Oleksandr Dovzhenko: several observations about the worldview and aesthetic universals of his phenomenon against the background of the 20th century

Abstract

The attention in the offered article was focused on comprehension of a large-scale complex of philosophical, moral-and-ethical, aesthetic problems connected with the activity of the Ukrainian cinematographer Oleksandr Dovzhenko, the giant of world scale of the 20th century. The axiological priorities of the genius and the social-and-historical circumstances of his existence were clarified. The diary thoughts of Dovzhenko scholar, the great Ukrainian thinker of the 20th – 21st centuries – Yevhen Sverstiuk in the understanding of this axiological paradigm played an important role. Given this context, little-known facts of the biographical discourse of O. Dovzhenko and D. Shostakovych were actualized; the immanent consonance of their modern aesthetic searching in cinematic art, colour painting and musical painting of the 20th century was marked on the basis of primary sources. The harmony of movement, coloration, sound in the poetics of artists was a large field of interest even for humanities scientists of the 21st century. Attention was paid to the moral-and-ethical estimation made by O. Dovzhenko of D. Bedny as a destroyer of the principles and embodiment of the latest world cinematic aesthetics and its creator, which appeared in the film masterpiece «Zemlia (Land)». The antagonism of ideological works of socialist realism and works of art for centuries was illustrated in the exploration on the examples of the poetic word of the Kyivan – M. Bulgakov and S. Yesenin. The consonance of the receptions of the reality of the Soviet-era period in the figurative-and-semantic axiologems of O. Mandelstam’s poetry and O. Dovzhenko’s diary notes was clarified in the comparative parallels.Devotion to aesthetic truth overcomes the delusions of the past. Analytical attention to the important semiosphere, which was the role of D. Shostakovych in revealing the truth to the world about killing of the Congress of Ukrainian Kobzars in 1935 by the Soviet authorities in the mentioned value-and-semantic context was drawn. This empathic involvement in the grief of another was the ideological basis of the phenomena of Christian self-sacrifice as O. Dovzhenko and other mentioned artists and thinkers of the analyzed time.