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Additional resources for [Journal] Harvard Ukrainian Studies. Vol. XV. No 3-4
Kocjubyns'kyj's Tini zabutyx predkiv and Vynnycenko's Cesnisf z soboju are examples of such works. Occasionally antipopulist rebellion is reduced to its simplest form: depictions of the brutality and lack of dignity of the common man. Kocjubyns'kyj does this in a number of his works, including "Smix," "Posol vid богпоһо carja," and Fata morgana. " All of this is in marked and deliberate contrast to the image that we find in NećujLevyc'kyj, Myrnyj, Franko, and others of the dignified suffering of the downtrodden peasants or workers and the unwavering dedication of the intellectual who struggles for the liberation and protection of his oppressed brethren.
But can we actually produce a list of criteria by which we distinguish, or our students might distinguish, one from the other? I make no effort, as Grabowicz points out, to list all the possible candidates for the modernist pantheon. My goal is to distill those intellectual, aesthetic, and, yes, ideological features which constitute the ideal paradigm. A particular author's similarity to this ideal is endlessly debatable. The ideal itself, unrealized as it may be in its complete form, is a valuable tool in understanding the forces shaping the literature of a particular era.
He seemed to be playing, making countless pointless motions, turning his fingers in a comical gesture, cutting into the clay with his fingernails, hard as iron, or very quickly rubbing one spot, while continuing with his senseless muttering. " Abiram glanced and did not know what had happened. Was this God's power or some kind of magic? A sorrowful heavenly face was looking at him. In this passage, Xotkevyc not only disparages the stature of community leaders (something he does throughout the story as part of the program of turning Franko's portrait on its head) but also examines the role of the artist in relation to the community and to the leaders of the community.