Academic literature on the topic 'Neo-Hellenic literature (20th century)'

In this article we intend to demonstrate in how far the discussion about Latin American baroque and neo-baroque “catalysed” the approximations and cultural dialogues between Brazil and Hispanic America in the 20th century. The central axis of our analysis is the Brazilian poet, translator and critic Haroldo de Campos, who regretted the lack of approaches on several occasions and who tried to establish cultural bridges between both sides. After giving a short overview about his relationship to the Hispanic Literatures and his thoughts about a non-hierarchical conception of literature, we are going to focus on his theoretical considerations about the baroque as starting point to rethink Latin American Literature. Moreover, we intend to show some of the implicit and explicit literary dialogues between Brazil and Hispanic America which arised both from the historical and the neo-baroque.

Neo-geo, which appeared as an abstract and modern art movement towards the end of 20th century, has had its impact in 21st century as well. New geometry painting perception known as neo-geo is the works where materials and geometric forms are used in any environment. The effects of geometric forms are observed in fashion as in architecture and painting. Fashion designers are the people with an open perception who are able to manage to develop their artistic experience and knowledge using the current time and their abilities in a correct way. The purpose of the current study was to investigate the new geometry as an abstract and modern art movement and fashion interaction and determine its effect on fashion. In this research, the related literature was reviewed and the collections of the fashion designers who were impressed by this art movement was examined and some samples were given. Due to the fact that the art movement of neo-geo appeared towards late 1980s, clothing styles of 80s and its relation with the fashion in those days were given.Keywords: Fashion, neo-geo (new geometry), art.Â

Abstract The first part of this article examined the features that distinguish the language of the earliest Mandaean colophons from Classical Mandaic and demonstrated that many of these features are shared with the contemporary Neo-Mandaic dialects recorded in the research literature since the 20th century. Part 2 presents editions and translations of the source texts with some brief philological notes and seeks to identify the origins of the linguistic innovations.

Background/Context: This research is framed by both the historical lineage of the New Civics and the legacy of educational and curricular debates in the United States. It contributes to the literature on mid-20th century education. Purpose and Research Questions: This study explores the relationship between religion, civics, and education through the lens of university and faculty leaders at Harvard, Princeton, and Yale Universities in the mid-20th century. Research questions include (a) What were some of the major trends in curricular reform before totalitarianism emerged as an idea or concept, and how were they related to questions of freedom? (b) In the mid-to-late 1930s, how did the presidents of Harvard, Princeton, and Yale view the idea of totalitarianism/authoritarianism and its potential impact on these earlier reform efforts? In addition, what role did trustees, students, faculty, and other constituents play in these conversations? (c) What educational proposals were offered as solutions or counterattacks to totalitarian ideas? (d) What lessons can we draw today from these debates about educating for freedom? Research Design: This study utilized a historical case study design based on intellectual, educational, and cultural history. I examined more than 30 archival collections at Harvard, Princeton, and Yale; my focus was on curricular meeting minutes, presidential papers, dean’s papers, and individual manuscripts. Findings/Results: Most literature on 20th-century American education and civics focuses on secularization. My research instead emphasizes the dynamic relationship between religion and education, including the ways in which educational practices became religious in form and purpose. I illuminate the ways in which, even after World War II, Christian supernaturalism and secular facts were thought by a coterie of faculty and university leaders to be interconnected. Educators at Harvard, Princeton, and Yale referenced Christian Humanism—a fusion of supernatural and secular—as being highly relevant to their time.

During the last decades of the 20th century, Shining Path conceived Indian culture mainly as part of feudalist-capitalist alienation. Consequently, this insurrectionist organization aimed to mobilize the indigenous communities around a class-oriented revolutionary project. Although the academic literature has acknowledged and studied this process, its historical roots in the intelligentsia of the early 20th century remain under-examined. To contribute to their research, this article first analyzes the “neo-indigenist and indigenist discussion” of the first decades of the century, mainly through the works of Manuel González Prada, Luis Eduardo Valcárcel, and José Uriel García. The article will then focus on José Carlos Mariátegui and Víctor Raúl Haya de la Torre to explore the discussion around the implementation of socialist thought in Peru. Finally, this research analyzes the influence of the previous authors on the configuration of Shining Path’s ideology, Pensamiento Gonzalo. The article argues that Shining Path intensified three tendencies of the 20th-century Peruvian intelligentsia: the need to assist Indians in the development of an effective discourse, the legitimation of revolutionary violence, and the Peruvian bourgeoisie’s leadership of the Indians. In conclusion, Shining Path’s ideology should not be regarded as a rara avis, but as the result of a dogmatic application of Maoism to already existing discussions of the Indian problem.

