Vmeste i vroz. Metamorfozy obraza Tarasa Shevchenko v gody Pervoy mirovoy i Grazhdanskoy voyn

Abstract

The article delves into the exploration of the formation of the Ukrainian nation within the backdrop of competing ideologies: imperial and socialist. The theoretical framework adopted for this study is Miroslav Hroch’s concept of nation-building phases, which centers around the generational shift from a limited national intelligentsia to a broader educated class, and eventually to a mass movement. Among the myriad factors influencing the propagation of the notion of nationhood, a relatively unexamined one is selected for analysis — the utilization of literature, specifically the works and image of Taras Shevchenko, by various political and public actors. This study draws on sources such as speeches, articles, political symbols, and accounts of visitors to Shevchenko’s grave. During the early 20th century in the Russian Empire, multiple attempts were made to integrate the image of the Ukrainian poet into various discourses. Firstly, he was portrayed as the progenitor of the nation, a supporter of Ukrainian emancipation. Secondly, within the realm of social discourse, Shevchenko was depicted as a political fighter against the monarchical regime. Thirdly, his works were viewed as a component of broader imperial culture. Interestingly, these interpretations could coexist even within the dialogues of political adversaries. The battle for the “appropriation” of Shevchenko’s image came to the fore during the tumultuous period of the First World War and the 1917 Revolution, being transformed into integral elements of the political strife. This symbol was harnessed for political mobilization by advocates of a unified state, proponents of national autonomy, and separatists alike.