No. 8 : Lesia Ukrainka’s Global Artistic and Philosophical Universe: Past and Present

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Browsing No. 8 : Lesia Ukrainka’s Global Artistic and Philosophical Universe: Past and Present by Subject "drama"

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    Anti-Colonial Discourse in Lesia Ukrainka’s Dramas
    (2021) Ageyeva, Vira
    National ideas in Lesia Ukrainka's dramas.
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    Modern Intentions in Lesia Ukrainka’s Drama Cassandra
    (2021) Pastukh, Taras
    In 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.
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    Playing Upon Biographical Myths: William Shakespeare and Lesia Ukrainka as Characters in Contemporary Drama
    (2021) Vysotska, Natalia
    The article sets out to explore two plays by contemporary playwrights, one American (Don Nigro, Loves Labours Wonne), the other Ukrainian (Neda Nezhdana, And Still I will Betray You), focusing on William Shakespeare and Lesia Ukrainka, respectively, within the framework of "the author as character" subgenre of fictional (imaginative) biography. Accordingly, the article considers the correlation between the factual and the fictional as one of its foci of attention. Drawing upon a variety of theoretical approaches (Paul Franssen, Ton Hoenselaars, Ira Nadel, Aleid Fokkema, Michael MacKeon, Ina Shabert and others), the article summarizes the principal characteristics of "the author as character" subgenre and proceeds to discuss how they operate in the dramas under scrutiny. The analysis makes it abundantly clear that in Nigro’s and Nezhdana’s plays the balance between fact and fiction is definitively tipped in favor of the latter. By centering their (quasi) biographical plays on highly mythologized artists of national standing, both dramatists aimed at demythologizing these cult figures, inevitably placing them, however, within new mythical plots combining a Neo-Romantic vision of the artist as demiurge, with a Neo-Baroque as well as fin de siècle apology of death and a postmodern denial of one objective reality.