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2 Studia Polsko-Ukraińskie

2 2021

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Słowo o Józefie Łobodowskim i konferencji naukowej w Lublinie z okazji 110 rocznicy urodzin pisarza

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Siryk L.

2019

tom 6

175-190

The subject of reflection is, first, the work of Jozef Lobodovski (1909–1988), a Polish poet, prose writer, journalist, and translator and, second, an international conference that took place on March 21–22, 2019, at the Faculty of Humanities of Maria Curie-Skłodowska University in Lublin on the occasion of the 110th anniversary of his birth. From his infancy, the writer was associated with Lublin but spent most of his life abroad, in Spain. His attitude is characterised by universalism understood as tolerance towards nations in the cultural and religious context, as well as an uncompromising, stubborn struggle for the freedom of nations conquered by Soviet imperialism. A distinct feature of his interests is the East Slavonic problem, especially the Ukrainian one. During the meeting, 16 papers were delivered by scientists from Poland, Ukraine, and Spain. The programme of the conference included a violin concert (performed by the younger generation of the writer’s family) and recitations, performed by the UMCS students of Ukrainian philology, of works and poetic translations by Jozef Lobodovski, as well as of translations of his poetry into Ukrainian. The aim of the activities undertaken is not only to promote the artist with an exceptionally rich artistic and journalistic achievements but also to preserve the memory of him as a man of international dialogue, a humanist and a patriot, a noteworthy literary figure of Lublin during the interwar period, and a political emigrant who was banned in the Polish People’s Republic.

Deconstrution of Interpretative Models of Lesya Ukrainka’s 'The Forest Song'

100%

Moklytsia M.

2019

tom 6

159-174

The article explores a need to provide a permanent revision of the ways of reading classical texts. The fairy drama The Forest Song was written by Lesya Ukrainka, who is acclaimed as an outstanding dramatist of Ukrainian literature. This play has a vast bibliography and serves as a target of a variety of critical approaches. The point is, however, that the predominant position among them still belongs to the interpretative models generated by Lesya Ukrainka’s contemporaries. This refers, first of all, to those who have hitherto interpreted The Forest Song within the following two frameworks: neoromantic, grounded in Polissyan folklore and the author’s mythology, and neoclassical, launched by neoclassicists of the 1920s and based on the ties of Lesya Ukrainka’s play with classical drama. The scholars overlook, though, a conflict between the two interpretations. Each model, employed with no regard for the other one, operates on certain elements of the text. The scholars neglect the need to correlate their work with the other, totally inverse, model (neoromanticism and neoclassicism are, at a fundamental level, as aesthetically opposed to each other as are romanticism and classicism). The article offers a new model for reading the text of Lesya Ukrainka through the lens of symbolism. This model allows us to account for the congruence of classical normativity and romantic liberty within a single text.