Abstract
The cultural policy of the USSR provided for the deliberate displacement of Ukrainian (like every other national language) to the naive provincial periphery of the “great art” of the mighty Soviet Union, supposedly possible solely in the sphere of the Russian language. The renewed Soviet ideologization of literature in the postwar years led to a sharp decline in the artistic level of all literary fields. But even against the background of this general artistic decline, the caricaturised burlesque and travesty-like artificiality of Andrii Malyshko’s (1912–1970) poetry of the time is impressive. Malyshko’s so-called “second birth” in his late period represents a rare in its purity instance, where we can observe an ontological conflict of language and ideology that a Ukrainian artist of the Soviet period resolves in favor of language. Malyshko created not provincial peripheral streams, but a strong artistic and philosophical alternative to the blind, technocratic, and miserable in its Russified nature, imperial reality.
Highlights
The cultural policy of the USSR provided for the deliberate displacement of Ukrainian to the naive provincial periphery of the “great art” of the mighty Soviet Union, supposedly possible solely in the sphere of the Russian language
Andrii Samiilovych Malyshko was born on November 14, 1912 in Obukhiv, Kyiv region, into the large family of a cobbler
In 1927, following seven years of schooling, Malyshko enrolled in a medical college in Kyiv, which he left in 1929 to study at the literary department of the Institute of Social Education
Summary
The cultural policy of the USSR provided for the deliberate displacement of Ukrainian (like every other national language) to the naive provincial periphery of the “great art” of the mighty Soviet Union, supposedly possible solely in the sphere of the Russian language. After graduating in 1932 became a schoolteacher in Ovruch, worked at the Soviet Word newspaper (1933), and served in the Red Army (1934–1935).
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