiveness of parenthetical constructions is manifested through their versatility, redundancy, spontaneity and violation of the linear plan of presentation.
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The purpose of the article is to present the results of the International Scientific Conference of Young Ukrainianists “Culture on the Battlefield. Ukrainian Language, Literature, Art, Media in Wartime”. The conference was divided into four thematic sessions; according to the conference programme, two sessions were held on 30 November 2023 and the other two on 1 December 2023. During the conference, young Ukrainian scholars from Polish and Ukrainian universities presented the results of their research.
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The report concerns the course of the International Scientific Conference on the occasion of the 70th anniversary of the Department of Ukrainian Studies at the University of Warsaw, which took place on 15-16 June 2023 on the occasion of the 70th anniversary of the Department of Ukrainian Studies. The main theme of the conference were issues related to the traditions and challenges of Ukrainian studies in the face of the changes in the modern world.
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The article examines the spoken Bulgarian and Ukrainian translations of the Holy Scriptures in the 19th century. It is established that, compared to the Ukrainian ones, the Bulgarian language translations appeared much earlier, had a much better distribution and had a greater influence on the consolidation of the new literary language. The reason for this is the different political and cultural conditions in which these two peoples are developing. The bans on Ukrainian printed speech, which were in force in the Russian Empire, did not allow until the beginning of the 20th century to print a Ukrainian translation of the Holy Scriptures, as well as to distribute the translations made in Austria-Hungary. Therefore, in general, in the 19th century, translations of the Holy Scriptures did not influence the formation of the new Ukrainian literary language in the way that could be expected from such texts. In the Ottoman Empire, the work on translations of the Holy Scriptures into modern Bulgarian was led and financed by the British and Foreign Bible Society. This contributed to these translations being in closer contact with the emerging New Bulgarian literary language and to influencing its consolidation.
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