Anastasia Ulanowicz – författare

Fieldwork in Ukrainian Children’s Literature showcases the work of prominent scholars of children’s literature from Ukraine and the diaspora as it traces the history of books written, marketed for, and circulating among young people since the rise of Ukraine’s nationhood in the nineteenth century. This book encompasses a full range of texts and genres (e.g., fiction, nonfiction, poetry, picturebooks, graphic novels), with special attention given to the most important authors and works as defined by aesthetics (“literary excellence”), popularity, or historical and cultural significance. In its focus on ideology and historical context, the collection takes an interdisciplinary and transnational approach. It places titles and trends in broader context, considering the socio-political situation, changing taste, and the history of institutions that shape the production and reception of children’s literature. The collection addresses folklore and the beginnings of a distinct tradition of Ukrainian children’s literature produced in the nineteenth century; the role played by children’s literature in the maintenance of the Ukrainian literary tradition during the Soviet era; and the flourishing Ukrainian book market, with the appearance of numerous new genres and forms, and the growing significance of Ukrainian books around the world. The collection highlights the importance of familiarizing non-Ukrainian students and scholars of children’s literature with the richness of the country’s literary history and cultural distinctiveness. Fieldwork in Ukrainian Children’s Literature is intended primarily for scholars of children’s literature and culture, including specialists in the fields of literary studies, education, and Slavic studies.

Fieldwork in Ukrainian Children’s Literature showcases the work of prominent scholars of children’s literature from Ukraine and the diaspora as it traces the history of books written, marketed for, and circulating among young people since the rise of Ukraine’s nationhood in the nineteenth century. This book encompasses a full range of texts and genres (e.g., fiction, nonfiction, poetry, picturebooks, graphic novels), with special attention given to the most important authors and works as defined by aesthetics (“literary excellence”), popularity, or historical and cultural significance. In its focus on ideology and historical context, the collection takes an interdisciplinary and transnational approach. It places titles and trends in broader context, considering the socio-political situation, changing taste, and the history of institutions that shape the production and reception of children’s literature. The collection addresses folklore and the beginnings of a distinct tradition of Ukrainian children’s literature produced in the nineteenth century; the role played by children’s literature in the maintenance of the Ukrainian literary tradition during the Soviet era; and the flourishing Ukrainian book market, with the appearance of numerous new genres and forms, and the growing significance of Ukrainian books around the world. The collection highlights the importance of familiarizing non-Ukrainian students and scholars of children’s literature with the richness of the country’s literary history and cultural distinctiveness. Fieldwork in Ukrainian Children’s Literature is intended primarily for scholars of children’s literature and culture, including specialists in the fields of literary studies, education, and Slavic studies.

Winner of the Children’s Literature Association Book Award

This book visits a range of textual forms including diary, novel, and picturebook to explore the relationship between second-generation memory and contemporary children’s literature. Ulanowicz argues that second-generation memory — informed by intimate family relationships, textual mediation, and technology — is characterized by vicarious, rather than direct, experience of the past. As such, children’s literature is particularly well-suited to the representation of second-generation memory, insofar as children’s fiction is particularly invested in the transmission and reproduction of cultural memory, and its form promotes the formation of various complex intergenerational relationships. Further, children’s books that depict second-generation memory have the potential to challenge conventional Western notions of selfhood and ethics. This study shows how novels such as Lois Lowry’s The Giver (1993) and Judy Blume’s Starring Sally J Freedman as Herself (1977) — both of which feature protagonists who adapt their elders’ memories into their own mnemonic repertoires — implicitly reject Cartesian notions of the unified subject in favor of a view of identity as always-already social, relational, and dynamic in character. This book not only questions how and why second-generation memory is represented in books for young people, but whether such representations of memory might be considered ''radical'' or ''conservative''. Together, these analyses address a topic that has not been explored fully within the fields of children’s literature, trauma and memory studies, and Holocaust studies.

Winner of the Children’s Literature Association Book Award

This book visits a range of textual forms including diary, novel, and picturebook to explore the relationship between second-generation memory and contemporary children’s literature. Ulanowicz argues that second-generation memory — informed by intimate family relationships, textual mediation, and technology — is characterized by vicarious, rather than direct, experience of the past. As such, children’s literature is particularly well-suited to the representation of second-generation memory, insofar as children’s fiction is particularly invested in the transmission and reproduction of cultural memory, and its form promotes the formation of various complex intergenerational relationships. Further, children’s books that depict second-generation memory have the potential to challenge conventional Western notions of selfhood and ethics. This study shows how novels such as Lois Lowry’s The Giver (1993) and Judy Blume’s Starring Sally J Freedman as Herself (1977) — both of which feature protagonists who adapt their elders’ memories into their own mnemonic repertoires — implicitly reject Cartesian notions of the unified subject in favor of a view of identity as always-already social, relational, and dynamic in character. This book not only questions how and why second-generation memory is represented in books for young people, but whether such representations of memory might be considered ''radical'' or ''conservative''. Together, these analyses address a topic that has not been explored fully within the fields of children’s literature, trauma and memory studies, and Holocaust studies.

This collection investigates modern imperialist practices and their management of hunger through its punctuated distribution amongst asymmetrically related marginal populations. Drawing on relevant material from Egypt, Ireland, India, Ukraine, and other regions of the globe, The Aesthetics and Politics of Global Hunger is a rigorously comparative study made up of ten essays by well-established scholars from universities around the world. Since modernity, we have been inhabitants of a globe increasingly connected through discourses of equal access for all humans to the resources of the planet, but the volume emphasizes alongside this reality the flagrant politicization of those same resources. From this emphasis, the essays in the volume place into relief the idea that ideological and aesthetic discourses of hunger could inform ethical thinking and practices about who or what constitutes the figure of the modern historical human.