The article represents research into poetry written during the Revolution of Dignity (2014). Such artistic texts are analyzed as a kind of phenomenon of contemporary literature. These are the poems of famous authors or even amateurs, united by a common sacred code. They appeal to the patterns and archetypes of the collective consciousness of Ukrainians. In the poetry of Euromaidan the researcher underlines two types of sacralization, which can be conditionally called masculine and feminine (paternal and maternal). The masculine type of this process realizes a symbolic projection of the figure of Jesus Christ. This symbol emphasizes the determination of the act, active attitude, the idea of fighting for the truth, as well as the willingness to sacrifice their own lives for the common good. The feminine version of the proces of sacralization is the Virgin Mary. This image appeals not to the heroic act, but to its emotional reflection, more specifically – the suffering, pain, traumatic experience of the victim. It corresponds to the archetypal image of the Mother of God, the Suffering Mother, who sacrifices her own son to death and cries for him later. The embodiment of the Christian sacrum in the poetry of the Maidan testifies to the fidelity to both European and Ukrainian traditions.

In contemporary cultural discourse, Chernobyl is associated with nuclear apocalypse. The author of the article examines two authors’ visions of Chernobyl in Ukrainian literature, which represent different textual strategies of the copreciprocalization of the trauma experienced. One of them, revealed in Markiyan Kamysh’s novel Oformlandia (2015), is an attempt to reconstruct a post‐apocalyptic world. The writer’s narrator, who is the same age as the Chernobyl disaster of 1986, travels to the Zone and talks about it as an exotic space that is freed from human presence. In Teodosia Zarivna’s novel The Silence of Caesium (2022) the narrator is a peasant woman who oppositely has spent her entire life near Chernobyl, but after the accident returns and becomes the last resident in her native village. The first work presents an imaginary model of the future: Chernobyl becomes a place of exotic excursions and extreme tourists. In the second, the Zone appears as an organic factor in a picture of the past – a historical era of the twentieth century, which is fading into oblivion along with its last witnesses.