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The Post-Chornobyl Library : Ukrainian Postmodernism of the 1990s / Tamara Hundorova.

By: Contributor(s): Material type: TextTextSeries: Ukrainian StudiesPublisher: Boston, MA : Academic Studies Press, [2019]Copyright date: ©2019Description: 1 online resource (338 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9781644692387
  • 9781644692394
Subject(s): LOC classification:
  • PG3916.2
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- Acknowledgements -- Translator's Acknowledgements -- A Note on Transliteration -- Preface -- PART ONE. Chornobyl and Postmodernism -- 1. Nuclear Discourse, or Literature after Chornobyl -- 2. Nuclear Apocalypse and Postmodernism -- 3. The Socialist Realist Chornobyl Discourse -- 4. Nuclear (Non)-Representation -- 5. Chornobyl and Virtuality -- 6. Chornobyl and the Cultural Archive -- 7. Chornobyl Postmodern Topography -- 8. Chornobyl and the Crisis of Language -- PART TWO. Post-Totalitarian Trauma and Ukrainian Postmodernism -- 9. Postmodernism: The Synchronization of History -- 10. Ukrainian Postmodernism: The Historical Framework -- 11. A Farewell to the Classic -- 12. The "Ex-Centricity" of the Great Character -- 13. Postmodernism and the "Cultural Organic" -- 14. Postmodernism as Ironic Behavior -- PART THREE. The Postmodern Carnival -- 15. Bu-Ba-Bu: A New Literary Formation -- 16. The Carnivalesque Postmodern -- 17. Yuri Andrukhovych's Carnival: A History of Self-Destruction -- 18. After the Carnival: Bu-Ba-Bu Postmortem -- PART FOUR. Faces and Topoi of Ukrainian Postmodernism -- 19. Narrative Apocalypse: Taras Prokhasko's Topographic Writing -- 20. The Virtual Apocalypse: The Post-Verbal Writing of Yurko Izdryk -- 21. The Grotesques of the Kyiv Underground: Dibrova- Zholdak-Podervianskyi -- 22. Feminist Postmodernism: Oksana Zabuzhko -- 23. Postmodern Europe: Revision, Nostalgia, and Revenge -- 24. The Chornobyl Apocalypse of Yevhen Pashkovsky -- 25. The Postmodern Homelessness of Serhiy Zhadan -- 26. Volodymyr Tsybulko's Pop-Postmodernism -- 27. The (De)KONstructed Postmodernism of Yuriy Tarnawsky -- PART FIVE. Postscript -- A Comment from the "End of Postmodernism" -- A Commentary on the "End of Ukrainian Postmodernism" -- Bibliography -- Index
Summary: Having exploded on the margins of Europe, Chornobyl marked the end of the Soviet Union and tied the era of postmodernism in Western Europe with nuclear consciousness. The Post-Chornobyl Library in Tamara Hundorova's book becomes a metaphor of a new Ukrainian literature of the 1990s, which emerges out of the Chornobyl nuclear trauma of the 26th of April, 1986. Ukrainian postmodernism turns into a writing of trauma and reflects the collisions of the post-Soviet time as well as the processes of decolonization of the national culture. A carnivalization of the apocalypse is the main paradigm of the post-Chornobyl text, which appeals to "homelessness" and the repetition of "the end of histories." Ironic language game, polymorphism of characters, taboo breaking, and filling in the gaps of national culture testify to the fact that the Ukrainians were liberating themselves from the totalitarian past and entering the society of the spectacle. Along this way, the post-Chornobyl character turns into an ironist, meets with the Other, experiences a split of his or her self, and witnesses a shift of geo-cultural landscapes.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781644692394

Frontmatter -- Contents -- Acknowledgements -- Translator's Acknowledgements -- A Note on Transliteration -- Preface -- PART ONE. Chornobyl and Postmodernism -- 1. Nuclear Discourse, or Literature after Chornobyl -- 2. Nuclear Apocalypse and Postmodernism -- 3. The Socialist Realist Chornobyl Discourse -- 4. Nuclear (Non)-Representation -- 5. Chornobyl and Virtuality -- 6. Chornobyl and the Cultural Archive -- 7. Chornobyl Postmodern Topography -- 8. Chornobyl and the Crisis of Language -- PART TWO. Post-Totalitarian Trauma and Ukrainian Postmodernism -- 9. Postmodernism: The Synchronization of History -- 10. Ukrainian Postmodernism: The Historical Framework -- 11. A Farewell to the Classic -- 12. The "Ex-Centricity" of the Great Character -- 13. Postmodernism and the "Cultural Organic" -- 14. Postmodernism as Ironic Behavior -- PART THREE. The Postmodern Carnival -- 15. Bu-Ba-Bu: A New Literary Formation -- 16. The Carnivalesque Postmodern -- 17. Yuri Andrukhovych's Carnival: A History of Self-Destruction -- 18. After the Carnival: Bu-Ba-Bu Postmortem -- PART FOUR. Faces and Topoi of Ukrainian Postmodernism -- 19. Narrative Apocalypse: Taras Prokhasko's Topographic Writing -- 20. The Virtual Apocalypse: The Post-Verbal Writing of Yurko Izdryk -- 21. The Grotesques of the Kyiv Underground: Dibrova- Zholdak-Podervianskyi -- 22. Feminist Postmodernism: Oksana Zabuzhko -- 23. Postmodern Europe: Revision, Nostalgia, and Revenge -- 24. The Chornobyl Apocalypse of Yevhen Pashkovsky -- 25. The Postmodern Homelessness of Serhiy Zhadan -- 26. Volodymyr Tsybulko's Pop-Postmodernism -- 27. The (De)KONstructed Postmodernism of Yuriy Tarnawsky -- PART FIVE. Postscript -- A Comment from the "End of Postmodernism" -- A Commentary on the "End of Ukrainian Postmodernism" -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Having exploded on the margins of Europe, Chornobyl marked the end of the Soviet Union and tied the era of postmodernism in Western Europe with nuclear consciousness. The Post-Chornobyl Library in Tamara Hundorova's book becomes a metaphor of a new Ukrainian literature of the 1990s, which emerges out of the Chornobyl nuclear trauma of the 26th of April, 1986. Ukrainian postmodernism turns into a writing of trauma and reflects the collisions of the post-Soviet time as well as the processes of decolonization of the national culture. A carnivalization of the apocalypse is the main paradigm of the post-Chornobyl text, which appeals to "homelessness" and the repetition of "the end of histories." Ironic language game, polymorphism of characters, taboo breaking, and filling in the gaps of national culture testify to the fact that the Ukrainians were liberating themselves from the totalitarian past and entering the society of the spectacle. Along this way, the post-Chornobyl character turns into an ironist, meets with the Other, experiences a split of his or her self, and witnesses a shift of geo-cultural landscapes.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)