{"title":"电影改编中的生态女性主义","authors":"Anastassiya Andrianova","doi":"10.18523/kmhj249180.2021-8.46-67","DOIUrl":null,"url":null,"abstract":"This article off ers a pioneering ecofeminist study of Viktor Ivchenko’s Lisova pisnia (1961) and Yurii Illienko’s Lisova pisnia. Mavka (1980), two Soviet Ukrainian film adaptations of Lesia Ukrainka’s eponymous fairy-drama (1911; Forest Song). It focuses on the interrelated depiction of gender and nature along with the drama’s ideological and material aspects: androcentrism and deforestation. The production of both fi lms coincides with, and arguably refl ects, what Marko Pavlyshyn describes as “the emergence of a conservationist consciousness” in the USSR in the 1960s. The article’s goal is therefore twofold – to bring new ecofeminist insights into Ukrainian fi lm studies and to raise eco-awareness about the Volyn Polissia, which provides the setting for Ukrainka’s drama and its adaptations, and currently faces environmental devastation from illegal amber mining.","PeriodicalId":40752,"journal":{"name":"Kyiv-Mohyla Humanities Journal","volume":" ","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2021-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":"{\"title\":\"Ecofeminism in Film Adaptations of Lesia Ukrainka’s Forest Song\",\"authors\":\"Anastassiya Andrianova\",\"doi\":\"10.18523/kmhj249180.2021-8.46-67\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article off ers a pioneering ecofeminist study of Viktor Ivchenko’s Lisova pisnia (1961) and Yurii Illienko’s Lisova pisnia. Mavka (1980), two Soviet Ukrainian film adaptations of Lesia Ukrainka’s eponymous fairy-drama (1911; Forest Song). It focuses on the interrelated depiction of gender and nature along with the drama’s ideological and material aspects: androcentrism and deforestation. The production of both fi lms coincides with, and arguably refl ects, what Marko Pavlyshyn describes as “the emergence of a conservationist consciousness” in the USSR in the 1960s. The article’s goal is therefore twofold – to bring new ecofeminist insights into Ukrainian fi lm studies and to raise eco-awareness about the Volyn Polissia, which provides the setting for Ukrainka’s drama and its adaptations, and currently faces environmental devastation from illegal amber mining.\",\"PeriodicalId\":40752,\"journal\":{\"name\":\"Kyiv-Mohyla Humanities Journal\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2021-12-24\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"2\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Kyiv-Mohyla Humanities Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.18523/kmhj249180.2021-8.46-67\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Kyiv-Mohyla Humanities Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.18523/kmhj249180.2021-8.46-67","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
Ecofeminism in Film Adaptations of Lesia Ukrainka’s Forest Song
This article off ers a pioneering ecofeminist study of Viktor Ivchenko’s Lisova pisnia (1961) and Yurii Illienko’s Lisova pisnia. Mavka (1980), two Soviet Ukrainian film adaptations of Lesia Ukrainka’s eponymous fairy-drama (1911; Forest Song). It focuses on the interrelated depiction of gender and nature along with the drama’s ideological and material aspects: androcentrism and deforestation. The production of both fi lms coincides with, and arguably refl ects, what Marko Pavlyshyn describes as “the emergence of a conservationist consciousness” in the USSR in the 1960s. The article’s goal is therefore twofold – to bring new ecofeminist insights into Ukrainian fi lm studies and to raise eco-awareness about the Volyn Polissia, which provides the setting for Ukrainka’s drama and its adaptations, and currently faces environmental devastation from illegal amber mining.