“Love looks not with the eyes, but with the mind”: Reading Vladyslav Yerko’s Illustrations to Shakespearein Ukrainian
DOI:
https://doi.org/10.18778/2083-8530.31.10Słowa kluczowe:
Shakespeare illustration, Vladyslav Yerko, intersemiotic translation, Ukrainian culture, Yurii Andrukhovych, conceptual art, book design, Shakespeare receptionAbstrakt
The article comments on the intersemiotic translation of Shakespeare’s works in Vladyslav Yerko’s conceptual illustrations to Hamlet (2008), Romeo and Juliet (2016), and King Lear (2021), translated by Yurii Andrukhovych and published by the Ukrainian house A-BA-BA-HA-LA-MA-HA. The paper investigates the way in which Yerko’s richly symbolic visual narratives engage in dialogue with Ukrainian culture and history. Situated within a broader tradition of Shakespearean illustration, Yerko’s work exemplifies illustration as metatext. His imagery blends Renaissance allegory, surreal detail, and postmodern irony, reflecting influences ranging from Albín Brunovský’s art to Kozintsev’s cinematic Hamlet. The article demonstrates how Yerko’s visual interpretations, paired with Yurii Andrukhovych’s witty and provocative Ukrainian translations, create a multilayered conversation between Shakespeare’s England and contemporary Ukraine. By highlighting the dialogical nature of illustration as a form of adaptation and translation, the study contributes to ongoing discussions about the global afterlives of Shakespeare in new cultural contexts. Yerko’s illustrations reveal how visual arts reimagine the Shakespeare’s works as both Ukrainian and universal, reaffirming the vitality of printed books as sites of cross-cultural exchange, aesthetic reflection, metatextual play and deep reading.
Bibliografia
“«Â hovaûsâ za avtorom ì vlaštovuû tihu ekranìzacìû tekstu»: ìnterv`û z ìlûstratorom «A-BA-BA-HA-LA-MA-HY» Vladyslavom Yerko” [“‘I Hide Behind the Author and Create a Silent Screen Adaptation of the Text’: An Interview with A-BA-BA-HA-LA-MA-HA”. Illustrator Vladyslav Yerko] [“«Я ховаюся за автором і влаштовую тиху екранізацію тексту»: інтерв’ю з ілюстратором «А-БА-БА-ГА-ЛА-МА-ГИ» Владиславом Єрко”]. 22 March 2017. https://budni.robota.ua/career/ya-hovayusya-za-avtorom-i-vlashtovuyu-tyhu-ekranizatsiyu-tekstu-intervyu-z-ilyustratorom-a-ba-by-ha-la-ma-hy-vladyslavom-yerko. Accessed 5 January 2025]
Berenson, Bernard. The Italian Painters of the Renaissance. London and New York: Phaidon, 1968.
Berg, Keri A. “Contesting the Page: The Author and the Illustrator in France, 1830–1848.” Book History 10 (2007): 69–101. https://doi.org/10.1353/bh.2007.a222376
Craig, Hardin. “Hamlet’s Book.” The Huntington Library Bulletin 6 (1934): 17–37. https://doi.org/10.2307/3818164
Ege, Otto F. “Illustration as a Fine Art.” College Art Journal 9.1 (1949): 3–11. https://doi.org/10.2307/773076
Galda, Lee and Kathy G. Short. “Children’s Books: Visual Literacy: Exploring Art and Illustration in Children’s Books.” The Reading Teacher 46.6 (1993): 506–516.
Goodman, Helen. “Women Illustrators of the Golden Age of American Illustration.” Woman’s Art Journal 8.1 (1987): 13–22. https://doi.org/10.2307/1358335
Greetham, David C. Textual Scholarship: An Introduction. 2nd edition. New York: Garland Publishing, 1994.
Grove, Jaleen. “Drawing Out Illustration History in Canada.” RACAR: Revue d’art Canadienne / Canadian Art Review 40.2 (2015): 115–129. https://doi.org/10.7202/1035400ar
Hunt, Marvin W. Looking for Hamlet. New York: Macmillan, 2008.
Kiseleva, Kateryna. “«Ti bìdnij privid, či proklâtij goblìn?» – Gamlet v perevode Andruhoviča” [“‘Are You a Poor Ghost or a Cursed Goblin?’ – Hamlet in Andrukhovych’s Translation”] [Киселева, Катерина. “«Ти бідний привид, чи проклятий гоблін?» – Гамлет в переводе Андруховича”]. 1 June 2014. https://gazeta.ua/ru/articles/culture/_ti-bidnij-privid-chi-proklyatij-goblin-gamlet-v-perevode-andruhovicha/561373. Accessed 4 January 2025.
Kooistra, Lorraine Janzen. The Artist as Critic: Bitextuality in Fin-de-Siecle Illustrated Books. Aldershot: Scolar, 1995.
