The cultural policy of the USSR provided for the deliberate displacement of Ukrainian (like every other national language) to the naive provincial periphery of the “great art” of the mighty Soviet Union, supposedly possible solely in the sphere of the Russian language. The renewed Soviet ideologization of literature in the postwar years led to a sharp decline in the artistic level of all literary fields. But even against the background of this general artistic decline, the caricaturised burlesque and travesty-like artificiality of Andrii Malyshko’s (1912–1970) poetry of the time is impressive. Malyshko’s so-called “second birth” in his late period represents a rare in its purity instance, where we can observe an ontological conflict of language and ideology that a Ukrainian artist of the Soviet period resolves in favor of language. Malyshko created not provincial peripheral streams, but a strong artistic and philosophical alternative to the blind, technocratic, and miserable in its Russified nature, imperial reality.

中文翻译：

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论安德里·马里什科的《第二胎》

苏联的文化政策规定，有意将乌克兰人（像其他每种民族语言一样）转移到强大的苏联“伟大艺术”的朴素的省级外围地区，据说这可能仅在俄语范围内进行。战后苏联对文学的重新意识形态重新引起了所有文学领域的艺术水平的急剧下降。但是即使在这种普遍的艺术衰落的背景下，安德烈·马利什科（Andrii Malyshko）（1912–1970）当时的诗歌讽刺的滑稽风格和讽刺意味的虚构性也令人印象深刻。Malyshko晚期所谓的“第二胎”在其纯洁的例子中代表着一种罕见的情况，在这里我们可以观察到语言和意识形态的本体论冲突，苏联时期的乌克兰艺术家通过语言冲突解决了这一问题。