«Чорноморська доктрина»: образ і концепт Чорного Моря в українській культурній свідомості

Abstract

The title of the article is related to the Black Sea doctrine which was formulated by Yuri Lypa in the first half of the 20th century. The use of the term in this meaning has metaphorical sense. It is not a political pragmatics, but the algorithm of cultural appropriation and operation in the cultural consciousness of the national concept and the image of the Black sea. Cultural appropriation is understood by the author not only as the direct physical action, but also as the fact that it has to be consistently followed by equally intense spiritual intervention that tends to clear dominance. Cultural appropriation is the process of updating the concept through its correlation with certain realities and the generation of individual artistic image in creative practice as a means of unification of physical and mental worlds. This consolidation of the actualised concept together with the creative image captures the cultural appropriation. It is clear that cultural appropriation is a long historical process. That is why it’s natural to seek its origin in such field of spiritual and creative human being as folklore. The importance of the folk tradition is emphasized by the fact that its sufficient collective unconsciousness immediately declares its experience. Folklore is simultaneously substantially free (compared to conscious authorship) of cultural stereotypes, and at the same time it shapes them actively. Thus, if Ukrainian folk was not connected with the Black Sea, we wouldn’t talk about the Black Sea doctrine in its broadest sense nowadays. Ukrainian humanity either moved away from or approached to the Black Sea coast. But at the same time the concept and image of the sea in songs and ballads claimed its rights on it. Taking in the consideration of different folklore samples gives the possibility to conclude that people's poetic consciousness uses the potential of the concept of the sea rather actively, creating a certain ideological system, which in itself works on figurative algorithm. However, it’s admitted that cultural consciousness anticipates appropriation of the sea space in different directions. In our case, this process is clearly marked with the "artistic slant." Economically, politically, finally and scientifically the Black Sea in Imperial Russia was rejected, cut from Ukrainian cultural consciousness, as in these, as in other areas, Russian language dominated. Therefore, the assignment was realized mainly by the Ukrainian literature. Referring to the experience of Taras Shevchenko, Nechui-Levitsky, Lesya Ukrainka, Mihaylo Kotsiubynskyi, Lina Kostenko’s creative practices, the author concludes that the national mentality, national language, the element of national flair is open which makes it possble to absorb the diversity of the world, assign it and address the own culture. Completeness of the cultural consciousness manifests itself in the ability to operate and experiment with the concept, in the vision of the creativity and its artistic realization. This is clearly demonstrated in the Ukrainian artistic culture of the 20th and early 21st century.