Культурный диалог Подавстрийской и Надднепрянской Украины на стыке ХІХ–ХХ столетий

Jazyk: ukrajinština
Rok vydání: 2021
Předmět:
Zdroj: ACADEMIC BULLETIN OF KYIV NATIONAL KARPENKO-KARYI UNIVERSITY OF THEATRE, CINEMA AND TELEVISION; No. 27-28 (2021); 145-155
Науковий вісник Київського національного університету театру, кіно і телебачення імені І.К.Карпенка-Карого; № 27-28 (2021); 145-155
ISSN: 1997-4264
DOI: 10.34026/1997-4264.27-28.2021
Popis: In the times of modernism of the domestic renaissance (starting from the end of the 19th century up to the beginning of the World War I) contacts between Ukrainians of both Empires were reviving which catalyst was 1878 Yemskyi Decree. Myroslav Semchyshyn notes: “Prohibition of Ukrainian printed media caused the Eastern Ukrainian actors to carry over their publishing activity to Halychyna and, partially, to Chernivtsi in Bukovyna, and to reinforce Ukrainian people’s cluster there right at the time of their on-going struggle against the addictions to Rutens’ and Moscow’ trends”. At that time, the awareness of historical, cultural, mental unity, as well as the political rights giving rise to the political parties and their programs, achieved a new level. Several important events are happening at one time, i.e. activation of Taras Schevchenko Scientific Society, in particular, of the printed edition “Memos of Taras Shevchenko Scientific Society”, foundation of Ukrainian magazine “Zorya” (“the Dawn”). Famous Ukrainian actors like Ivan Franko, Mykhaylo Pavlyk, Mykhaylo Dragomanov, Natalia Kobrynska were stepping into the public arena. The Congress of Ukrainian Writers which was held in Lviv in 1898 on the occasion of centennial of the first publication of “Eneyida” by Kotlyarevskyi witnessed establishing of the domestic literature community and its willingness for further educational mission. The dialogue at the level of visual, theatrical, musical arts was bringing the new sounding to it. In contrast to the Western European countries, it’s intellectuals who, historically, happened to lead the Ukrainian nation. National intellectuals, bohemians always played a special role in the destiny of Ukrainian people. Which, as defined by Arnold Toynbee, is that very “creative minority” capable to take a challenge and give an adequate response to it, which ultimately will be an indicator of a nation’s competitiveness. Ukrainian intellectuals in fact fulfilled their education mission and, after all, it’s the actors of Ukrainian culture who had the decisive role in revival of Ukrainian national awareness being mindful of that Ukraine itself in 19th century was divided between the two empires. It was and remains that any scientific or artistic achievements of the best representatives of a nation with no state would always enrich just the legacy of an empire. However, for Ukrainian bohemians this was a means of attracting attention to the national features, history, folklore. And, at last, it was a way of revealing that there are actors in the empire’s peoples concerned with the destiny of their unique national culture. The scientists of the Dnieper Ukraine became known mostly after having been recognized by the St. Petersburg Academy of Sciences. In the Austrian Ukraine the famous fellow citizens gained recognition after graduation from the Lviv, Jagielloński or Vienna Universities and their works of art became famous worldwide. Among the graduates of Vienna University were Ivan Antonovych Krushelnytskyi, a writer, Ivan Yakovych Franko, a poet, Ivan Pavlovych Puluy, the x-rays discoverer, Les Kurbas, a director and a dramatist, Teofil Okunevskyi, a lawyer and community leaders, Volodymyr Yakymovych Starosolskyi, acting minister for foreign affairs of UPR in 1919-1920. Ukrainian scientists of both empires were not in similar conditions, possibilities for practical realization of their scientific and creative potential were different. In the Russian empire the universities didn’t have that much experience in debates and scientific discussions as, say, in the Western Europe. In the former, the ideas of rationalism and humanism were not respected, while the institutions themselves were planned, mostly, like some subsidiaries of the empire politics. In the Austrian empire, which encompassed Halychyna after 1772, in 1894 in the Lviv University the Chair of history of Ukraine was opened, more known as the Chair of worldwide history with a special focus on the Eastern Europe. The Chair of Ukrainian language and literature and Church-Slavonic language started functioning six years later. Educational work of Ukrainian intellectuals was aimed at, first of all, the main part of the population of both Ukraines – conservative peasantry. At the turn of the 19th and 20th centuries political and public immaturity of Halytchyna country people became evident for the national intellectuals, which realized that educational work should be streamlined not only in the educational institutions, but for the purposes of the general level of awareness of their own rights, needs, legitimate interests. “Osnova” magazine, in particular encourages: ”Did we not need our merchants, craftsmen, manufacturers? Vigorously send the brightest of them to the higher education schools! We are scarce of intellectuals, so far as the force of our Russian intellectuals is not really great, we are getting weaker. Don’t stay idle, don’t get isolated in only our own countryside being uneducated, dull, hidebound, but let’s go to education, to the world, for better life.”