Shakespeare in Ukraine
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Irena Makaryk
About this book
Often regarded as a playwright “beyond nationality,” Shakespeare has played a central role in Ukraine's cultural history over the past two centuries. His works have served as both a lens for exploring Ukraine’s historical and cultural identity and as a shared medium through which Ukrainian poets, dramatists, and theatre artists have communicated with the world.
Shakespeare in Ukraine: Mirror, Prism, Megaphone, by award-winning Shakespearean and theatre historian Irena R. Makaryk, analyzes key moments of Ukraine’s engagement with Shakespeare. The text traces the evolution of Shakespeare in Ukraine, from his early influence on figures like Taras Shevchenko and Lesya Ukrainka to the groundbreaking theatrical work of Les Kurbas, the first to stage Shakespeare in 1920, a bold assertion of cultural identity and independence. The volume also explores the defiant production of Hamlet under Nazi occupation in 1943, adaptations of Shakespeare’s works under Soviet rule, Shakespeare commemorations in the Cold War era, and the efflorescence of Shakespeare productions in the post-independence period.
Rich with astute scholarly observations and fascinating historical details, Shakespeare in Ukraine investigates the multifaceted roles of Shakespeare during periods of great cultural and political upheaval. From the early Soviet period to the ongoing war with Russia, Makaryk offers insights into the enduring power of Shakespeare and the way he amplifies Ukraine’s creative and cultural imagination.
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Topics
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Frontmatter
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Contents
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List of Illustrations
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Acknowledgments
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A Note on Transliteration
xv -
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1 Introduction – Shakespeare in Ukraine: Mirror, Prism, Megaphone
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2 Calibans All: Shakespeare at the Intersection of Colonialisms
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3 “North by North West”: Shevchenko and Shakespeare
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4 Ophelia as Poet: Lesya Ukrainka and the Woman as Artist
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5 Periphery Against Centre: Hamlet in Early Soviet Ukrainian Poetry
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6 Shakespeare Right or Wrong?
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7 The Perfect Production: Les Kurbas’s Analysis of the Early Soviet Audience
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8 In a Crooked Mirror: Hamlet as Intertext in the USSR 1934–43
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9 Hamlet, 1943
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10 Commemoration as Amplification: The “Universal” versus the National Bard
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11 Antic Dispositions: Shakespeare, War, and Cabaret
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12 Afterword: Shakespeare at War Today
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Notes
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Index
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