Інтерпретація форм архетипу Переродження в українському музичному мистецтві (проекція теорії архетипів Карла Густава Юнґа)

Abstract

У статті розглянуто форми архетипу Переродження за К. Г. Юнґом у проекції на українське музичне мистецтво. Досліджено їх втілення на прикладі творів С. Людкевича, Б. Лятошинського, Л. Дичко, М. Скорика. Здійснено розподіл втілених у музиці форм зазначеного архетипу на рівні.

В статье рассмотрены формы архетипа Перерождения по К. Г. Юнгу в проекции на украинское музыкальное искусство. Исследовано их воплощение на примере произведений С. Людкевича, Б. Лятошинского, Л. Дычко, М. Скорика. Осуществлено распределение воплощенных в музыке форм указанного архетипа на уровни.

The modern comprehension of processes of culture development requires bringing in to art criticism researches a certain universal mechanisms of analysis. This applies to the archetypes theory of C. G. Jung in particular. This will enable to study a semantic load of works of primary religious and Christian content in a single context. In Ukrainian musicology in this area is significant monographic studies by M. Severynova which designs cultural archetypes in to creativity of modern Ukrainian composers. Some works on this issue belong by V. Drahanchuk and other scientists. We analyse the Rebirth archetype in this article on example of some Ukrainian music works. C. G. Jung distinguishes such its forms: metempsychosis or “transmigration of souls”, reincarnation, resurrection, renaissance, transformation or transmutation, indirect degeneration. The analysis of these forms will enable a deeper understanding of culture as a single development process, the stage of which (in this case – the primary religious and Christian) does not contradict, but complement one another. Of course, the first manifestation of the investigated archetype in Ukrainian culture found in mythological beliefs that have found numerous reflected in the music. A striking example of the interpretation of primary religious reasons in modern musical art is Rhapsody “Dumka” by Lesia Dychko on the verses of Taras Shevchenko. Referring to the depths of national folklore, we find numerous examples of transmigration of girl’s souls in to viburnum, willow, poplar, flower, mermaid, birds and others. The composer diverse portrays the levels of girl-martyr’s transition from one state to another that has metempsychosis signs. The idea of a spiritual community which embodied in the silver-plated chain is compared with Dazhbog’s powerful force in the Borys Liatoshynsky’s opera “Golden Ring” by Ivan Franko’s novel. The combining of death and love themes, the Dazhbog’s and hoop leitmotifs in the final is symbolizes the spiritual resurrection of divine and social symbol at the collective level. The call “Battle on – and win your battle!” which is relevant today is embodies the aspirations of renaissance at the people-society level as a form of Rebirth archetype in Stanislav Lyudkevych’s cantata-symphony “Caucasus” by Taras Shevchenko’s poem. The main national sense of the Myroslav Skoryk’s opera “Moses” by Ivan Franko’s poem is reflects the prologue to the work. The people are “martyred”, “broken” at the start of the prologue but it come in new images of strong and invulnerable, powerful and independent in completion of the prologue. So the transformation ritual is at the nation-society level. We have not touched the indirect rebirth in this context. This modification takes place through participation in the transformation process when a person becomes a witness or member of a certain transformation ritual. This is the highest level in which a divine grace comes down to the individual. This causes its great and promise for separate study.