Oleksandr Sushko. The Cost of Ukraine’s Isolation
Mariana Rubchak. Seeing Pink: Searching for Gender Justice Through Opposition in Ukraine
Oleksandr Ivashyna. Libido Dominandi
Oksana Forostyna. Picking Up Languages
Volodymyr Kulyk. Duty and Constraint of the Ukrainian Choice
George G. Grabowicz. Ukrainian Literature and Europe: Aporias, Asymmetries and Discourses
Yuri Hrebenik. A Bewitched Place
Roman Koropeckyj. Nikolai Gogol: Between Khokhlachestvo and Kozaczyzna
Oleksandr Boron. Truth Is a Better Friend
Charles Rosen. Freedom and Art
Volodymyr Yermolenko. Mesmer and Freud: On Medicine Becoming a Philosophy
The April, 2012 issue of Krytyka opens with an obituary for Volodymyr Yatsiuk, an outstanding scholar of Taras Shevchenko’s artistic legacy as well as a foremost collector of Shevchenkiana. The Research Director at the Kyiv-based Institute for Euro-Atlantic Cooperation Oleksandr Sushko analyzes the latest disappointing news from Ukraine in “The Cost of Ukraine’s Isolation.”
Mariana Rubchak of Valparaiso University examines in her “Seeing Pink: Searching for Gender Justice Through Opposition in Ukraine” the two waves of women’s opposition in Ukraine after the collapse of the USSR. She focuses mainly on the FEMEN organization and charts its evolution to radical political dissent.
In his “Libido Dominandi” Oleksandr Ivashyna of the National University of Kyiv-Mohyla Academy points out that the recent Visual Culture Research Center controversy (see Krytyka #1-2 and #3, 2012) was a natural consequence of the usual approach to discussion and decision-making at the Kyiv-Mohyla Academy. The piece continues Krytyka’s discussion on freedom of art and self-expression.
In “Picking Up Languages” Oksana Forostyna, associate executive editor of Krytyka, and Volodymyr Kulyk, a leading expert in Ukrainian media discourses, in his “Duty and Constraint of the Ukrainian Choice”, address the recent online debate around the launch of the Ukrainian edition—in Russian—of “Esquire” magazine, and the tangle of Ukrainian and Russian language issues it presents.
In “Ukrainian Literature and Europe: Aporias, Asymmetries and Discourses” George G. Grabowicz, editor-in-chief of Krytyka and Dmytro Chyzhevs’kyj Professor of Ukrainian Literature at Harvard, examines some of the key issues and structures of the interaction of Ukrainian literature with Europe— which in large measure also defines the very identity of Ukrainian literature. The second part of this text will appear in the May issue of Krytyka.
In his review, “A Bewitched Place,” Yuri Hrebenik points to numerous errors in various Ukrainian anniversary editions of Nikolai Gogol. Roman Koropeckyj, professor of Slavic Languages & Literatures at the University of California, reviews Edyta M. Bojanowska’s Nikolai Gogol: Between Ukrainian and Russian Nationalism in his “Nikolai Gogol: Between Khokhlachestvo and Kozaczyzna.
In his letter to the editor “Truth Is a Better Friend” Oleksandr Boron, the deputy chief of the Shevchenko Encyclopaedia Project of the Institute of Literature of the Ukrainian National Academy of Sciences, writes about an incorrect attribution of Taras Shevchenko’s drawing “Commemoration.”
In “Mesmer and Freud: On Medicine Becoming a Philosophy” Volodymyr Yermolenko, a Ukrainian philosopher and essayist, writes on the practices of Franz Mesmer and of Sigmund Freud and their impact on modern culture. In “Freedom and Art” Charles Rosen, American critic and musician, 2011 National Humanities Medal winner, observes the different faces and voices of freedom in the Western arts. The piece is an extract from Rosen’s latest book “Freedom and the Arts: Essays on Music and Literature” (Harvard University Press) which appeared in The New York Review of Books (vol. LIX, No. 8) and which Krytyka presents in translation as the exclusive partner of NYRB in Ukraine.