Між хутором і світом: трикнижжя "Ost" Уласа Самчука

Abstract

У статті розглядається трилогія «Ost» Уласа Самчука як жанровий різновид родинної хроніки, з'ясовуються питання жанрової природи, співвідношення твору з традиціями класичного українського роману й новітніми формами роману ХХ століття. Наголошується на його взаємозв'язку з концепцією «великої літератури», а також ідейно-естетичними поглядами У. Самчука. Крім того, досліджуються поняття покоління та роду, проблема взаємин між генераціями, кожна з яких відіграє власну роль у складній драмі родової та національної історій.The paper considers the trilogy of novels by Ulas Samchuk “Ost” as a genre variety of a family chronicle. Th e main issues are its genre nature, correlation of the work with traditions of the classic Ukrainian novel and the modern novel forms, its relation to the concept of “high literature”, the ideological and aesthetic views of the author. The main point of the paper is the interpretation of Ulas Samchuk’s novel as an attempt to implement the idea of high literature substantiated by him. The concept of high literature in Ulas Samchuk’s sense is related to the concept of classical literature, and the very idea of literary work in exile is connected with the idea of the lost statehood. The realistic basis of Ulas Samchuk’s novels originates in his understanding of realism as an artistic style and principle of depicting reality, the “universal key to the door of reality”. At the same time, the researcher testifies to the blurring of style shapes in Ulas Samchuk’s postwar prose and points to the combination of realistic traditions and modernist tendencies in it. Focusing on the concept of generation and family in the novel, the author emphasizes the relations between the generations, because each one plays its significant role in the complex drama of the family and national histories. The family, as the subject of action and one of the main actors in the theater of history, becomes a symbolic embodiment of the trauma generated by history. The notion of idyllic chronotope is connected with the sacred space of family, the motive of searching harmony. The basic element of such chronotope is the topos of hamlet as a form of ideal national existence. Th e idea of destroying the hamlet during the revolution is related to the process of destroying the family idyll. In general, the history of Moroz’s family in Ulas Samchuk’s novel is a reflection of the national history, and the destroyed space of the family is a field in which the Soviet totalitarianism repressive mechanisms were tested.