No. 8 : Lesia Ukrainka’s Global Artistic and Philosophical Universe: Past and Present
Permanent URI for this collection
Browse
Recent Submissions
- ItemA Word of Welcome From the Editor-in-Chief(2021) Tkachuk, MarynaWelcome word from the editor-in-chief Maryna Tkachuk.
- ItemModern Intentions in Lesia Ukrainka’s Drama Cassandra(2021) Pastukh, TarasIn her drama Cassandra (1903–1907) Lesia Ukrainka pays considerable attention to language and demonstrates its two defining forms and functional paradigms. One of them is language that appeals to the essential components of being. It is language that reflects human existence in all its acuity and fullness of appearance. This language is complex and difficult to understand, but is the only real language of the age of modernism. Another language is superficial, appealing not to the depths of life and universal categories, but to temporary human needs and aspirations. Its task is to identify the ways and means of achieving a desired goal. Such language is manipulative, because its speakers tend to hide their personal interests under claims of the common good. Also, in the drama, Lesia Ukrainka innovatively raises a number of questions related to the internal laws of world development, the processes of human cognition, the functioning of language, and the understanding and interpretation of the word. The formulation and presentation of these issues demonstrate the clear modern attitude that the writer professed and embodied in her drama.
- ItemThe Stone Host, Lesia Ukrainka's "Spanish" Play(2021) Pronkevych, OleksandrThe article provides an analysis of the "Spanish code" inscribed in the text of Lesia Ukrainka’s drama Kaminnyi hospodar (The Stone Host). The constituents of the code include: 1) conventions of 17th century Spanish baroque drama, in particular, use of the dialectics of the concepts of dignity and reputation as a driving mechanism for conflict throughout Lesia Ukrainka’s play and transformation within the classical scheme of characters suggested by Lope de Vega and his followers; 2) stereotypes of "Spanishness" through which the playwright produced a hetero- image of Spain. Lesia Ukrainka’s variant of the famous legend of Don Juan is a sophisticated modernist drama. The "Spanish code" serves as a prism through which the playwright examines the world. Lesia Ukrainka created an astonishing modernist tragicomedy of dishonesty, full of the spirit of uncertainty.
- ItemPsychoanalytic and Existentialist Versions of Don Juanism: Lesia Ukrainka’s The Stone Host(2021) Moklytsia, MariiaThe article substantiates the necessity of psychoanalytical and existential methodology in interpreting Lesia Ukrainka’s drama Kaminnyi hospodar (1912; The Stone Host), including the works of José Ortega y Gasset and Miguel de Unamuno on Don Quixote, Albert Camus on absurd characters (The Myth of Sisyphus. Essay on the Absurd), and Jacques Lacan’s The Mirror Stage. Biographical data testify to the critical attitude of the writer to world treatments of the legend. Her challenge to tradition was bold and conscious. It is regarded that the main point of Lesia Ukrainka’s polemics with tradition concerns Don Juan apologetics, introduced by romantics and developed by modernists. Exploring Don Juan’s psychological makeup provides the opportunity to show that all participants of the legend have become victims of Don Juan apologetics (that distinguish the tragic finale of the story). The Don Juan myth has played an integral role in the image of the Person (social mask) being accepted by characters as a trustful image of the Self. Interpretation of the Mirror Image in The Stone Host and its crucial role in the final scene allows for justifying that the mirror serves the narcissistic characters’ admiration of themselves and shows them not only an attractive appearance but an ideal version of the Self, created by myth.
- ItemEcofeminism in Film Adaptations of Lesia Ukrainka's Forest Song(2021) Andrianova, AnastassiyaThis article offers a pioneering ecofeminist study of Viktor Ivchenko’s Lisova pisnia (1961) and Yurii Illienko’s Lisova pisnia. Mavka (1980), two Soviet Ukrainian film adaptations of Lesia Ukrainka’s eponymous fairy-drama (1911; Forest Song). It focuses on the interrelated depiction of gender and nature along with the drama’s ideological and material aspects: androcentrism and deforestation. The production of both films coincides with, and arguably reflects, what Marko Pavlyshyn describes as "the emergence of a conservationist consciousness" in the USSR in the 1960s. The article’s goal is therefore twofold – to bring new ecofeminist insights into Ukrainian film studies and to raise eco-awareness about the Volyn Polissia, which provides the setting for Ukrainka’s drama and its adaptations, and currently faces environmental devastation from illegal amber mining.