Year XIV, Issue 9-10 (155-156)

October 2010
Oleksandr Severyn. Reform, Reflexes and Revolution
Serhii Balan. A Conflict of Legitimacy
   Anatolii Rusnachenko. Symbols, Critics, Ukraine and Bandera
   Vitalii Nakhmanovych. Not only About Bandera...
Dariusz Tolczyk. The Art of Not Seeing
Liliana Hentosh. A Tragic Biography in Rainbow Colors
Maksym Balaklytskyi. Pastors of Words
Yulia Iemets-Dobronosova. The Philosophy of Doubt
Vitalii Ponomariov. The Untranslatable Logos
Tamara Zlobina. The Voice of the Generation of 87
Vasyl Kostiuk. Hate Discourse Dressed up as Porno-Glamour
Alexander Kratochvil. Serhii Zhadan: Departure and Return
Serhii Zhadan. Immigrant song
Oleksandr Boychenko. The Theory and Practice of the Border Region
Krzysztof Czyżewski. The Bridge and the Man
Tony Judt. Edge People
Yaroslav Hrytsak. My Judt
Oleksii Zaretskii. Remembering a Linguist
Oleh Sydor-Hibelynda. In the Labyrinth of Contemporary Urbanism



The September-October issue of Krytyka opens with two articles dealing with the Constitutional crisis in Ukraine. Oleksandr Severyn’s “Reform, Reflexes and Revolution” and Serhii Balan’s “A Conflict of Legitimacy” both analyze the decision of the Constitutional Court of Ukraine–clearly made under pressure from the government to invalidate the reform of 2004 and reinstate a Presidential-Parliamentary system. They examine also the legitimacy and consequences of this decision and the challenges that it poses for Ukrainian society and the rule of law.

In the Discussion section Anatolii Rusnachenko in his “Symbols, Critics, Ukraine and Bandera” and Vitalii Nakhmanovych in his “Not only About Bandera” continue the polemic begun in earlier issues of Krytyka by Timothy Snyder, John Paul Himka, Volodymyr Kulyk and others around the decision of President Yushchenko to honor the leader of the Ukrainian nationalists as “Hero of Ukraine.”

In “The Art of Not Seeing” Dariusz Toіczyk writes on the phenomenon of western ignorance of, or greater tolerance for, the crimes of communism and the general asymmetry in the attitudes toward, and memory of, Nazi and Soviet totalitarianism.

In “A Tragic Biography in Rainbow Colors” Liliana Hentosh reviews Timothy Snyder’s The Red Prince: The Secret Lives of A Habsburg Archduke (Basic Books, 2008) which is devoted to remarkable life and transmutation of Wilhelm von Habsburg, who became an ardent Ukrainian patriot and as Vasyl Vyshyvanyj took part in the struggle to establish a Ukrainian state in the post WW I era and ended his life in Kyiv as a prisoner of the NKVD.

Maksym Balaklytskyi in his “Pastors of Words” provides an overview of Protestant missionary writings of the last few years. In “The Philosophy of Doubt” Yulia Iemets-Dobronosova reviews the Ukrainian translations of John Durham Peters (Speaking into the Air: A History of the Idea of Communication) and Scott Lash (Sociology of Postmodernism), as well as of Ukrainian phiolosophers writing on social action and problems of existentialism. In “The Untranslatable Logos” Vitalii Ponomariov reviews the first volume of the Ukrainian translation of Le Vocabulaire europйen des philosophies. Dictionnaire des intraduisibles edited by Barbara Cassin. 

Tamara Zlobina in her “The Voice of the Generation of 87” sketches a panoramic view of Postmodernist art in Ukraine, drawing particularly on such publications as the 2009 almanach Final Tally (Kinets kintsem), and considers the specific nature of Ukrainian contemporary art, its discourse and infrastructure. Vasyl Kostiuk in his essay “Hate Discourse Dressed up as Porno-Glamour” examines Oksana Zabuzhko’s novel A Museum of Lost Secrets which mythologizes the Ukrainian Insurgent Army and provides a peculiar brew of nationalist resentment, mass literature and show business. Alexander Kratochvil of Konstanz, Germany reviews in his “Serhii Zhadan: Departure and Return,” the most recent “nostalgic” novel of the writer, i.e., his Voroshylovgrad, and sees it in the broader and intertextual European context. This is followed by Serhii Zhadan’s “Immigrant Song” which deals with the collective mind-set of the late Soviet period and its mythical phenomenology.

In “The Theory and Practice of the Border Region,” Oleksandr Boychenko responds to Krzysztof Czyїewski’s Linia powrotu. Zapiski z pogranicza (2008), a book of essays that views the borderland as an optimal model of human co-existence. Krzysztof Czyїewski’s provides, so to speak, his own response to this in his essay “The Bridge and the Man” (Most i czіowiek) which seeks a fundamental post-totalitarian understanding of the Other. “Edge People” an essay by the recently deceased Tony Judt is another striking example of the defense of tolerance and the marginal. Yaroslav Hrytsak’s “My Judt” is an homage to Judt’s work and values–which the author finds so rare in the Ukrainian intellectual context.

“Remembering a Linguist” Oleksii Zaretskii pays his respects to the recently deceased Lesya Stavytska, the prominent socio-linguist and longtime author of Krytyka and Krytyka Publishers. 

The issue concludes with a review, “In the Labyrinth of Contemporary Urbanism,” by Oleh Sydor-Hibelynda on an exhibit by the Kyiv artist Olena Pryduvalova, which is illustrated by her works.

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