The image of Simon Ninheimer — the opponent of scientific and technological progress — is described by A. Azimov in the story «Galley Slave». It is used to develop the idea of resistance to mechanization, which is now finding increasingly supporters due to the increased influence of information and communication technologies in general and artificial intelligence and robotics in particular. The historical and conceptual foundations of neo-luddism are linked with modern trends calling for a gradual, controlled innovation. It is noticed that the ideas of the luddites have been preserved in romantic literature and transformed into neo-luddism in the 20th century. The theorists of this movement use philosophical concepts of different epochs (e.g. Socrates, J.-J. Rousseau and M. Heidegger) to confirm the legitimacy of their own status. As a result, in the 21st century more moderate areas of struggle against scientific and technological progress are actively developing under the influence of postmodernism. For example, the slow movement is growing strength, and its supporters are trying to slow down the pace of life and are calling for a thoughtful, responsible attitude towards emerging technologies. The positions underlying the slow movement are in tune with the dromology of P. Virilio and the slow philosophy of G. Fleistad. However, neo-luddism has social status of counterculture, but the situation can be changed due to the rapid and sometimes uncontrollable development of technology.

AbstractThis article is interested in the hegemony which neo-realism accomplished during the second half of the 20th century in both the academic field and policy making of I/international R/relations. Our examination posits the argument that neo-realism can be seen as an ideology rather than a theory of international politics. While this view can connect to individual voices from the 1960s as well as to an emerging body of critical literature since the 1990s, we propose an ideology critique to explore this argument. To unfold this approach we will elaborate some neo-realist misreadings which we think manipulate intellectual history (among others, the writings of Hans J. Morgenthau) and represent an ideological impact intrinsic in the development of IR. An ideology critical approach – which is inherent in Morgenthau's thoughts on international theory themselves and thus helps to reveal profound discrepancies at the heart of an ostensible ‘realist’-neo-realist ‘unity’ – has, firstly, to problematise those discrepancies and, secondly, to focus on hegemonic strategies applied to ideologise and mainstream the academic field. The first part of such an agenda is what we present here; the second part is what we outline methodologically and suggest for further studies in, and of, IR.

The ‘spatial turn’ in education policy studies fuelled interest in Lefebvre’s work: initially, in his work Production of Space and, more recently, Rhythmanalysis and Right to the City. Yet, although in these texts Lefebvre critiques universities and schools and introduces original pedagogical concepts, their educational strands have attracted little attention. Lefebvre’s other works available in English have been largely overlooked in education literature. As France’s first Professor of Sociology, Lefebvre was passionately engaged with education: in particular, teaching, competing for government grants and leading student activism. Critiques of education are threaded through Lefebvre’s three-volume Critique of Everyday Life, his writings on architecture and anthologies. Lefebvre’s work, The Explosion, is surprisingly neglected. A critique of French universities, it analyses student protests across Paris in 1968 – events in which Lefebvre was a leading activist. In geography and philosophy there are burgeoning secondary literatures on Lefebvre. Laying groundwork for such a literature in education, I survey Lefebvre’s references to education in all the works available in English. Arguing that Lefebvre was an educational thinker in his own right, this paper sketches a ‘roadmap’ for educational readings of Lefebvre’s prolific and largely sociological writing. This paper falls into three parts. The first uncovers core Marxist and phenomenological foundations of Lefebvre’s critiques of universities and schools. Building on these, it introduces Lefebvre’s pedagogical concepts. The second part contextualises these in relation to ‘New’ (or ‘Progressive’) education movements at ‘critical moments’ of 20th-century history. It includes a case study of one such moment – the 1968 Parisian student uprising – then outlines Lefebvre’s summation of education in the late 20th century. The third part draws together four ‘Lefebvrian’ pedagogical principles and considers their relevance today. Educational readings of Lefebvre, I suggest, can help educationists identify ‘cracks or interstices’ in ‘technocratic rationality’, suggesting strategies for resisting contemporary neo-liberal regimes.

