Translated material
Inna Bulkina. City album II
However, unprecedented ambitiousness - it seems that the only printing drawback of Lviv books; From the point of view of design, they are made impeccably, as for the guidebook, this is actually the first publication of this level in Ukraine. At least, it was still not aimed to combine an advertising-tourist reference book with a scrupulous and ceremonial local history guide to anyone. And in vain. Advertising Rocket Guides suffer from pragmatic narrowness, local history publications suffer from the poverty of the budget, all won from combining advertising money with historical and local history enlightenment.
The guide consists of ten routes, numerous maps and plans, a "tourist informant", an English index (subject and nominated signs) and even ... bibliography. In some places it seems that he is almost excessively academic. Although it would be strange from this kind of publications to wait for fiction. For all that, the multi -page transfer of architectural details, interspersed for the variety of references to well -known and little -known persons, which for one reason or another are dedicated to streets and memorial plaques, is able to tire anyone. Except perhaps a conscientious guide.
It is assumed that the book is intended for a reader who owned Ukrainian - first of all. Or English. At the same time, the information is partially distributed by the diggogy (no coincidences, no intersections) to the principle: the reader in Ukrainian receives an extremely detailed local history tour; Reading in English receives it, but in a significantly adapted version, but he is intended for a lot of purely pragmatic information.
We put ourselves in the position of the first, for the simple reason that information of a practical nature can only be evaluated by using it - while we are imagining the city for ourselves, following the authors of the guide along all ten routes they proposed - that is, from the medieval center, even further along the radius, up to former suburbs and dachas (new lights and “manor” development of walks), new quarters And finally, cemeteries. Our advantage (or consolation) is that the local historical polyphony, as well as the whole legend, one way or another, “laid down” in the name of “Lviv”, in no way retreats to the impressions of momentary, inevitably distracting any non -reverse traveler. And nothing prevents us from finding medieval Italy here, as well as Vienna or Krakow; On the pages of the guide, we will meet Dominicans and Carmelites, Jesuits, Armenians and Hasidov if desired. I’m afraid that in a real journey through Lviv everything would not have looked so mottled, although, on the other hand, there’s nothing to ... But, at least, nothing bothers us, even the new names of the streets in return for the old ones: with some heuristic effort, we are able to find out that the street was promoted once by the Carmelite road, ul. Krivonosa - Theater (in the College of Theatrines), then - the Cleaner is wormhole, because the theaters were not eternal and the artillery barracks were located in the collegium under the red roof, the on -duty in all Ukrainian cities Taras Shevchenko was the street of St. Yana, and also academic, and now the "academic" is already reminiscent of something, some good and recent Ukrainian poems. On the site of the current monument, Shevchenko was, as it turns out, another monument to King Jan (went to the king’s homeland in Gdansk), and after him - to Vroclav - the monument to Alexander Fredro, the Lviv resident and the Polish dramaturgy left. In his place, there is a monument to M. Grushevsky, who repeated it in composition, but the monument to the romantic hero of Soviet films to the scout Nikolai Kuznetsov left for the scout's homeland - to Yekaterinburg. At the site of the monument to F. Smolka - the messenger of Galicia in the Vienna parliament - now "a monument to the police - defenders of Ukrainian statehood." What happened to the Galician parliamentarian monument is unclear, because his homeland does not exist in that very quality. And his street now bears the name of the dissident general P. Grigorenko. But how was Dudaeva street earlier, the guide is silent. The street V. Snatyuk was called by Jesuit, and the neighboring one, which is now Kurbas, is unknown, so you have to take into account that Franz Xaver Mozart, the son of Wolfgang Amadeus, lived on Lesya Kurbas Street.
It’s not about the eternal philosophical, as well as the banal-journalistic problem of the “change of names”, just if you continue in the utopian genre of virtual journey, then the city would look impossible and intelligently look where the replacement authorities and ideologies would apply their ideological topography not on top of each other, but around the expanding development. And we would walk along the radii from the square of the market, bypassing the Italian courtyard and Volynsky Shlyakh, bypassing the prince of the mountain, through the streets of Armenian and Jewish, Jesuit, Austrian, Polish and Soviet, and finally would come to the street Grushevsky or Vinnichenko, and all topography with toponymy would be responsible for their architecture and their ideology and their own memory. All this is nothing more than utopia, “the dream of a good heart”, for the authorities are power, it is a reason for its alien territory and perpetuate it as its own.
Or it’s from the field of utopian urbanism, but this is already quite feasible. Although also impossible. It would be great if the tablets with the names of the streets were a sequence - in a row or into a column - all its historical names: this is literally historical revelation. But again, she is power and power, to which these historical allusions and reminders to her, which, they say, were before , and therefore, will be after .
Founded in 1868, "Smirita" was literally engaged in popular enlightenment. The unexpected paradox of this brief historical excursion is that “is sore” under the same name and, by and large, with the same - “nursing” - ideals and means of struggle (it must be said that the “shed” was born during the active confrontation between the two equivalent “Galician -Ruski” parties “Moskvofilov” and “Ukrainophiles”), and this day). And the "Provitthian ideology" (it is still called the Nardemovo - People's Democratic) lives and wins. According to general recognition, it is with the "Provittyan" ideology, for lack of no other, they enter the third millennium today's Ukrainian "power elites."
Lviv books are remarkable primarily by the fact that with the pathos of the current "sovereign" moment the visual series here is completely nostalgic: lithography, reproductions and old - museum order - photographs. The Austrian Chernowitz , on the contrary, explained its nostalgic longing for the American school "Social photography" - literally today.
In what modality do the ghostly Austrian Chernowitz and the current lion are found, conducting his countdown with not so long (only 130-150 years ago) the founding of the "people's house" and the creation of "Milo"? The photographer from Vienna is turned into the past, or, perhaps, the Lviv "Peni -Vyvityan", who sorting out the old lithographs, looks ahead - to Europe and the third millennium?
One thing can be argued unconditionally: Lvivovs declare their own location with an enviable certainty - the "center of Europe".