APA 6th Edition Paščenko, J. (2007). Folklor i politika: Iz ukrajinskog povijesnoga gledišta. Narodna umjetnost, 44 (2), 207-229. Retrieved from https://hrcak.srce.hr/23278
MLA 8th Edition Paščenko, Jevgenij. "Folklor i politika: Iz ukrajinskog povijesnoga gledišta." Narodna umjetnost, vol. 44, no. 2, 2007, pp. 207-229. https://hrcak.srce.hr/23278. Accessed 16 Oct. 2021.
Chicago 17th Edition Paščenko, Jevgenij. "Folklor i politika: Iz ukrajinskog povijesnoga gledišta." Narodna umjetnost 44, no. 2 (2007): 207-229. https://hrcak.srce.hr/23278
Harvard Paščenko, J. (2007). 'Folklor i politika: Iz ukrajinskog povijesnoga gledišta', Narodna umjetnost, 44(2), pp. 207-229. Available at: https://hrcak.srce.hr/23278 (Accessed 16 October 2021)
Vancouver Paščenko J. Folklor i politika: Iz ukrajinskog povijesnoga gledišta. Narodna umjetnost [Internet]. 2007 [cited 2021 October 16];44(2):207-229. Available from: https://hrcak.srce.hr/23278
IEEE J. Paščenko, "Folklor i politika: Iz ukrajinskog povijesnoga gledišta", Narodna umjetnost, vol.44, no. 2, pp. 207-229, 2007. [Online]. Available: https://hrcak.srce.hr/23278. [Accessed: 16 October 2021]
Abstracts Starting out from comparison with Krleža's observations on Croatian political folklore from World War I, the paper points to the large fund of Ukrainian oral creativity expressing a critical stance towards the political events in Ukraine from 1918 onwards. At the very beginning of Russian socialism, a myth was created about the ideologically dangerous Ukrainian bourgeois nationalism as justification for the harsh anti-Ukrainian repressions. By way of internal and external censorship, that political myth prevented the meaningful organisation of national culture. Because of ideological dogmas, Ukrainian ethnology developed under political dogmas that ignored the creativity of the ordinary man and his attitude towards politics. From the beginning of Ukrainian independence in 1918 right up until the repressions of 1932, folklore with political content and pronouncedly anti-Bolshevik stances developed throughout the Ukraine. That material was long kept in limited access funds of the Ukrainian M.T. Rylski Academy of Sciences Institute of Art Studies, Folklore and Ethnology in Kiev.
The notations were accumulated in response to a call for collection of folklore from the Ukraine from the beginning of the 1920s. Their study was prevented at the beginning of the dogmatic period in Ukrainian ethnology and this state of affairs lasted right up until the regime was brought down at the beginning of the 1990s. Unfortunately, the material was not published, due to scholarly inertia. The various forms and content of that creativity are demonstrated in the paper. An era of soc-realism took hold in Ukrainian ethnology after the 1930s, and it was to continue. The folklore of the preceding period that is presented in the paper was passed over in silence and banned. Authorial folklore constructs were introduced as an expression of solidarity with the people and with the Party. The Ukrainian epic corpus known as dumy, which became forms for the creation of a fictitious epic, was particularly affected. Ideological pressure deformed Ukrainian folklore. Unfortunately, certain authors adopted those forms and misrepresented them as actual, original Ukrainian popular creativity.