Олег Ільницький Як Інтерпретатор Українського Футуризму: «За» І «Проти» Теоретичної Моделі

Since the end of the XX century the wide circle of problems concerning history and theory of Ukrainian futurism has been in Ukrainian humanitarian scientific sphere. Due to theoretical works by A. Bila, D. Gorbachov, S. Zhadan, O. Kashuba-Vol’vach, L. Levchuk, O. Sarnavs’ka, V. Tuzov, P. Chrapko and others sustainable conception is gradually being formed. It embraces the ideas of futuristic movement periodization, its members’ staff, use of different kinds of art in futuristic experiments. Besides, focusing on Ukrainian futurism, scientists pay the special attention to European futuristic traditions, considering Ukrainian m odel in the structure of wider processes, that is also rather positive tendency. Based on abovementioned, the author states that the special research sphere has defined which will encourage further new scientific studies devoted to futurism phenomenon in its widest interpretation. The tasks set before the scientists of post-USSR period are closely connected with futurism examination (as well as other «non-realistic» trends in the art of the first century of XX century) beyond peculiar ideological or political guidelines which deform the objective character of the study. For 30 years of active research into art avant-garde process, including futurism, Ukrainian scientists have naturally added avant-garde art to Ukrainian culture development logics in XX century. So the author of this article believes that it is of great importance to include the study of prominent Canadian philologist Oleh Il’nitskiy – «Ukrainian futurism (1914-1930)». On the one hand, due to creative dialogue it will broaden the conception of futurism nature, on the other hand, it will allow to determine the notions which are either disputable, or contradict to the ones stated by Ukrainian scientists. The author notes that O. Il’nitskiy’s theoretical conception is based on the foundation which needs analyzing and examining. Three fundamentals should be mentioned: futuristic movement history, Ukrainian futurism theory, aesthetics and poetics. Appreciating positively theoretical level of O. Il’nitskiy’s study concerning the Ukrainian futurism development history, the author of the article considers that such study is of objective character and represents the emigrant humanism ideas as well as Marxist view point as for the place and the role of futurism in cultural and creative processes at the beginning of XX century. The theory of futuristic movement by O. Il’nitskiy is emphasized on specific theoretical ideas putting forward by the Ukrainian futuristic model founders. In this article author’s opinion, the ideas forming the theoretic platform of Ukrainian futurism have not systematized and worked out till nowadays, especially in the context of their historical, culturological and prognostic importance. In such a way futurism theory interpretation presented by O. Il’nitskiy is sure to have independent and self-sufficient significance. The specificity of O. Il’nitskiy’s thoughts is caused by his deep concern that futurism is the evidence towards the European character of Ukrainian culture, its attachment to complicated formation of European modernism. On the contrary, futurism ideologists at the period of its establishing as well as the most part of modern Ukrainian scientists connect the futurism theory with the processes inside the country. In such context theoretical provisions were of socio-political and ideological nuisance. Moreover, they remind more of creators’ reply to the state official slogans and calls than of own scientific studies. The third fundamental principle highlighted while analyzing O. Il’nitskiy’s theoretical conception is aesthetics and poetics. The author states that, firstly, it is researcher’s righteousness that he singles out the problem of aesthetics and poetics as basic one in futurists’ creative work; secondly, he has a real courage while trying to formulate aesthetic orientation both of each futurist and of the movement in general. So, analyzing political and ideological core of futurism, O. Il’nitskiy made his own possible to focus on sensual expressivity (or its absence) of futuristic works, as well as its artistic and emotional essence of artists’ creative search. To support reasonability of research into aesthetics of Ukrainian futurism in full, the author of the article considers that O. Il’nitskiy didn’t represent his own beliefs and interpretations of aesthetics even in brief. Meanwhile, it would be extremely important: aesthetic likings of futurists formed at the beginning of the previous century considered by the philologist should be analyzed linked to the level of aesthetic science development at that time. Theoretical constituency of aesthetics contains the clause that its modern contents don’t always coincide with the one stated a hundred years ago. Aesthetic and art historical thoughts of Olexandr Potebnya (1835-1891) compensate the reflections O. Il’nitskiy appealed to in particular way. Determining aesthetics and poetics as basic principles of O. Il’nitskiy’s conception, the author of this article emphasizes that there is no clear division between aesthetic problematic sphere and art history one. Because of this the whole theoretical section «Aesthetics and poetics» in his monograph «Ukrainian futurism (1914-1930)» is devoted to the experiment challenges and novelty phenomenon as its derivative. To O. Il’nitskiy’s mind, another main aspect of «aesthetic searches» of futurists is the satiety of their prose with rudeness, wit, sarcasm, skepticism, disrespect etc. Such direction of aesthetic notions (with emphasis put on structural elements of comism category) changes lyricism and sentimentalism. The author believes that O. Il’nitskiy’s idea as for growing formalism into a game can be a subject of a specific study, when «game» means futuristic aesthetic movement. To sum up, the author concludes that O. Il’nitskiy’s monograph is fundamental and theoretically important study. In spite of the fact that some of his statements are contradictory, the general conception of his work is of great contribution to the development of our knowledge on history, theory and aesthetic orientation of Ukrainian futurism.

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