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|Title:||«Есть города, в которые нет возврата…» (вариации на тему изгнания)|
|Other Titles:||«Есть города, в которые нет возврата…» (варіації на тему вигнання)|
“Yest” goroda, v kotoryye net vozvrata…” (variations on the theme of exile)
|Authors:||Соболевская, Елена Константиновна|
Соболевська, Олена Костянтинівна
Sobolevska, Olena K.
|Citation:||Δοξα/ДОКСА : збірник наукових праць з філософії та філології|
|Publisher:||Одеський національний університет імені І. І. Мечникова|
тоска по родине
туга за батьківщиною
|Series/Report no.:||;Вип. 2(32).|
|Abstract:||Данный текст представляет собой десять философско-поэтических
вариаций на тему изгнания. Каждая вариация является развитием
какого-то одного ключевого мотива и прояснением особенностей
экзистенциального бытия человека -изгнанника. Изгнание
интерпретируется в различных смысловых модусах и утверждается в
качестве непременного условия, способствующего выходу в особое
экзистенциальное измерение и связанное с ним понимание жизни.|
Цей текст являє собою десять філософсько-поетичних варіацій на тему вигнання. Кожна варіація є розвитком якогось одного ключового мотиву і проясненням особливостей екзистенціального буття людини-вигнанця. Вигнання інтерпретується в різних смислових модусах і затверджується як неодмінна умова, що сприяє виходу в особливий екзистенційний вимір і пов’язане з ним розуміння життя.
This text represents ten philosophical and poetic variations on the theme of exile. Each variation is the development of one key motive and clarification of the features of the existential being of an exiled person. Exile is interpreted in various semantic modi and affirmed as an indispensable condition of entering into the special existential dimension and understanding of life. First variation The condition we call exile. Exile is not only the condition that we find, but also the condition that we are initially endowed with. Exile and the associated homesickness, like the course of a disease, can be stable, but can worsen, and not fit into the generally accepted pattern of the disease. With exile, if it is destiny, we act as death or as an incurable, chronic disease. We get used to them, absorb them, allow them to come into our conscious being, and live in the prospect of their inevitability. Second variation “I lived the life that was not mine”. These words of Ariadna Efron have been accompanying me for a quarter of a century. Then what about Osip Mandelstam, Pavel Florensky, Lev Gumilev, Joseph Brodsky, etc.? Did they live the life that was theirs? Can a person live not their life and, accordingly, accept not their death, even if it is impossible to make a free choice, when, as it is said, we have no choice? Third variation Brodsky never returned to Leningrad... if only for the reason that when returning to his homeland became possible, Leningrad was no longer there – there was St. Petersburg. However, he quite realistically in the Dante modus returned to Florence and at the same time no less real (but already in his modus) – to Leningrad. Tarkovsky, who left to shoot “Nostalgia” and constantly urged the actors not to play, but to live in the proposed circumstances, eventually got and nostalgia, and life, and death in the circumstances proposed by Nostalgia. The experience of not-returning to the homeland inevitably becomes the experience of returning. Fourth variation Exile as a worldview, as a way of being. I sift the world around me in accordance with the state of forced staying in a foreign land. I distinguish things not by themselves, as known or unknown, but as alien, absent in my homeland or native, present in my homeland. And to these last I grow accustomed, “settled in”, begin to breathe – to call to mind my homeland bit by bit by the grace of God given. Fifth variation The pain of the way, the pain of birth into the Light of God – the pain of birth in the homelandculture-language. The pain of losing maternal womb: you are born from the womb of being into the mother’s womb, then from the womb of mother into the womb of life, into your homeland, and then you are expelled from the homelandlife. Language, native speech is a hearth, inside and around of which all the most necessary is initially formed – “cutlery and crockery” for spiritual food… Many are invited to the Banquet of exile, and few are chosen. Sixth variation Nostalgia as a disease, as a pathological yearning for the fatherland, which has a place in time and beyond. How to understand why I fall into a specia pathological state of longing for the certain locality, space, time of a lost life..? The pathology acquired here is realized as an echo of the inborn pathology. Longing is essentially ontological, we fall into it, it takes hold of us ... Homesickness will save the world. Seventh variation Exiles, wanderers and poets... They are expelled, forced to wander, because they bring chaos in the human community that lives by artificially stereotypes. Then they write a chronicle of chronic loneliness... and inevitably practise spiritual selfidentification: who am I? Eighth variation The occupation is worse than exile. In exile, one is unnaturally, but still naturally removed from their homeland, thrown out of their native language into the unknown lands. In the occupation, one can witness the destruction of one’s homeland-language-culture, one is forced to speak and think in a foreign language, via alien thought structures... Ninth variation Is it possible to undo what happened or to do happened what did not happened? – that is the question. In this connection, the author refers to the final scenes of the films “The cranes are flying” by Kalatozov, “Solaris” and “Nostalgia” by Tarkovsky, where the fundamental event, to which the hero was aspiring, happened. The formal realization of these events is such that they can be called hallucinations or death visions, but by doing so we only find ourselves unable to speak out about noumenal things. Tenth variation, the last one is a cycle of five poems, the starting point of which is Joseph Brodsky’s line – “Yest” goroda, v kotoryye net vozvrata…” However, this cycle is not limited to dialogue with Brodsky only; it is a dialogue with other poets, primarily with Silver Age poets and thinkers.
|Other Identifiers:||DOI: https://doi.org/10.18524/2410-2601.2019.2(32).188560|
|Appears in Collections:||Δόξα / Докса. Збірник наукових праць з філософії та філології|
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