ABSTRACT This article analyzes polyphonic memory in recent works by Serhii Zhadan and Marianna Kiianovs'ka, two leading contemporary Ukrainian writers. Before focusing on Zhadan and Kiianovs'ka, the author analyzes some excerpts from poems by other contemporary writers in which memory is thematized at the crossroads of individual and collective remembering. In his latest collections, Zhadan has shown a tendency to shape his poetic world around a lyrical subject keen to collect human voices and memories with the aim of preserving them from oblivion. Kiianovs'ka’s 2017 collection Babyn Iar: Holosamy consists of memory fragments expressed by the various voices that constitute its collective subject, the victims of the 1941 Babyn Iar tragedy. In spite of the difference between these two models of poetic polyphony, the former conveyed through the mediation of a lyrical subject and the latter directly expressed by individual voices, the author here argues that Zhadan’s and Kiianovs'ka’s recent poetry successfully links the singularity of individual memory to the collective experience. He also argues that polyphonic poetic memory can be read as a strategy to overcome the opposition between the “populist” and “modernist” approaches to literature that has marked the self-perception of Ukrainian literature since the early twentieth century.

中文翻译：

---

个人的但集体的声音：当代乌克兰文学中的复调诗意记忆

摘要本文分析了两位当代乌克兰著名作家Serhii Zhadan和Marianna Kiianovs'ka最近的作品中的复音记忆。在着眼于扎丹和基安诺夫斯卡之前，作者分析了其他当代作家诗歌中的一些节选，其中记忆是在个人和集体记忆的十字路口主题化的。扎丹（Zhadan）在他的最新系列中显示出一种倾向，围绕一个热衷于收集人的声音和记忆以免被遗忘的抒情主题塑造他的诗意世界。Kiianovs'ka于2017年收集的《 Baby Iar：Holosamy》由构成其集体主题的各种声音表达的记忆片段组成，这些声音是1941年Babyn Iar悲剧的受害者。尽管这两种诗歌复音模型之间存在差异，前者通过抒情主题的调解来传达，而后者则通过个人的声音直接表达，作者认为，扎丹和基安诺夫斯卡的近期诗歌成功地将个人记忆的奇异性与集体体验联系在一起。他还认为，复音诗式记忆可以被看作是一种克服“民粹主义”和“现代主义”文学方法之间的对立的策略，这种策略自20世纪初以来就标志着乌克兰文学的自我认知。