The drama of the personality is the drama of the nation (Traditional and new in Ukrainian classical dramaturgy. Ideas. Genres)

Authors:

Larysa Moroz, doctor of philological sciences, professor, candidate of art history, chief researcher of the department of classical Ukrainian literature of the Institute of Literature named after T. G. Shevchenko National Academy of Sciences of Ukraine, Kyiv, Ukraine.

ORCID: 0000-0003-3492-1425

 

Reviewers:

Oksana Kogut, Ph.D., professor, head of the department of philology and translation Ivano-Frankivsk National Technical University of Oil and Gas, Ivano-Frankivsk, Ukraine.

ORCID: 0000-0002-1110-8311

 

Ievgeniy Vasiliev, doctor of philological sciences, professor, Head of the Department of Theory and History of World Literature

Rivne State Humanitarian University, Rivne, Ukraine.

ORCID: 0000-0002-7172-3340

 

Affiliation:

Project: Scientific book

Year: 2023

Publisher: PH "Naukova Dumka"

Pages: 280

DOI:

https://doi.org/10.15407/978-966-00-1859-4

ISBN: 978-966-00-1859-4

Language: Ukrainian

How to Cite:

Moroz, L. (2023) The drama of the personality is the drama of the nation (Traditional and new in Ukrainian classical dramaturgy. Ideas. Genres). Kyiv, Naukova Dumka. 280p. [in Ukrainian].

Abstract:

The book includes essays on the history of Ukrainian classical and early modern drama of the 19th and early 20th centuries, united by the author’s vision of drama as an artistic mirror of the era, in which the outlines of the national drama pass through fragments of individual dramas. The articles cover multifaceted genre-creating experiments, the understanding of philosophical and religious ideas, the artistic study of national mentality and the development of spiritual and cultural traditions in the work of Ukrainian playwrights from Skovoroda and I. Kotlyarevskyi to S. Cherkasenko and V. Pachovskyi.

This book includes articles related to Ukrainian drama (primarily) of the 19th and early 20th centuries, written in different years over several decades. The author, who literally “squeezed out drop by drop” (following the example of the classics) the rudiments of communist-Soviet thinking, the stereotypes of the ideology, which seemed to be tightly and securely occupying the brain, was driven by the desire to understand the true essence of native literature, all its depth and, in spite of everything terrible circumstances and direct prohibitions, various discoveries – “humanistic” and artistic.

The measure of liberation came with a new understanding of many points – in plot constructions, ideological accents, character characteristics. Even in terminology, tricks of literary studies.

I once asked a senior colleague – an academician: why do we divide traditions into positive and negative ones. From his answer – quite verbose and rather vague – I understood: everything that reveals our – Ukrainian – national originality / identity should be considered negative. A similar story – with the interpretation of romanticism, “progressive” and “reactionary”. It is clear that the negative and reactionary should not be studied.

Therefore, my task is not an easy one, the whole life of more than one person is devoted to it (it is wonderful that all my colleagues are working on such a task). It is still possible to highlight individual fragments. Therefore, readers are offered not a “classic” monograph, but a conceptually coherent collection of articles that reflects not only the formation and evolution of Ukrainian drama, but also the dynamics of the worldview of the author herself.

Keywords:

Ukraine, belief, national, universal, personal, spiritual, historical, Christian values, honor, ideal, dignity, traditions, modernity, ideas, genres of drama, symbolism

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