The article deals with the specific model of translation of cultural codes in the 20th century Balkan literature and art. The author highlights explications of translation of various kinds: the motif of the crossing-bridge and the scheme of the narrator-mediator in I. Andrich’s prose, border forms in the South Slavic art of the neo-avant-garde of the 1960s (the group “Medial”), the multilevel borderzone in D. Ugreshich’s prose, problematic communication in visual concepts of Christo. The general strategy of translation-as a-transfer demonstrates an antinomy of the Balkan model of the world: the translation as a bridge designed to connect here divides the participants in the communicative process. The texts of different classes and poetic systems are marked with extremes: “translation” is implemented in the range from metaphorical silence to over-communication.

One of the composers who devoted a substantial part of their creative output to the Baltic Sea and Kashubia is Adam Świerzyński – he wrote numerous marine-themed pieces for varied performance groups. These compositions are not wide-known and some of them even get forgotten. Nevertheless, they are worth looking into due to their artistic value. Świerzyński’s works are eclectic in their style as in terms of their harmonic aspect they refer to Neo- Romanticism or aim towards modernist sounds. The composer’s instrumental lyric, which is based on inspirations by the nature of the sea as well as by historical events and folk elements, is an interesting area in the Polish 20th century literature. The present article relates to two compositions for viola and piano, i.e., Sea Impressions and Elegy, as well as viola transcriptions of Kashubian Fantasy and Lamento, Arend Dickmann in memoriam.

Cette etude propose une analyse de "Tel Quel" en tant que mouvement de neo-avant-garde situe a la frontiere de la modernite et de la postmodernite. Nous y considerons tous les textes de creation (roman et poesie) publies dans la collection "Tel Quel" entre 1960 et 1982, sans negliger l'etude de leur rapport avec la reflexion theorique exposee dans les essais et les articles de la revue. Cette these represente en meme temps un effort de synthese des principales typologies ou tentatives de definition proposees par la critique occidentale pour caracteriser les mouvements litteraires issus des societes post-industrielles: modernite, postmodernite, modernisme, postmodernisme, avant-garde, post avant-garde et neo-avant-garde.

During the early twentieth century, Japan was modernizing in all areas of science and art, including children’s literature. Ogawa Mimei (1882-1961) was a prolific writer who advanced various literary forms such as short stories, poems, essays, children’s stories, and children’s songs. As a writer, he was most active during the late Meiji (1868-1912) to Taishō (1912-1926) periods when he was a socialist. During that time, he penned many socialist short stories and children’s stories that were filtered through his humanistic, anarchistic, and romanticist ideals. In this thesis, I analyze Mimei’s socialist short stories and children’s stories written in the 1910s and 1920s. I identify both the characteristics of his writing style and the themes so we can probe Mimei’s ideological and aesthetic ideas, which have been discounted by contemporary critics. His socialist short stories challenged the dogmatic literary approach of Japanese proletarian literature during its golden age of the late 1920s and early 1930s. His socialist children’s stories also deviated from the standard of Japanese children’s literature in the 1950s and 1960s. In this thesis, I break away from the narrow views that confined Mimei to certain literary standards. This thesis is a reevaluation of Mimei’s literature on his own terms from a holistic perspective.