. In 1873 the Scientific Society of Taras Schevchenko can be considered as the most productive result of the bi-lateral contacts of intellectuals of both sides of Ukraine; as well as their straightforward scientific and educational activity with the clear goal, plan, strategy, tasks set. In two years, young Ivan Franko is entering the political arena, who invites for cooperation Mykhailo Dragomanov, Dnieper sociologist, and together with Mykhailo Pavlyk they, having thrown off the artificial language, introduce a live people’s language, which lifts the domestic journalism and press to a quality new level. In 1890, “Zorya” magazine, an all Ukrainian edition covering vital issues, became a nation-wide platform for the front line writers. The magazine was publishing novels of the eminent writers, being also a start-up for talents testing, which enabled realization of their creative potential. Publishing of “Nadiia” (“the Hope”) poem began 17-years old Lesya Ukrainka’s creative path. Due to “Zorya” Halychyna became aware of the artworks of Taras Shevchenko, as well as other poets and writers from the Dnieper Ukraine, such as P. Myrnyi, I. Nechui-Levytskyi, O. Ptchilka, L. Glibov and others. Printed on “Zorya” pages in 1886 in the original language was M.O. Nekrasov’s poem “In the memory of Shevchenko”. In visual art the pioneers of Ukrainian topics were the graduates of the Vienna Academy of Arts K. Ustiyanovych and T. Kopystynskyi. Their work was continued by M. Ivasiuk, a master of history genre, Yu. Pankevych, Yu. Piguliak and others. In Dnieper Ukraine they are S. Vasylkivskyi, M. Pimonenko, K. Trutovskyi. They were not only the artists, but the intellectuals and educators organizing people chore communities, making amateur theater performances, supporting self-education of the country population. In the end of 19th century, upon the initiative of Ukrainian writer Hnat Khotkevych, theatrical dialogue of both parts of Ukraine intensified. The tour of its Hutsul Theater was organized in Slobozhanschyna with Hutsul evening parties in Kyiv, Odesa, Kherson and other cities being held on the way. Just at this time the sustainable contacts of the first Ukrainian professional Ruska Besida (“the Russian Chat”) Theater and Korifei (“the Luminaries”) Theater were established. Therefore, under the imperial jurisdiction Ukrainian intellectuals, community leaders, politicians, artists made their efforts for education and popularization of Ukrainian culture not being limited in their activity with pure scientific or creative research. Ukrainian topics in drama, literature or art works drew attention through their novelty. During the mentioned period the willingness for mutual cooperation and the mutual interest in further contacts were more productive and apparent which gives grounds to view inter-cultural contacts and cultural dialogue itself as an indicator of the further collegiality of Ukraine. This positive trend interrupted by the World War I should become a visible lesson for destiny of a nation under foreign jurisdiction as well as its historical and cultural legacy.
Статья посвящена сотрудничеству и творческим контактам интеллигенции обеих частей Украины на модернистском этапе отечественного возрождения. Анализируется просветительская миссия нашей богемы, ее культуротворческий потенциал. Отмечается решающая роль отечественной интеллигенции в формировании украинского национального самосознания. Обращается внимание на проблему идентичности украинской культуры ввиду отсутствия государственности и осознание соборности на ментальном уровне и дальнейшее воплощение этой идеи в художественных произведениях. Сотрудничество украинской интеллигенции, ее контакты, а также просветительская деятельность автором рассматриваются как решающий фактор и предтеча соборности Украины
Статтю присвячено співпраці й творчим контактам інтелігенції обох частин України на модерністському етапі вітчизняного відродження. Аналізується просвітницька діяльність нашої богеми, її культуротворчий потенціал. Відзначено вирішальну роль вітчизняної інтелігенції у формуванні української національної самосвідомості. Звернено увагу на проблему ідентичності української культури з огляду на відсутність державності та усвідомлення соборності на ментальному рівні й подальше втілення цієї ідеї у мистецьких творах. Співпраця української інтелігенції, її контакти, а також просвітницька діяльність авторка розглядає як вирішальний чинник і предтечу соборності Україні.
Databáze: OpenAIRE
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