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  1.  2
    Anti-Colonial Discourse in Lesia Ukrainka’s Dramas.Vira Ageyeva - 2021 - Kyiv-Mohyla Humanities Journal 8:169-182.
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  2.  3
    Ecofeminism in Film Adaptations of Lesia Ukrainka’s Forest Song.Anastassiya Andrianova - 2021 - Kyiv-Mohyla Humanities Journal 8:46-67.
    This article off ers a pioneering ecofeminist study of Viktor Ivchenko’s Lisova pisnia and Yurii Illienko’s Lisova pisnia. Mavka, two Soviet Ukrainian film adaptations of Lesia Ukrainka’s eponymous fairy-drama. 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 fi lms coincides with, and arguably refl ects, what Marko Pavlyshyn describes as “the emergence of a conservationist consciousness” in the USSR in the 1960s. The article’s (...)
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  3.  3
    Feminists Despite Themselves: A Look Back.Martha Bohachevsky-Chomiak - 2021 - Kyiv-Mohyla Humanities Journal 8:164-167.
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  4.  1
    Povne Akademichne Zibrannia Tvoriv U 14 Tomakh [Complete Academic Collection of Works in 14 Volumes] by Lesia Ukrainka, Eds. Vira Aheieva, Yurii Hromyk Et Al. [REVIEW]Iryna Borysiuk - 2021 - Kyiv-Mohyla Humanities Journal 8:195-198.
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  5.  4
    “Oh, My Thoughts, My Thoughts…”: Olena Pchilka’s and Lesia Ukrainka’s Contributions to Epigraphic Embroidery.Tetiana Brovarets - 2021 - Kyiv-Mohyla Humanities Journal 8:147-162.
    The article focuses on the role of Olena Pchilka1 and Lesia Ukrainka in epigraphic embroidery development. Undoubtedly, Olena Pchilka was an ardent proponent of folk art purity. Following from this, there is a tendency to think that she was against all novelty in Ukrainian embroidery. Many researchers and antiquity enthusiasts refer to her authority when arguing against inscriptions on textile as a phenomenon resulting largely from printed cross-stitch on paper. However, not all embroidered verbal texts have been of print origin. (...)
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  6.  2
    Lesia Ukrainka and Qiu Jin: The Confluence of Their Poetic Worlds Via Translation.Nataliia Isaieva & Olha Vorobei - 2021 - Kyiv-Mohyla Humanities Journal 8:121-145.
    This article deals with the poetry of two prominent writers: Ukrainian poetess Lesia Ukrainka and Chinese poetess Qiu Jin. The diversity of wide fields of self-expression of both poetesses created the grounds for a broad and comprehensive comparison in terms of poetic, thematic, and literary similarities. The article provides a background to the translations of Lesia Ukrainka in China and accounts for the perception of Lesia Ukrainka’s poetry in China in the light of the poetic world of Qiu Jin. The (...)
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  7.  6
    Buntarky: Novi Zhinky I Moderna Natsiia [Women-Rebels: The New Women and the Modern Nation], Ed. Vira Aheieva.Tetiana Kalytenko - 2021 - Kyiv-Mohyla Humanities Journal 8:204-206.
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  8.  3
    The Reception of Lesia Ukrainka’s Works in German: The Significance of the Concept of “Struggle”.Nataliia Lysetska - 2021 - Kyiv-Mohyla Humanities Journal 8:85-101.
    The article examines individual German translations of works by Lesia Ukrainka in various genres, which activate the concept of “struggle.” To establish the linguistic and stylistic analogues, coincidences, and diff erences of the translated works, their typological comparison with the original Ukrainian sources was carried out. It was found that key motifs in the works of Lesia Ukrainka, such as aff ection, resilience, courage, confrontation, and great strength of will and spirit are factors that form the concept of “struggle.” The (...)
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  9.  5
    Psychoanalytic and Existentialist Versions of Don Juanism: Lesia Ukrainka’s The Stone Host.Mariia Moklytsia - 2021 - Kyiv-Mohyla Humanities Journal 8:34-44.
