STEPAN CHARNETSKYI AS A PARTICIPANT OF THE SICH RIFLEMEN GENERATION

Abstract

Purpose. The task of the article is the analisys of the generational relationships of Stepan Charnetsky to rifleman generation.

Methods. The research uses a descriptive method, a biographical reconstruction combined with a generational approach.

Results. It was found out that the S. Charnetskyi deliberately dimmed the civic component of his own biography, because of conscious work for the history of literature in his own image of “modern artist” with the aesthetic program “art for art”. The artist deliberately created his own biography of the bohemian, bypassing the patriotic activity.

At the same time, the “riflemen” part of his biography is significant, in fact it stands for a particular period of his life and work. Reconstructed riflemen “literary field” (P. Bourdieu) by S. Charnetskyi, defined by the coordinates of various purposeful and conscious communication – interpersonal, civic, creative. The Modus of Friendship marks the relationship between S. Charnetskyi and the riflemen, which captures the reception of L. Lutsiv, L. Lepkyi, V. Vytvytskyi, I. Ivanets, M. Hayvoronskyi. The creative aspect is represented as the co-creation of riflemen creative products, where creative solidarity is expressive. The author manifests himself in Ostap Shandura’s hypostasis first and foremost, as well as under his own name in the network of riflemen publishing discourse (“Singers” line, “Shliakhy” (“Ways”) magazine, collection “From the bloody path of Ukrainian Sich Riflemen”) and close to riflemen (“Vistnyk Soiuza vyzvolennia Ukrainy” (“Union of Ukraine Bulletin”), “Ukrainske Slovo” (“The Ukrainian Word”)) of editions. S. Charnetsky’s civil deed also has a “rifle color”.

The so-called infantile collisions of S. Charnetskyi’s existence, life and literary specifics, in particular, participation in riflemen editions, creation of the song “Oy u luzi chervona kalyna”, the Riflemen Theater and the Committee for exaltation of the military feats of Ukrainian Sich Riflemen, have been found out. In his organizational work for the riflemen S. Charnetskyi was interested in perpetuating the historical feat of the Ukrainian Sich Riflemen. The image of the world in S. Charnetskyi’s poetry is typologically close to the riflemen’ experience. His image of war is endowned with specifics of Ukrainian national liberation competitions, it’s not a so-called “military poetry”.

In the image of the world, an important place is occupied by “riflemen history”, the lyrical “I” endowed with signs of riflemen identity.

There were no distance with a riflemen generation, he was considered as friend and brother as well as perceived a riflemen problematics in a similar way.

Conclusions. Therefore, in art and life of Stepan Charnetskyi, the separate stage can be defined, which is a result of departure from the clear aesthetic “Moloda Musa’s” identity and forthcoming to the “riflemen” one in the circumstances of the Liberation War 1914– 1920 and II Polish-Lithuanian Commonwealth 1921–1939. Ostap Shandura’s pseudonym, publications of civic subject in the “Ways” magazine and collection “In the hour of thought”, “We go lonely” are the period markers.