CHERNOBYL EXCLUSION ZONE: THE THREAT OF DEATH OR REBIRTH? (BY THE MATERIALS OF TRAVEL ESSAY BY MATERIALS OF TRAVEL ESSAY BY MARKIYAN KAMYSH «OFORMLAND: A STROLL TO THE ZONE»)
Journal Title: Діалог: медіа-студії - Year 2018, Vol 0, Issue 24
Abstract
The article is devoted to the study on an element of the Chernobyl conflict; specifically addressing the comparisons of a travel essay, «Oformland: A Stroll to the Zone» by Markiyan Kamysh and various documentary films produced by global artists, on philosophical and psychological problems that came with this tragedy. Attention is drawn to the genre aspect of the work, which combines features of travel essays and problematic essays. A comparative analysis of artistic and documentary films are made with films such as: «I Remember ..», «The Ranger From the Atmospheric Zone», «Aurora», «The Truth About Chernobyl», «The State of Chernobyl: 30 Years After the Accident», a French film by Eliza Hayzen «Prayer» for the motto of the work of the laureates of the Nobel Prize Svetlana Alekseevich «Chornobyl Prayer», etc. with essay by Markiyan Kamysha, showing the relevance of the study of human condition through philosophy and psychology in the Exclusion Zone. The film exposes the existential states of man in the conditions of a nuclear disaster from Chernobyl, which, according to T. Hundorova, stimulates the deployment of existential and futuristic philosophy, causing loneliness, disturbance, and uncertainty in the future during apocalyptic conditions. However, the hero-narrator, being in a ruined world, along with anti-social types, thefts, drug addicts, poachers, etc., comes here for other emotions: restlessness, restoration, and perceives the Zone as a place of pilgrimage and creative searches. He, like the hero of the film Anton Buslov, seeks to come here (more than two hundred days in the radiation zone, or more than 45 trips, which goes mainly to himself or with the same stalkers, young people, and who can spontaneously, deliberately not preparing them, even on New Year’s and Christmas holidays, and even writing an essay, the author is not sure that he will not return to the Zone anymore) or as settlers to stay alive forever on their fatherland, or to constantly existential, to pass a certain ritual of initiation, to feel absolute calm, ovne rebirth so why even dedicated one part «Polesian Zen». Her name is based on the author’s philosophy, because he calls the Polesie region a part of Zen that resembles the direction of Buddhist philosophy. The part is not only symbolic but also culminating in the process of transcendence. In general, virgin part of Polissya is a territory to inspire not only the author but also many TV presidents, actors, writers, and well-known performers. In the conditions of catastrophism and domination in the modern world of technological thinking, according to the philosophers-existentialists S. Kierkegaard, M. Heidegger, J.-P. Sartre, P. Tillich, and others, the problems of authenticity, freedom, personal choice etc escalate. Existence of the hero-traveler is actualized through the concepts of «freedom», «alienation», «anxiety», «fear» and is manifested in its boundary psychological states for the purpose of self-design. The purpose of the trip to the hero, like other stalkers, is to comprehend a philosophical category such as «freedom», which existentialists identify with а man, and various manifestations of «freedom from» and «freedom to», that’s why it is so important for the author the state of alienation (social, biological, psychological). Since the author does not depict the external world from which the hero escapes, although he hints at it (the city of Kiev, the vanity, indifference), the hero narrator is in a state of perception for «freedom for» and tries to understand the essence of human life after a catastrophe, to know its essence, to feel special emotions and to survive special emotional states. The alienation that the narrator calls one of the motivations to travel to the Zone makes it possible to feel the loss of authenticity in the modern world and find it in Polissya, in the Zone. The author captures the individual properties of the traveler in the ecological, historical and national environment. Constantly mentioned in the essay, the state of anxiety and fear arises as a result of the destruction of social responsibilities and roles in the faceless society and gives a sense of freedom. Phenomenological level of emotions has in the text qualitative and quantitative characteristics. In particular, in the cognitive sphere, the cognition of the natural world, interaction with it, and self-knowledge, the psychological world of the hero and his existence are expressed through the visual, vibrational, auditory modalities that reflect the range of emotions. In general, we can distinguish in the text perverse, romantic, gnostic, aesthetic, hedonistic, and akisitive emotions. They are at the same time a reflection of the existential state and the motivation for the narrator. He himself calls emotions in the text and seeks to survive in the surrounding world, especially for him and all who are looking for them: in the Zone and in some places such as the village of Krasnoy, the space and the time of existence. The existence and category of time, which in the philosophy of existentialists (in particular, Heidegger) received an ontological interpretation, limited, available for review, only through plot time. Existential time and space in the essay are not identical to the plot time, although