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Dmytro Ivanovych Doroshenko (1882-1951) was undoubtedly the most important and prolific Ukrainian émigré historian of the twentieth century. He made significant, indeed, sometimes irreplaceable contributions in the fields of biography, historiography, contemporary history, historical synthesis, bibliography, and memoir writing, and was a major spokesman for the new "statist school" of Ukrainian historiography, which stressed Ukrainian strivings for statehood throughout the centuries. Writing during the 1920s and 1930s-that is, at a time when the "Ukrainian question" was just beginning to attract the attention of the Western public and the very name "Ukraine" was little-known among Western scholars-Doroshenko popularized Ukrainian history in works published in German, English, Czech, Polish, Russian, French, Italian, and Swedish, as well as in Ukrainian. If a complete bibliography of his published works were compiled, it would, perhaps, list close to a thousand titles.1
EARLY LIFE
Doroshenko was born into an old Ukrainian family that during the seventeenth century had given Ukraine two distinguished Cossack hetmans. He was raised by his Ukrainophile father in a patriotic spirit, and from his early days at the universities in Warsaw and St. Petersburg participated in Ukrainian student activities and social and cultural life. He had a quiet, gentlemanly manner and a distaste for both personal and political conflicts. These characteristics, combined with a sincere devotion to scholarship, made him a productive and successful writer and academic.2
From 1899, Doroshenko's first publications appeared in the journal Literaturno-naukovyi vistnyk, which was published in Austrian Galicia, where, unlike the Russian Empire of the time, the Ukrainian language could be freely used in print. Most of these early publications were descriptions of Ukrainian cultural life in the Russian capital and elsewhere, but during this period Doroshenko also published two detailed bibliographies of material dealing with Ukrainian history, literature, and culture. The first of these was held up by the authorities for several months and lost about a third of its material to the Russian censor's red pencil. It was, nevertheless, the first publication of its kind in many years and was an indication of Doroshenko's later interests in bibliography and historiography.3
During the first years of the twentieth century, young Doroshenko's political convictions were somewhat contradictory. He worked with the more cautious older generation of Ukrainian cultural activists, where...