A volume of his selected essays is also in preparation. 184-6).* Such examples prove that there is ample precedent in Shevchenko’s work for considering the imagery of the serpent in non-sexual terms and more specifically as the embodiment of evil, anger, and anguish, with the three meanings often so closely associated that they become mutually reinforcing. 17) and enslaved (’’Bocnoiixe CBodojty na padc Kon se MJie V’ 1. But it is more than likely that there is in fact only one subject or actor in 11. There is, however, a way out of this quandary if we are prepared to look at this so-called recollected rape dream from another perspective.
The contributions in this volume are a tribute to Jaroslav Rozumnyj ’s work and the impact it has had on Ukrainian studies. Trizna also resorts to such a conflation of meanings. 90 “serpent” can suggest social evil if related to preceding lines about the hero’s early suffering; moreover, only thirteen lines later the poem speaks of “earthly serpents” (“Co bccmh raffa MH se MHbi MH,” 1. 89-100, namely, a personified mental grief that is described in both passive and active ways. The first step is to recognize that “Aexc KHH coh” is not a “dream of childhood” but simply a “childish/childlike dream” that “disappears” not on waking, but under the duress of the hero’s difficult life (this is made obvious by the preceding lines). The sentence in effect says: the hero wakes up from a dream [of childhood] into a [terrible] reality that is called a [terrible] dream.
Worobec) / 254 Vira Aheieva, Poetesa zlamu stolit: Tvorchist Lesi Ukrainky v postmodernii interpretatsii (Myroslav Shkandrij) / 256 Natalyia Dudash, comp., Rusynsky/ruski pisni (Bogdan Horbal) / 257 Ivan Salo, Tvory, vol. For details, please see Volodymyr Rychka, “Za kym b’iut 'Lytavry,’” Ukrainskyi humanitarnyi ohliad (Kyiv), issue 4 (2000): 138-42. Consider “Kniazhna” again: here rape is preceded by drinking and surreptitious entry into the girl’s room, and the poem later includes fitting historical analogies to Beatrice Cenci (see 11. Moreover, unlike in Trizna, the perpetrator is clearly identified: Iljiam KH i rocxi, ji;e mo Bnajio, Ta M i oc Tajiocb. The logical convergence of the text is not on the violated body but the mind, the soul, and the heart.
1 (Myroslav Shkandrij) / 259 Stanislaw Stgpien, Ukrainoznawstwo: Materiaty do bibliografii. Borys Biletsky and Pavlo Mykhailyna’s review article is their personal assessment of the book in question, and in no way should it be considered as reflecting the position of the Journal of Ukrainian Studies or the Canadian Institute of Ukrainian Studies. The short episode is replete with words of this order (“cepflite”; “pasbu Toe cepflite”; “jtyma”; “flymo H He BHHHOH y Tonaex” [1.
/ 33 Vira Aheieva Mykola Khvylovy and Expressionism / 45 Myroslav Shkandrij The Rape of Civilization: Recurrent Structure in Myroslav Irchan’s Prose / 61 Nelli Prystalenko lelyzaveta Piskorska: A Rediscovered “Boichukist” / 73 Robert Karpiak Demythifying a Universal Hero: Spyrydon Cherkasenko’s Vision of Don Juan / 91 Marko Pavlyshyn The Soviet Ukrainian Whimsical Novel / 103 Walter Smymiw The Function of Time in Lina Kostenko’s Dramatie Works / 121 Halyna Koseharsky The Poetry of Kostiantyn Moskalets, Natalka Bilotserkivets, and Viktor Kordun / 131 Larissa M. Zaleska Onyshkevych Tradition and Innovation in Twentieth-Century Ukrainian Verse Drama / 139 Oleh W. 116-19 (“Oh b cjiesax / Ynaji h ae MJiio Jiodbisae T, / Ka K nepc H Maxep H pofl HOH! / Oh chobu hhctlih anreji paa”), which lead him to the conclusion that the “hero ... Given that in “Kniazhna” even murder of the rapist is felt to be a barely adequate punishment for his heinous crime, it seems both strange and improbable that the victim in Trizna would find almost instant purification and solace through tears alone.