sometimes they coincide. Plot time is determined by routes, climaxes, recorded in time. The time of existence – the intersection of the past, the present and the future opens in a special place (in the sketch of a separate part, with a special name that separates plot, psychological, line) for the heroes associated with God – the church or the naked world of nature. Here, the existence is needed not only for the reflection of emotions and psychology, knowledge of the natural world, but also its own ontology, the horizons of understanding the existence, the reflection of the structure of the existential «I». Such a space is minimally saturated with facts, objects of real time, toponyms, co-authors, in order to convey the dynamism of the time of existence, elusiveness. Hero is experiencing such existential states as fear, anxiety, happiness, pleasure. The exposition of the author reveals the range of basic emotions, percepts their experiences and creates a motivational system of human existence, and according to the existential-analytical theory of psychology (A. Langle), the human’s perception of the value of herself and with a purely psychological dimension, emotional experience is translated into a category of spiritual relations of man with the world. Also, these states, the existence demonstrate the readiness of the individual to change, readiness for new growth, to the creative activity, as a result of which Marcian Kamysh began to write a essay, Anatoly Buslova (the main character, «I Remember») was a creative impulse – painted the church, painted pictures, Svetlana Alekseyevich wrote the «Chornobyl prayer». In the world of nature, the traveler experiences a whole range of basic emotions (both positive and negative, according to K. Izard): interest, joy, fear or its anticipation, exposing natural instincts. However, he is not afraid of the world of nature, but the world of people: the same stalkers, or criminals, looters. Natural instincts are so exposed (and the feelings of the hero are not going through for the first time) that he can distinguish any motion, smell, sound and guess it. Nature paintings in different seasons, large plans help the author to reflect the palette of sensations during the weather, absolute desolation and silence, the attack of wild animals (wolves), which is lacking even in feature films, including Anatoly Buslov («I Remember»), which looks somewhat schematic, and the reproduction of mental states is paid less attention to and his condition is explained by the other characters. According to the futuristic concept of filmmaker Eliz Haasen in the movie «Prayer», on the contrary, heroes reproduce purely existential states through movements, emotions, dialogues and monologues, black clothes, but for the fullness of feelings and understanding of their states lack the natural world, positive emotions, self-designing heroes in time and space. In the world of nature, which is more safe for the author, he experiences various structural elements of the emotional sphere: not only emotions, boundary emotions, but also stress in conditions of terrible showers, fierce winter, heat, physical injuries, militia hunts and arrests, states of loneliness, fear, horror (the whole spectrum of emotions of this state), as well as pleasant moments of calm, pacification, spiritual pleasure, the Christian church finds it constantly striving to visit, pray and light a candle here, even to spend the night here, to listen to birds and to hear the sounds of nature di, to inspire and feel the spiritual uplift. The traveler makes a prayer in the conditions of the temple and nature at the same time. Most of the heroes of the analyzed artistic or documentary films, as well as the hero of the analyzed essay, are deeply believers, Christians, who faith helps or gives meaning to life. Often, to abstracted and get rid of fear, nesting, radiation, which was another horror of the Zone and an «invisible killer», the narrator was in a state of intoxication, helping to overcome the horror and calm down, reach relaxation, or sleep, for other stackers such the state was narcotic intoxication. The experience of existential states lies not only in the title of sections, as he calls such trips in walks, which, obviously, bring moral satisfaction to the author. The plot of travel – it is also not only familiarity with the land, but also the movement of feelings and existences. In addition to the time of existence, its obscurity, the experience of this state is reflected in the language of the text. The author often uses obscene vocabulary, especially used in the stakers’ circle, to argotheism inherent in this social group, which demonstrates the lack of cultural constraints and which, in their opinion, accurately conveys the feelings of the author. Thus, attention to the existential states, feelings and emotions of a person in the conditions of the largest atomic catastrophe helps the author to attain the philosophical and journalistic sharpening of the text and the call to preserve the Polissya as one of the best corners of Ukrainian nature and culture, makes us think about the future of humanity, model the situation and sharpen the attention on the fact that it is spirituality that leads to such consequences as the Chernobyl accident.
Authors and Affiliations
Alla Kovalenko
Keywords
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- EP ID EP554195
- DOI 10.18524/2308–3255.2018.24.153391
- Views 91
- Downloads 0
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