Ukrainian Epic And Historical Song

Ukrainian epic, or dumy, were first recorded from blind mendicant minstrels in the nineteenth century, yet they reflect events dating back to as early as the 1300s. Ukrainian Epic and Historical Song provides new translations in contemporary English of these songs of family strife, war, and human dignity. It also explains the historical events celebrated in epic and other historical songs: fierce battles, rebellion against tyranny, the struggles of captivity, the joys of escape from slavery. Natalie Kononenko's expert translation and analysis of Ukrainian epics provides a sweeping social history of folklore that is vital to Ukrainian identity. A translation of at least one variant of every known epic is included. Whereas earlier trends in folklore scholarship emphasized genre purity and compartmentalization, Kononenko critically examines the events about which songs were sung. Her emphasis on the lives of ordinary people rather than on leaders reshapes our understanding of how epics were composed and performed. Kononenko's ground-breaking analysis also illuminates Ukrainian self-understanding and explains how songs preserve and perpetuate historical memory. Scholars interested in epic song, history, and general folklore will benefit from this work. Members of the Ukrainian diaspora will find new appreciation of Ukrainian folklore.

Ukrainian epic, or dumy, were first recorded from blind mendicant minstrels in the nineteenth century, yet they reflect events dating back to as early as the 1300s. Ukrainian Epic and Historical Song provides new translations in contemporary English of these songs of family strife, war, and human dignity. It also explains the historical events celebrated in epic and other historical songs: fierce battles, rebellion against tyranny, the struggles of captivity, the joys of escape from slavery. Natalie Kononenko’s expert translation and analysis of Ukrainian epics provides a sweeping social history of folklore that is vital to Ukrainian identity. A translation of at least one variant of every known epic is included. Whereas earlier trends in folklore scholarship emphasized genre purity and compartmentalization, Kononenko critically examines the events about which songs were sung. Her emphasis on the lives of ordinary people rather than on leaders reshapes our understanding of how epics were composed and performed. Kononenko’s ground-breaking analysis also illuminates Ukrainian self-understanding and explains how songs preserve and perpetuate historical memory. Scholars interested in epic song, history, and general folklore will benefit from this work. Members of the Ukrainian diaspora will find new appreciation of Ukrainian folklore.

The blind mendicant in Ukrainian folk tradition is a little-known social order, but an important one. The singers of Ukrainian epics, these minstrels were organized into professional guilds that set standards for training and performance. Repressed during the Stalin era, this is their story.

This is the first book monograph devoted to Anglophone Ukrainian Canadian children’s historical fiction published between 1991 and 2021. It consists of five chapters offering cross-sectional and interdisciplinary readings of 41 books – novels, novellas, picturebooks, short stories, and a graphic novel. The first three chapters focus on texts about the complex process of becoming Ukrainian Canadian, showcasing the experiences of the first two waves of Ukrainian immigration to Canada, including encounters with Indigenous Peoples and the First World War Internment. The last two chapters are devoted to the significance of the cultural memory of the Holodomor, the Great Famine of 1932-1933, and the Second World War for Ukrainian Canadians. All the chapters demonstrate the entanglements of Ukrainian and Canadian history and point to the role Anglophone children’s literature can play in preventing the symbolical seeds of memory from withering. This volume argues that reading, imagining, and reimagining history can lead to the formation of beyond-textual next-generation memory. Such memory created through reading is multidimensional as it involves the interpretation of both the present and the past by an individual whose reality has been directly or indirectly shaped by the past over which they have no influence. Next-generation memory is of anticipatory character, which means that authors of historical fiction anticipate the readers – both present-day and future – not to have direct links to any witnesses of the events they discuss and to have little knowledge of the transcultural character of the Ukrainian Canadian diaspora.

The blind mendicant in Ukrainian folk tradition is a little-known social order, but an important one. The singers of Ukrainian epics, these minstrels were organized into professional guilds that set standards for training and performance. Repressed during the Stalin era, this is their story.

This is the first synthetic book-length study in English of the Ukrainian nation-building during the "long" nineteenth century. The narrative follows the evolution of the Ukrainian intellectuals and their ideas from the Age of Enlightenment at the end of the eighteenth century and to the era of Positivist science and social reform at the beginning of the twentieth century. The book focuses on the intellectuals, since in the case of Ukrainians—the nineteenth-century epitome of stateless and overwhelmingly plebeian people—the intellectuals played a pivotal role in defining the Ukrainian national project. The central theme is intellectuals’ engagement not only with each other, but also with the people and land they represented. Views of Ukraine from the imperial and "world" capitals, larger intellectual currents, and geopolitical games are not neglected. Nevertheless, its main focus is on the Ukrainian intellectuals’ visions of Ukraine’s past, present, and future, their responses to the challenges of modernity, their ideals, agendas, and programmes. The Intellectual Foundations of Modern Ukraine is the ideal resource for upper-level undergraduates, postgraduates, and scholars interested in cultural anthorpology, political science, political philosophy, and the history of modern Ukraine.

For decades, Ukrainian contacts with the outside world were minimal, impeded by politics, ideology, and geography. But prior to the Soviet period the country enjoyed diverse exchanges with, on the one hand, its Islamic neighbours, the Crimean Khanate and the Ottoman Empire, and, on the other, its central and western European neighbours, especially Poland and France. Thomas Prymak addresses geographical knowledge, international travel, political conflicts, historical relations with religiously diverse neighbours, artistic developments, and literary and language contacts to smash old stereotypes about Ukrainian isolation and tell a vivid and original story. The book treats a wide range of subjects, including Ukrainian travellers in the Middle East, from pilgrims to the Holy Land to political exiles in Turkey and Iran; Tatar slave raiding in Ukraine; the poetry of Taras Shevchenko and the Russian war against Imam Shamil in the High Caucasus; Ukrainian themes and the French writers Honoré de Balzac and Prosper Mérimée; Rembrandt's mysterious painting today titled The Polish Rider; and Ilya Repin's legendary painting of the Zaporozhian Cossacks writing their satirical letter mocking the Turkish sultan. Drawing together political and cultural history, languages and etymology, and folklore and art history, Ukraine, the Middle East, and the West is an original interdisciplinary study that reintroduces Ukraine's long-overlooked connections beyond Eastern Europe.