Kazimierz Jaworski contributed to a great extent to popularising Yevhen Malaniuk’s poetry in the interwar period. Most of Jaworski’s translations of Malaniuk’s poems into Polish were published in the years 1933–1937 in the magazine Kamena in Chełm. The poet from Lublin undertook to translate less popular poems, unknown to Polish readers. He opted not to work with the Ukrainian poet’s patriotic works, familiar to Polish literary circles, and chose poems of intimate and existential nature instead. From the two collections which were known in Poland, Earth And Iron (1930) and The Earthly Madonna (1934), he selected poems which in a special way correlate with his own lyrical works from the To a Red And White Mistress (1924) collection. What deserves special attention among Kazimierz Jaworski’s translating techniques is his exceptional diligence in choosing suitable Polish semantic equivalents and in rendering an appropriate rhythm of poems. Most of his translations can be described as adequate. They are not absolute, but they convey the originality of a given work through preserving the form and contents of the translated poem in the most faithful way possible. Jaworski’s translations show his inclination to poetise and dynamise the text. The translator readily uses his own metaphors and expands phrases with emotionally charged elements. Kazimierz Andrzej Jaworski was also a tireless propagator of information concerning the most recent translations of Yevhen Malaniuk’s poetry as well as the publishing activities of one of the most valued representatives of the Ukrainian immigration in Poland.

A review of Walentyna Sobol’s edition of a part of the Diary of Pylyp Orlyk, covering the years 1725–1726. The publication of the work of one of the champions of Ukrainian statehood, written in exile, takes on a symbolic dimension as it coincides with Ukraine’s struggle against Moscow’s aggression.

Kvitka‑Osnovyanenko was the first prose writer of the new Ukrainian literature, the conventional starting point for which is dated as 1798, when Ivan Kotlyarevsky’s Aeneid was published. In 1833‑1834, Hryhoriy Kvitka‑Osnovyanenko began to publish his stories and short novels in Ukrainian. They served as a starting point for all subsequent prose in the Ukrainian language. A structural analysis of Kvitka’s prose has shown that his method of text construction still had much in common with folk tales: texts are constructed on the basis of elemental repetitions or binary oppositions. However, the author has already started to make important semantic shifts, introducing types of characters and collisions alien to folklore text per se. Thus the effect of deautomatization of the folklore perception is reached. The meaning of some texts, which were previously considered “humorous”, in the light of what has been said, acquires a meta‑narrative meaning: A Soldier’s Portrait and The Konotop Witch, have episodes that expose their main compositional technique (‘priyom’) and demonstrate the author’s conscious play with the narrative patterns of folklore.