Studying the last century and a half of Ukrainian linguistic history reveals relentless attempts to stifle the development of Ukrainian as well as to suppress translation activities under both the tsarist and Soviet regimes. Exploring the morphological evolution of the Ukrainian language discloses evidence of terminological inconsistencies due to the lexical russification of Ukrainian during the Soviet regime, leading to inconsistencies between the standard of Ukrainian used in the Soviet Union versus that used in the diaspora. Additional examination of Ukrainian linguistic history discloses political motives for banning translations, refusing the right to translate, censoring translations, and punishing translators who rejected the mandatory Soviet literary norm of Socialist Realism. In order to further understand the implications of translation practices in the Ukrainian SSR, it is important to examine the language policies, political agendas and translation practices prior to and throughout the Soviet regime. This thesis explores and analyses the russification of Ukrainian through translation policies designed to fulfil Soviet political and ideological agendas. It compares power differentials between Russian and Ukrainian, as well as between Russian and other minority languages in translation, and examines the resulting terminological inconsistencies. It shows unequivocally how translation, transliteration, and censorship were used to foster linguicide and assimilate Ukrainian minorities, from the late tsarist era to the collapse of the Soviet Union.

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This project examines developments in the field of visual art in the post-Korean War period of national reconstruction in the Democratic People’s Republic of Korea (1953-1960). In particular, I focus on the debates that arise within the emergent genre of Chosŏnhwa, a modernized mode of traditional painting in ink, that address the question of a North Korean mode of socialist realism. Based on editorial articles and round table discussion published in the art journal Chosŏn misul (1957–?) my project traces the dynamic positions held by artists, critics and historians on the relationship between the discourse of (socialist) realism and the role of Korea’s own aesthetic tradition within the development of a new mode of North Korean art in the socialist context. What transpires is a dynamic discourse on what constitutes or should constitute North Korean art in the contemporary era of socialism.

This project examines developments in the field of visual art in the post-Korean War period of national reconstruction in the Democratic People’s Republic of Korea (1953-1960). In particular, I focus on the debates that arise within the emergent genre of Chosŏnhwa, a modernized mode of traditional painting in ink, that address the question of a North Korean mode of socialist realism. Based on editorial articles and round table discussion published in the art journal Chosŏn misul (1957–?) my project traces the dynamic positions held by artists, critics and historians on the relationship between the discourse of (socialist) realism and the role of Korea’s own aesthetic tradition within the development of a new mode of North Korean art in the socialist context. What transpires is a dynamic discourse on what constitutes or should constitute North Korean art in the contemporary era of socialism.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript. Sponsor: Frederick D. Kershner, Jr. Dissertation Committee: Gordon C. Lee, Alice W. Spieseke. Type C project. Includes bibliographical references (leaves [179]-189).

Thesis--Bonn, 1976.

Diss.--Freiburg im Breisgau. / Bibliography: p. 257-271.

Thesis--Jyväskylän yliopisto. / Extra t.p. with thesis statement inserted. Summary in English. Includes bibliographical references (p. 273-280) and index.

Thesis--University of Wisconsin--Madison. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves 377-398).