Lamb, Lynton. “The Art of Book Illustration.” Journal of the Royal Society of Arts 110. 5072 (1962): 571–585.
Lauer, Emily. “Down the Rabbit Hole with David Greetham.” Textual Cultures 9.1 (2014): 40–54. https://doi.org/10.14434/tc.v9i1.20114
Leighton, Mary Elizabeth and Lisa Surridge. “The Plot Thickens: Toward a Narratological Analysis of Illustrated Serial Fiction in the 1860s.” Victorian Studies 51.1 (2008): 65–101. https://doi.org/10.2979/VIC.2008.51.1.65
Lin, Yu Ying, Kenneth Holmqvist, Kiyofumi Miyoshi and Hiroshi Ashida. “Effects of Detailed Illustrations on Science Learning: An Eye-Tracking Study.” Instructional Science 45.5 (2017): 557–581. https://doi.org/10.1007/s11251-017-9417-1
Male, Alan. Illustration: A Theoretical and Contextual Perspective. Lausanne: AVA Publishing, 2007.
Mann, Paisley. “Memory as ‘Shifting Sand’: The Subversive Power of Illustration in George Du Maurier’s Peter Ibbetson.” Victorian Review 37.1 (2011): 160–180. https://doi.org/10.1353/vcr.2011.0016
McGann, Jerome. Radiant Textuality: Literature after the World Wide Web. New York: Palgrave Macmillan, 2001. https://doi.org/10.1007/978-1-137-10738-1
Nodelman, Perry. Words about Pictures: The Narrative Art of Children’s Picture Books. Athens: University of Georgia Press, 1988. https://doi.org/10.1353/book26685
Olikh, Irina. “Hudožnik-oformitel’ Vladislav Erko: «Vse, čto mne hočetsâ delat’, â voploŝaû v illûstraciâh k knigam»” [“Illustrator Vladislav Yerko: ‘Everything that I want to do I realize through my illustrations’”] [Олих, Ирина. “Художник-оформитель Владислав Ерко: «Все, что мне хочется делать, я воплощаю в иллюстрациях к книгам»”]. Artchive, 14 March 2015. https://artchive.ru/publications/806. Accessed 5 January 2025.
Patten, Robert L. “Serial Illustration and Storytelling in David Copperfield.” The Victorian Illustrated Book. Ed. Richard Maxwell. Charlottesville: UP of Virginia, 2002. 91–128.
Peake, Mervyn. “Book Illustration.” Peake Studies 12.2 (2011): 15–21.
Shurbanov, Alexander. Opit. Sofiâ: Siela, 2016 [Probe. Sofia: Siela, 2016] [Шурба-нов, А. Опит. София: Сиела, 2016].
Sierschynski, Jarek, Belinda Louie and Bronwyn Pughe. “Complexity in Picture Books.” The Reading Teacher 68. 4 (2014): 287–295. https://doi.org/10.1002/trtr.1293
Sillars, Stuart. “Shakespeare in Colour: Illustrated Editions, 1908–14.” The Year-book of English Studies 45 (2015): 216–238. https://doi.org/10.5699/yearenglstud.45.2015.0216
Skilton, David. “The Relation between Illustration and Text in the Victorian Novel: A New Perspective.” Word and Visual Imagination: Studies in the Interaction of English Literature and the Visual Arts. Ed. Karl Josef Holtgen, Peter M. Daly, and Wolfgang Lottes. Erlangen: Universitatsbibliothek, 1988: 303–325. https://doi.org/10.1515/east-1988-0125
Valaeva, Tamara. “Utomlënnyj skazkoj. Kak Vladislav Erko pytaetsâ vernut’ svoë detskoe sčast’e” [“Weary of Fairy Tales: How Vladyslav Yerko Tries to Reclaim His Childhood Happiness”] [Балаева, Тамара. “Утомлённый сказкой. Как Владислав Ерко пытается вернуть своё детское счастье”]. https://focus.ua/culture/355324/. Accessed 3 January 2025.
Villarreal, Alicia, Sylvia Minton and Miriam Martinez. “Child Illustrators: Making Meaning Through Visual Art in Picture Books.” The Reading Teacher 69.3 (2015): 265–275. https://doi.org/10.1002/trtr.1405
Wark, Robert R. “The Gentle Pastime of Extra-Illustrating Books.” Huntington Library Quarterly 56.2 (1993): 151–165. https://doi.org/10.2307/3817591
Wilson Knight, G. The Wheel of Fire (Routledge Classics). London: Routledge, 2005. https://doi.org/10.4324/9780203996058
Pobrania
Opublikowane
Numer
Dział
Licencja

Utwór dostępny jest na licencji Creative Commons Uznanie autorstwa – Użycie niekomercyjne – Bez utworów zależnych 4.0 Międzynarodowe.


