Явище "шароварщини": пошук дефініції
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Date
2017
Authors
Єрмолаєва, Вікторія
Нікішенко, Юлія
Journal Title
Journal ISSN
Volume Title
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Abstract
Статтю присвячено розвідкам у питанні методологічного пошуку трактування такого феномена української культури, як "шароварщина". Автори пропонують власне тлумачення останнього.
З’явившись як поняття у ХІХ ст., "шароварщина" закріпилася у кінематографі, театральному мистецтві
та музичній культурі радянської України як репрезентація малоросійського, провінційного
типу українця. Однак розвиток комерції у незалежній Україні не тільки продовжив існування
цього феномена, а й розширив межі його вжитку (реклама, етноресторації, розважальні телепередачі тощо). Ми пропонуємо відмовитися від трактування "шароварщини" як "поверхового"
уявлення (бачення) української культури і розуміти перше як спосіб репрезентації української культури та ідентичності за допомогою псевдонародного селянського та (або) козацького одягу, елементів побуту.
This article is focuses on methodological research of the interpretation of the phenomenon of Ukrainian culture that is called "sharovarshchyna". The i author offers a definition of the latter. It is supposed that “sharovarshchyna” as a notion appeared in the Ukrainian drama in the late 19th century. Nevertheless, a plethora of examples of this phenomenon took place in Soviet cinema. In such films as “In Heathes of Ukraine” (1954), "The green Years" (1958), “Pharaohs” (1964), the Ukrainian identity is represented via pseudonational costumes and elements of peasant’s everyday life against a background of modern Soviet reality. Thus, this type of Ukrainians was conveyed as provincial, “Malorosiiskyi” (“Lesser Russian”). The same situation could be observed in the Soviet theatre and ensembles of folk singing and dancing. During the 20-50s of the 20th century an authentic Ukrainian musical instrument “bandura” was replaced by its remodel also called “concert bandura” or “Kyivska bandura” created by O. Kornievskyi. Thus, we argue that “sharovarshchyna” presented Ukrainian culture in the context of Soviet culture in the provincial perspective. Prosperity of business and commerce in independent Ukraine has continued existence of “sharovarshchyna”. In other words, there are new ways to embody the latter: in advertisements, ethnic-style restaurants, TV-programmes etc. Nowadays, the most notable examples of “sharovarshchyna” are M. Poplavskyi concerts (songs “Salo” (Lard), “Varenychki” (Dumplings)) and some entertaining performances of the “Quarter-95” studio . In conclusion, we suggest to omit the term of “superficial” in the interpretation of “sharovarshchyna” and propose to understand the latter as a way of representation of Ukrainian culture and its identity via pseudonational rural and (or) Cossack’s costume and elements of their everyday life.
This article is focuses on methodological research of the interpretation of the phenomenon of Ukrainian culture that is called "sharovarshchyna". The i author offers a definition of the latter. It is supposed that “sharovarshchyna” as a notion appeared in the Ukrainian drama in the late 19th century. Nevertheless, a plethora of examples of this phenomenon took place in Soviet cinema. In such films as “In Heathes of Ukraine” (1954), "The green Years" (1958), “Pharaohs” (1964), the Ukrainian identity is represented via pseudonational costumes and elements of peasant’s everyday life against a background of modern Soviet reality. Thus, this type of Ukrainians was conveyed as provincial, “Malorosiiskyi” (“Lesser Russian”). The same situation could be observed in the Soviet theatre and ensembles of folk singing and dancing. During the 20-50s of the 20th century an authentic Ukrainian musical instrument “bandura” was replaced by its remodel also called “concert bandura” or “Kyivska bandura” created by O. Kornievskyi. Thus, we argue that “sharovarshchyna” presented Ukrainian culture in the context of Soviet culture in the provincial perspective. Prosperity of business and commerce in independent Ukraine has continued existence of “sharovarshchyna”. In other words, there are new ways to embody the latter: in advertisements, ethnic-style restaurants, TV-programmes etc. Nowadays, the most notable examples of “sharovarshchyna” are M. Poplavskyi concerts (songs “Salo” (Lard), “Varenychki” (Dumplings)) and some entertaining performances of the “Quarter-95” studio . In conclusion, we suggest to omit the term of “superficial” in the interpretation of “sharovarshchyna” and propose to understand the latter as a way of representation of Ukrainian culture and its identity via pseudonational rural and (or) Cossack’s costume and elements of their everyday life.
Description
Keywords
українська культура, "шароварщина", репрезентація, методологічний пошук, стаття, Ukrainian culture, “sharovarshchyna”, representation, methodological researches
Citation
Єрмолаєва Вікторія Сергіївна. Явище "шароварщини": пошук дефініції / Єрмолаєва В. С., Нікішенко Ю. І. // Магістеріум. Культурологія. - 2017. - Вип. 68. - С. 27-31.