Митець без батьківщини у повоєнних творах Юрія Косача
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Date
2019
Authors
Полюхович, Ольга
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Abstract
У статті розглядаються твори Юрія Косача, присвячені історичним постатям українських митців, – маляра Антіна Лосенка (оповідання "Запрошення на Цитеру"), композитора Дмитра Бортнянського (п’єса "Скорбна симфонія") та письменника Миколи Гоголя (незакінчений роман "Сеньйор Ніколо"). У цих творах Косач конструює образ українського митця поза межами батьківщини,
котрий змушений віднаходити себе в інших історико-культурних просторах. Такими територіями
для творця стають Петербург і Західна Європа. У статті проаналізовано, як той чи той аспект
ідентичності митця співвідноситься з цими територіями, а також як осмислюється батьківщина
та зв’язок із нею.
In this article, I analyze Yurii Kosach’s works dedicated to the historical figures of Ukrainian artists – painter Antin Losenko in theshort story "Zaproshennia na Tsyteru" (An Invitation to Cythera, 1945); composer Dmytro Bortnianskyi in the play "Skorbna symfoniia" (The Sorrowful Symphony, undated); and writer Mykola Hohol in the unfinished novel "Senior Nikolo" (Signore Nikolo, 1954). In these narratives, Kosach depicts the image of the Ukrainian artist beyond his native land, forced to live and create in other lands. Typically, Saint Petersburg and countries of Western Europe become such territories for Ukrainian artists. In the article I examine how the artists’ identities correlate with other cultural dimensions and what they mean for them. I also analyze how the artists articulate their sense of belonging to their homeland, which is an absolute value for them. In "Zaproshennia na Tsyteru" Losenko finds himself in apathetic and melancholic mood. His second journey to Western Europe does not bring him inspiration. On the contrary, his apathy is stressed by the Polish painter Tadeusz Kościuszko, who goes to fight for the freedom of the USA, when the time for Poland has not yet come. He raises the question of how Losenko can create under the protection of the Russian Empire, which had enslaved his people. For the Ukrainian artist, despite his confident artistic position in Europe, this creates psychological collisions which become the core narrative of his life. In "Skorbna symfoniia", Ukrainian composer Dmytro Bortnianskyi lives in Saint Petersburg under imperial protection but cannot create his masterpiece in an alien land. Phantoms from the past, associated with his ruined homeland, visit him, and he cannot make sense of the present. In the end there is hope for salvation: like in a previous short story, Bortnanianskyi wants to return to Ukraine. In Senior Nikolo, Mykola Hohol (also known as Nikolai Gogol), lives in Rome. Though he is greatly inspired by this city, Hohol thinks of dilemmas of imperial protection and national culture. In Kosach’s works, an artist cannot live and create beyond his homeland.
In this article, I analyze Yurii Kosach’s works dedicated to the historical figures of Ukrainian artists – painter Antin Losenko in theshort story "Zaproshennia na Tsyteru" (An Invitation to Cythera, 1945); composer Dmytro Bortnianskyi in the play "Skorbna symfoniia" (The Sorrowful Symphony, undated); and writer Mykola Hohol in the unfinished novel "Senior Nikolo" (Signore Nikolo, 1954). In these narratives, Kosach depicts the image of the Ukrainian artist beyond his native land, forced to live and create in other lands. Typically, Saint Petersburg and countries of Western Europe become such territories for Ukrainian artists. In the article I examine how the artists’ identities correlate with other cultural dimensions and what they mean for them. I also analyze how the artists articulate their sense of belonging to their homeland, which is an absolute value for them. In "Zaproshennia na Tsyteru" Losenko finds himself in apathetic and melancholic mood. His second journey to Western Europe does not bring him inspiration. On the contrary, his apathy is stressed by the Polish painter Tadeusz Kościuszko, who goes to fight for the freedom of the USA, when the time for Poland has not yet come. He raises the question of how Losenko can create under the protection of the Russian Empire, which had enslaved his people. For the Ukrainian artist, despite his confident artistic position in Europe, this creates psychological collisions which become the core narrative of his life. In "Skorbna symfoniia", Ukrainian composer Dmytro Bortnianskyi lives in Saint Petersburg under imperial protection but cannot create his masterpiece in an alien land. Phantoms from the past, associated with his ruined homeland, visit him, and he cannot make sense of the present. In the end there is hope for salvation: like in a previous short story, Bortnanianskyi wants to return to Ukraine. In Senior Nikolo, Mykola Hohol (also known as Nikolai Gogol), lives in Rome. Though he is greatly inspired by this city, Hohol thinks of dilemmas of imperial protection and national culture. In Kosach’s works, an artist cannot live and create beyond his homeland.
Description
Keywords
національна культура, митець, переміщення, Україна, Європа, Петербург, ідентичність, Юрій Косач, стаття, national culture, artist, displacement, Ukraine, Europe, Saint Petersburg, identity, Yurii Kosach, article
Citation
Полюхович О. П. Митець без батьківщини у повоєнних творах Юрія Косача / Ольга Полюхович // Наукові записки НаУКМА. Літературознавство. - 2019. - Т. 2. - С. 92-99.