L’enjeu de cette thèse est d’analyser comment l’acte de se remémorer se trouve au cœur des œuvres d’après-guerre de Kosmas Politis (1888-1974), tout comme il sous-tendait la narration d’Eroica, son roman le plus célèbre datant de 1938. En effet, nous étudions la manière dont Politis convoque dans Yiri, À Hatzifrango et Terminus les trames de sous-genres romanesques populaires tels le roman social ou encore le roman sentimental, suscitant chez le lecteur une impression de familiarité renforcée par l’influence dans ces récits des romans lus et souvent traduits par Politis. Les narrations, par des citations ou des allusions intertextuelles à des pièces de théâtre ou à des opéras, références inscrites dans la mémoire du lecteur, deviennent également dramatiques. Le lecteur, prenant le rôle de spectateur, est contraint de constater la précarité de l’existence, du temps et du territoire. Les sociétés disparues du début du XXe siècle ou de l’immédiat avant-guerre sont enfin décrites par des narrateurs-témoins qui se heurtent à la fragilité de leurs souvenirs. Pourtant, l’art musical auquel ils ont recours permet leur perpétuation. Portant ainsi la trace des arts romanesques et dramatiques des époques révolues, les récits d’après-guerre de Politis sont composés selon une mélodie nouvelle qui lui est propre : cette petite musique s’éloigne de la tonalité majeure d’Eroica. Laissant entendre les influences orientales de l’amanès mêlées à des compositions européennes, elle devient moins homogène et plus dissonante. Plus que les arts visuels, c’est donc l’art musical qui est au centre des narrations car il permet de dire la fugacité du temps sans exclure sa possible résurrection
We intend to analyze how the act of remembering is a central element in the post-war works of Kosmas Politis (1888-1974), as well as it already underlied Eroica’s narration, his most famous novel published in 1938. We thus study the way that Politis introduces in Yiri, In Hatzifrango and Terminus the plots of popular novels such as the social novel or the sentimental novel. These can arouse an impression of familiarity in the reader reinforced by the influence of readings or translations of Politis himself. Moreover, the narrations through intertextual quotes or allusions to theatrical plays and operas, already known to the reader, also become dramatic. The reader, having a spectator’s role, is forced to contemplate the precariousness of existence, time and territory. The societies which have disappeared are at last described by narrator-witnesses who face the fragility of their memories. However, the musical art they use allows these pictures of the past to survive. Therefore, bearing the trace of novels and plays of bygone eras, the post-war stories of Politis are composed according to a new melody. The author’s own music moves away from the major key of Eroica, adopting oriental influences from amanes and mixing with other European musical forms, to become less homogeneous and more dissonant. More than the visual arts, it is musical art that shapes Politis’ postwar novels as it expresses the fleetingness of time without excluding its possible resurrection

The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.

