This dissertation is dedicated to the Ukraine writter Oksana Zabuzhko. At the beginning I'm describing literary-historical and biografical circumstances which led to the birth of her creation. Then I'm focusing on the charasteristic of her prosaic work and her style of writing including the very detailed analysis of her collections of stories named " Sister, sister". This dissertation is as well describing the position of female literature in the present Ukraine literacy process and Oksana Zabuzhko 's part in its development. Second part of my dissertation is focused on the analysis of the translated story called "Girls", from the collection of stories "Sister, sister". Evalution criterions are in this case the questions of equivalence - adequacy of the translation, translation of (un)translatable lexical units in Czech, the problems with translations of facts, translation of foreign languages' parts in original text and reproduction Olga Zabuzkova's style in all levels - syntactic, lexical and expressive as well. Minor mistakes in the translation to the Czech version were revealed during the research, but overall the translation is rated as a very successful one. The translator succeed in transfering of artistic values and pragmatic effect of the original work into Czech language.

This diploma thesis on Issues of translation of the novel NeprOsti by Taras Prochas'ko deals with an analysis of the translation and specification of particular translators' solutions of the novel NeprOsti written by one of the famous one of the famous contemporary Ukrainian prosaist and essayist, who belongs to representatives of the Stanislav Phenomenon. His work has a specific characteristic distinguished from the other Ukrainian post-modern authors. The characteristic of his work and its placement within the contemporary Ukrainian literature is a part of the first section of the work. The attention is paid to Prochasko's specific text NeprOsti, published in 2012, in Czech translation titled Jinací. In the second part of the diploma thesis there are stated the theoretical solutions of my analysis. The story is set into ethnographic specific Hutsul part of Carpathian Ukraine, which is rich in numerous local facts and linguistic interesting peculiarities that are significantly reflected in the text. For this reason the novel contains a number of problematic and interesting phenomena, which are generally referred to as culture-specific items. A difficulty during the translation process was also caused by the author's distinctive syntax, language games and numerous polysemantic expressions. In the...

No description available.

This thesis Issues of translation of the novel Chronos of Taras Antypovych focuses on the indication and analysis of various difficult lexical phenomena in the science-fiction novel of contemporary Ukrainian writer Taras Antypovych. Among the specific features of his novel we could name such as almost complete absence of facts, plenty of neologisms, a lot of self-described names, and frequent mixing of different functional styles. The first part of work deals with the characteristic and detailed analysis of the novel Chronos, the second part is both theoretical and practical one that could be considered as the central part of the work. Such phenomena as neologisms, slang and argot, language games, vulgarisms, own names, "surzhik", phraseological units, interjections, and the words derived from them are considered here as one that may appear problematic in the translation from Ukrainian into Czech. The theoretical explanation is accompanied by examples from the text of the novel which I translated into Czech and supported with comments. The main aim of the work was to clarify the translation process and to present one or more solutions to the problems indicated above. Key words: Taras Antypovych, Chronos, Ukrainian literature, translation, translation theory

This essay discusses the phenomenon of “aggressive localism” in literary works by Andrzej Stasiuk and Jurij Andruchovyč. The former is characterized by anti-urbanism, underground aesthetic, and regional determinism. The Wende – as the revolutionary events of 1989/91 in East and Central Europe are commonly, if controversially, referred to in German – is used as metaphorical pivot. Across this rupture the city serves as the dominant frame of reference for (self-) interpretations of underground art, defined as a specifically all-embracing form of expression that seeks to subvert “official” claims about the city, i. e. spatial hierarchies. The city thus connects the marginally (sub-) urban with political dissent in the form of social nonconformity. Stasiuk and Andruchovyč intensely employ literary means derived from aesthetic patterns of underground art. Their characters envisage urban solitude and death, post-multicultural fissures in the (great) city. Yet, both narrators depict “their” respective city as a metropolitan village, as a place of a more local, even rural, of indeed pagan profile. At the same time, they use these patterns to praise the East Central European countryside as a “slow space”. In such manner, they appropriate a pre-Wende aesthetic strategy in order to produce structural aggressive fantasies of a re-ruralized “East”.

This dissertation thesis focuses on a topic that is of growing interest among scholars, and for which there is still plenty of room for analysis and interpretation, namely the role of the Ukrainian Sixtiers during the Khrushchev Thaw in the USSR in the period 1956-1964. This cultural phenomenon is analysed within a broader socio-cultural context with the help of the approach of colonial studies. The key research question is "How did the worldview of the Sixtiers develop during the Khrushchev Thaw (1956-1964) from the point of view of colonial studies and how was this reflected in their literary works?" The first chapter describes the historical, political and cultural context of this period. It includes an analysis of the circumstances surrounding the proclamations made in Khrushchev's secret speech in 1956, the beginning of the policy of de-Stalinization, and its impact on the political and cultural life in Soviet Ukraine. Particular attention is paid to the development of the official discourse of socialist realism as an official and dominant cultural concept, which was to be applied in artistic and literary works. The main principle of socialist realism, so-called "internationalism", is analysed in terms of its role as an element of colonial discourse. The second chapter focuses on the...

This study examines the specific aspects of the reception of Russian formalism and the development of the Formal method in Soviet Ukrainian culture in the 1920s - the beginning of 1930s. Russian formalism in the process of reception becomes an important tool for the "modernization" of national culture and, as a result, an instrument for a new phase in the construction of national cultural identity. On that basis, the cultural-historical and ideological context of the development of Ukrainian literary criticism, criticism and (partially) literature of the late 19th - first decades of the 20th century is consistently reconstructed in eight chapters of the work. The first chapter highlights theoretical aspects of the study, reviews critical literature, reconstructs the history of reception of Russian formalism in Russian and Western criticism and the history of literature. The second chapter addresses the historical and theoretical premises of the reception of Formal theory in Ukrainian culture. The next chapter discusses historical and political context of the development of literature and literary criticism in 1917-1920 using the example of multinational post-revolutionary Kiev; a brief review of the theoretical and historical works of the 1920s also appears here. A special focus is put on the...

The Ukrainian national bard Taras Shevchenko constitutes one of the best known lieux de mémoire and symbols of identification in Ukraine. The article engages with the imagining of Shevchenko in the texts of the intellectual Ivan Dzjuba. It focuses mainly upon the essay “Shevchenko forever” from 2008 and the changes evident in this version compared to a previous version from 1989. The article investigates Soviet continuities, as well as transformations in the image of Shevchenko that are connected to the gaining of Ukrainian independence in 1991. It shows how the text preserves its sense of contemporary societal relevance under new cultural conditions.