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people who planned them and brought them to reality follow: 1. Early M odern Ukrainian History. Chair: Michael S. Flier (Harvard). Papers: Zenon E. Kohut (U. of Alberta), J.T. Kotilaine (Harvard), Serhii Plokhy (U. of Alberta.). Discussant: Edouard Louis Kennan (Harvard. 2. Regional Dimensions of Democratization in Russia and Ukraine. Chair: Timothy Snyder (Yale). Papers: Jessica Allina-Pisano (Yale), Mikhail Pryadilnikov (Harvard), Oxana Shevel (Harvard); Discussants: David Roger Marples (U. of Alberta) and Lucan Way (Harvard). 3. W estern European Thought in Nineteenth- Century Ukraine. Chair: Larissa Onyshkevych (Shevechenko Scientific Society). Papers: Andrii Danylenko (Kharkiv U.), Assya Humesky [did not participate-absent] (U. of Michigan), Anna M.Procyk (CUNY, Kingsborough). Discussants: Tamara Hundurova and Eleonora Slovev from the Ukrainian Academy of Sciences, Ukraine. 4. Multiple Diaspora: Outm igration from Ukraine in the Twentieth Century. Chair: Michael M.Naydan (Penn State U.). Papers: Marian Jean Rubchak (Valparaiso U.), Greta Uehling (U. of Michigan), Catherine Wanner (Penn State). Discussant: Serhii Plokhy (U. of Alberta). 5. Gender and A lterity in Ukrainian L iterature: Chair: Maxim Tamawsky (U. of Toronto). Papers: Halyna Hryn (Yale, Tamara Hundurova (Ukrainian Academy of Sciences, Ukraine), Maria G. Rewakowicz (U. of Toronto). Discussant: Taras Koznorsky (U. of Toronto). 6. Configuring Ukrainian Cultural Space: Boundaries and Thoroughfares. Chair: Roman Koropeckyj (UCLA). Papers: Taras Koznarsky (U. of Toronto), Myroslav Shkandrij (U. of Manitoba), Maxim Tamawsky (U. of Toronto). Discussant: Halyna Hryn (Yale). A panel on Technical Assistance for Local Government: The Case of Ukraine, to be chaired by Ellie Valentine (Winrock International), was canceled. There are always sessions that deal with Ukrainian Studies which overlap Russian Studies. One such session this year was “Uneasy Laughter: M apping Gogol’s “Petersburg Tales”, chaired by Vladimir E. Alexandrov (Yale). When attending a convention of this kind, one must be selective. Sessions take place concurrently, and attending a two-hour session requires concen tration. In addition, if one is a chair, a presenter or a discussant, one is limited in the number of sessions one can attend. I attended several session, one of which dealt with Ukrainian matters: Configuring Ukrainian Cultural Space: Boundaries and Thoroughfares. The title alone promised an interesting session and it was. University of Toronto Professor Taras Koznarsky’s paper, “ Between Kharkiv, Kyiv, and Si Petersburg: Ukrainian Cultural Space in the Ukrainian Literary Almanachs o f the 1840s,” dealt with a new genre in Ukrainian literature: the almanac. His paper demonstrated how the almanac of the 1820s and 1930s, which initially served as an entertaining public forum, soon evolved and became an anthology of all kinds of literary works, especially plays and poems, in the 1840s. Ukrainian almanac activities centered in Kharkiv and later move to Saint Petersburg which became the cultural space where Taras Shevchenko and his literary friends played an active role. By the 1840s, there were three major cultural landmarks, Saint Petersburg, Kharkiv and Kyiv, and between them a “triangle of activization and creation of Ukrainian space.” Professor Koznarsky’s paper on the importance of the almanacs gave a new perspective on XlXth century Ukrainian literary figures and on Shevchenko’s role and influence. University of Toronto Professor Maxim Tamawsky’s paper presented Ukrainian landscapes in the works of Ukrainian writer Nechui-Levytskyi. In his paper, “Nechui-Levytskyi’s Imagined Ukraine ,” Professor Tamawsky invited listeners to individually recreate the pictures painted in the narrative. He read excerpts from the author’s work in Ukrainian and created the perfect momentum for the third speaker, Professor Myroslav Shkandrij from the University of Manitoba. The title of Professor Shkandryi’s paper was “ Avant-garde Art and the Concept o f Ukraine, 1910- 1935” For the first time, the audience heard about the saga of a series of works of art which were destroyed. The audience also learned how some other masterpieces were confiscated and how some of them found their way to Germany and back to Ukraine. Some artists had familiar sounding names (Alexander Archipenko or Fedir Krychevsky, for instance). But many others were heard of for the first time: Oleksandr Bohomazov, Mykhailo Boichuk, David Burliuk, Oleksandr Dovhal, Alexandra Ekster, Mark Epstein, Moisei Fradkin, Teofil Fraierman, Lev Kramarenko, Borys Kriukov, El Lissitzky, Ivan Lypkivsky, Kazimir Malevich, Vadym Meller, Sofia Nalepinska-Boichuk, Viktor Palmov, Anatol Petrytsky, Mykola Rokytsky, Sukher Ber Rybak, Iiurii Sadylenko, Mykola Savchenko-Belsky, Vasyl Sedliar, Manuil Shekhtman, Maria Syniakova, Dmytro Vlasiuk, Kostiantyn Yeleva, Vasyl Yennilov, and Semen Yoffe. A collection of these artists’ paintings and sculptures, housed in the
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