博士
國立清華大學
中國文學系
103
This paper mainly focuses on the so-called “Shanghai/Chinese Neo Sensation School” which has been supposed and established in Modern Chinese literature history as a typical genre of aestheticism and formalism inclined literary group deeply influenced by late-19th century western artistic trend. However, instead of regarding “Shanghai Neo Sensation School” as solely western-influenced aesthetic literature, this paper explores the multi modernities which “Shanghai Neo Sensation School” had by their relationship with Japanese Neo Sensation School and from early-20th east-Asiatic “Newly Rising Literature” angle. In other words, the target of this paper is to discover the complexity of “Shanghai Neo Sensation School” by means of a historical research way, trying to re-examine the literary complicacy of “Shanghai Neo Sensation School” in 1920s-1930s east-Asiatic culture, politics and historic context. The concept “Shanghai Neo Sensation School” had been firmed as an aesthetic- modernism group opposed to proletarian realism literature since mainland China 1980’s scholarships’ “rewriting modern Chinese literary history” trend. Although the canonization has made “Shanghai Neo Sensation School” got scholarly attention, it let “Shanghai Neo Sensation School” be considered as a pure aesthetic and nonsocial school which only laid special emphasis on writing skill, internal experience and urban life of sensual pleasure. Under the point of view, not only the complex content of “Shanghai Neo Sensation School” has been ignored, but the relation between Shanghai and Japanese Neo Sensation Schools has been lacked subtle and comprehensive survey. Accordingly, the motive of this paper is to explore a little further into the literary practices of “Shanghai Neo Sensation School” historically, trying to sophisticate their significance from modern east-Asiatic social and cultural circumstances. In fact, “Shanghai Neo Sensation School” was an informal group of young writers gathered by similar literary interests; their literary works respond to each other and presented as relating to early 20th century Japanese “Newly Rising Literature”. “Newly Rising Literature” referred to a series of newly literary practices which arose after 1923 Kantō earthquake Japan – with the rapid development of post-earthquake rebuilding, modernization, globalization and pursuit of scientism, “Newly Rising Literature” widely included western Europe avant-garde, Russian Communist art, Marxism theories, proletarian literature, urban mass culture and so forth which were seen as corresponding to worldly tendency to various “modernities” at that time. To some extent, Japanese Neo Sensation School can be regarded as a sort of “Newly Rising Literature”, it also had frequent interaction with other species of “Newly Rising Literature”. Just like Japanese Neo Sensation School came into being at post-earthquake transformed Tokyo society, “Shanghai Neo Sensation School” likewise had close connection with 1920s-1930s “modern Shanghai” environment, and its literary practices touched the multi modernities of early 20th century Japanese “Newly Rising Literature” phenomena and issues as well. It is from the above assumption that make this paper set Tokyo／Shanghai as two compared cultural geographic space for analytic framework. Firstly, the primary section of this paper deals with the relation of Japanese Neo Sensation School’s birth and 1920’s Japan post-earthquake culture transformed surrounding. Therefore, in this section, I center on elaborating Japanese Neo Sensation School’s theories about literature, trying to illustrate their literary purpose of scientism by relating to Japan’s Taishō to Shōwa “intellectualism” current of thought, knowledge and the whole society background. After that, the main part of this paper takes aesthetic avant-garde, left practice on proletarian literature and urban mass culture writing as three cross-cultural representative characters of “Shanghai Neo Sensation School”s practice on multi modernities with Japanese New Sensation School. Compared to Japanese New Sensation School’s core lays on scientism responding to Japan’s early 20th century intellectualism atmosphere, this paper finds out that “Shanghai Neo Sensation School” presented themselves the dialectical issue between artistic／social avant-garde was their substantial concern. For instance, no matter applying Marxism art theories to their experimental urban writing, putting the problem of urban／rural conflict to their urban topic fictions, or presenting narrative innovation in civic creative pieces, “Shanghai Neo Sensation School” showed their writing were neither copy of Japanese New Sensation School nor formalism practices transplant from western aestheticism, but in fact an involution of various modernities according to Chinese language, narrative tradition, political condition and cultural situation. Overall, this paper tries to clarify the exact relationship between Shanghai／Japanese Neo Sensation Schools by putting them in 1920s-1930s China-Japan historic context and Tokyo／Shanghai comparative cultural fields and metropolitan space. By this methodology, Shanghai／Japanese Neo Sensation Schools will no longer be seen restrictedly as western-imitating aesthetic genre; on the contrary, their “modernism” practices will be elucidated concerned with east-Asiatic cultural surrounding and China／Japan modern history and thus demonstrate their literary “modernism” as full of Asiatic local characteristic which is worthy of being re-evaluated in Chinese modern history.

This research report explores the link between the novels of Ingrid Winterbach / Lettie Viljoen, a third culture and the neo-Victorian novel. The study is therefore situated within the cultural-philosophical framework of a third culture, which implies that the two cultures of science and literature do not function as separate disciplines, but as an organic unit. Researchers in the interdiscipline of literature and science identify the Age of Science (1879–1914) – including the Victorian era (1837–1901) – as a historical period where the existence of such a third culture was observed. This period was characterised by numerous scientific discoveries, and Darwin’s theory of evolution generated heated debates in Victorian society. Nineteenth-century literature (and specifically the Victorian novel) therefore reflects the spirit of an age where the interaction between science and literature was particularly evident. In our information-driven society, the focus is once again on scientific discovery and dissemination of knowledge, prompting social critics to typify the current period as “neo-” or “retro-Victorian”. The contemporary imagination still problematises Darwin’s theory of evolution, and fiction such as Winterbach’s therefore not only renegotiates the fixed modernistic boundaries between science and literature, but also revisits the nineteenth- century genres simptomatic of a similar third culture. Winterbach’s novels (1984–2006) display a distinctive predisposition towards natural history and Darwinistic principles and are therefore postmodern adaptations of nineteenth-century conventions. Darwinistic concepts such as growth, metamorphosis,transformation, evolution and the origin, naming and extinction of species are therefore accentuated. Winterbach’s fictionalisation of a nineteenth-century worldview can be linked to the work of her ancestors in the Afrikaans literary tradition, Eugène Marais and C. Louis Leipoldt (both amateur scientists). Her popularisation of scientific knowledge and revisitation of Victorian codes also link her to a neo-Victorian novelistic movement (a contemporary permutation of the Victorian tradition). Her oeuvre therefore also displays similarities to that of her British contemporary, A.S. Byatt, a prominent neo-Victorian novelist. An exploration of the natural world in this tradition, however, also implies an exploration of supernatural spheres, a trend which is equally evident in texts by congeners such as (George) Eliot, Marais, Leipoldt, Winterbach and Byatt.
Afrikaans
D.Litt. et Phil. (Afrikaans and Theory of Literature)