    The article substantiates the necessity of psychoanalytical and existential methodology in interpreting Lesia Ukrainka’s drama Kaminnyi hospodar, including the works of José Ortega y Gasset and Miguel de Unamuno on Don Quixote, Albert Camus on absurd characters, 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 (...)
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  10.  3
    Lesia Ukrainka in Cinema.Oksana S. Moussienko, Natalia Moussienko & Oksana O. Moussienko - 2021 - Kyiv-Mohyla Humanities Journal 8:184-193.
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  11.  1
    Modern Intentions in Lesia Ukrainka’s Drama Cassandra.Taras Pastukh - 2021 - Kyiv-Mohyla Humanities Journal 8:2-14.
    In her drama Cassandra Lesia Ukrainka pays considerable attention to language and demonstrates its two defi ning forms and functional paradigms. One of them is language that appeals to the essential components of being. It is language that refl ects human existence in all its acuity and fullness of appearance. This language is complex and diffi cult to understand, but is the only real language of the age of modernism. Another language is superfi cial, appealing not to the depths of (...)
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  12.  3
    Tvory. Pereklady. Lysty. Zapysy Kobzarskykh Dum [Works. Translations. Letters. Recordings of Kobzar's Dumas] by Mykhailo Kosach (Mykhailo Obachnyi), Ed. Larysa Miroshnychenko. [REVIEW]Taras Pastukh - 2021 - Kyiv-Mohyla Humanities Journal 8:208-210.
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  13.  2
    In Memory of Volodymyr Morenets.Nataliia Peleshenko - 2021 - Kyiv-Mohyla Humanities Journal 8:216-219.
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  14. The Female Artist as an Icon of National Modernization: The Phenomenon of Lesia Ukrainka in a Comparative Perspective.Olha Polishchuk - 2021 - Kyiv-Mohyla Humanities Journal 8:212-215.
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  15.  2
    The Stone Host, Lesia Ukrainka’s “Spanish” Play.Oleksandr Pronkevich - 2021 - Kyiv-Mohyla Humanities Journal 8:16-32.
    The article provides an analysis of the “Spanish code” inscribed in the text of Lesia Ukrainka’s drama Kaminnyi hospodar. 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 confl ict 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 (...)
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  16.  4
    Lesia Ukrainka’s Crimean Cycles: A Poetic Dialogue with Adam Mickiewicz.Yelena Severina - 2021 - Kyiv-Mohyla Humanities Journal 8:69-83.
    This paper examines Lesia Ukrainka’s two lyrical cycles about Crimea, Krymski spohady and Krymski vidhuky, as examples of a poetic dialogue with Adam Mickiewicz’s Sonety krymskie. I begin my analysis by highlighting the diff erent sensibilities of Mickiewicz’s Sonety krymskie and Lesia Ukrainka’s Krymski spohady, and underscore their formal and thematic peculiarities. The paper continues with an examination of Lesia Ukrainka’s second cycle, Krymski vidhuky, as an experiment in drama – a genre that is absent from her fi rst cycle (...)
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  17.  2
    Apokryf [Apocryphon] by Lesia Ukrainka. His Beatitude Sviatoslav Shevchuk and Oksana Zabuzhko. Chotyry Rozmovy Pro Lesiu Ukrainku [Four Сonversations About Lesia Ukrainka].Dariya Syroyid - 2021 - Kyiv-Mohyla Humanities Journal 8:200-202.
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  18.  1
    A Word of Welcome From the Editor-in-Chief.Maryna Tkachuk - 2021 - Kyiv-Mohyla Humanities Journal 8:v-v.
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  19. Playing Upon Biographical Myths: William Shakespeare and Lesia Ukrainka as Characters in Contemporary Drama.Natalia Vysotska - 2021 - Kyiv-Mohyla Humanities Journal 8:103-119.
    The article sets out to explore two plays by contemporary playwrights, one American, the other Ukrainian, focusing on William Shakespeare and Lesia Ukrainka, respectively, within the framework of “the author as character” subgenre of fictional biography. Accordingly, the article considers the correlation between the factual and the fi ctional as one of its foci of attention. Drawing upon a variety of theoretical approaches, the article summarizes the principal characteristics of “the author as character” subgenre and proceeds to discuss how they (...)
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