Le mythe du retour dans la poésie néo-hellénique du XXe siècle La poésie néo-hellénique du XXe siècle est imprégnée d’un recyclage des formes et des figures d’expression de la mythologie classique grecque. Ce recyclage, tel que pratiqué par des poètes comme Cavafy, Séféris et Elytis, se manifeste et s’articule dans le phénomène du mythe du retour, phénomène qui évolue sous quatre aspects distincts : le mythe (l’histoire) du retour, le retour au mythe, le retour du mythe et le mythe (l’illusion) du retour. La première manifestation de ce mythe du retour s’initie dans un renvoi à l’histoire homérique de l’archétype odysséen. En deuxième lieu s’élabore le retour au mythe, c’est-à-dire le recyclage du mythe dans un cadre idéologique et poétique. Ensuite se façonne un retour du mythe, par lequel la mythologie initiale du retour revient comme un concept où se métaphorise une forme d’expression première. Enfin se conscientise le mythe du retour, où le mythe n’est plus histoire, mais devient illusion.
The Μyth of the Return in 20th Century Neo-Hellenic Poetry The Neo-Hellenic poetry of the 20th century is permeated by a recycling of the forms and figures of speech found in classical Greek mythology. This recycling, as practiced by poets such as Cavafy, Seferis and Elytis, is expressed and articulated in the phenomenon of the myth of the return, which evolves on four distinct planes: the myth (story) of the return, the return to the myth, the return of the myth and the myth (illusion) of the return. The first manifestation of this myth of the return is the Homeric story of the Odyssean archetype. Secondly is expressed the return to the myth into a recycled ideological and poetic form. Thereafter is shaped the return of the myth, through which the initial mythology of the return occurs as a concept that enables a primary form of expression. Finally is transcended the myth of the return, which is no longer only story, but illusion.

The article is devoted to the graphic design of books of the representatives of Mykhailo Boichuk’s school in the Ukrainian art of the first part of the 20th century. At that time, Mykhailo Boichuk became the founder of a new artistic trend in Ukrainian culture, called “neo-Byzantism”. In Stalin’s time this trend was renamed as “Boichukism” because the connection with Byzantium was perceived by the Soviet authorities as a relic of feudalism hostile to the Soviet state system. Mykhailo Boichuk himself and his leading pupils (S. Nalepinska-Boichuk, I. Padalka, and V. Sedlyar) were shot as “enemies of the people” in the bloody year 1937. All that was associated with their versatile art was ruthlessly destroyed. How ever, books cannot be completely destroyed, as they circulate. Thanks to the book graphics of Boichukists, first of all, today it is possible to demonstrate their search for the national style and especially the creative method of the school, and also the evolution of their creativity, uniqueness and their connection with the European artistic movement, in particular with Polish artistic culture, their use of new graphic design techniques and contribution of this Ukrainian school to the pan-European development of book graphic design. And although the author of this article has already published the scientific monograph “Boichukists’ graphics” (Kharkiv – New York, 2002), it has not focused on the European context of this phenomenon. The rapid development of Ukrainian literature can be seen between the 1920s and early 1930s. There is an urgent need to add artistic decoration to books. Original schools of Ukrainian book graphic design are formed following the principles of Boichukism – of Sofia Nalepinska-Boichuk in Kyiv and of Ivan Padalka in Kharkiv. The decline of zincography in Ukraine and the need to give the Ukrainian book a national character prompted Nalepinska-Boichuk to refer to the old Ukrainian engraving. Nalepinska-Boichuk builds her school, reviving the art of woodcutting. Padalka and his students turn to linocuts, using the technique in the book business. Another student of Boichuk, Vasyl Sedlyar, mastered the ink and brush technique. Boichukists’ book graphic was imbued with the spirit of the changes that took place in the book design in Europe and preserved the national originality.