As an emigre writer living outside of Ukraine, Yurii Kosach constructed an “imaginary homeland” through his treatment of history, culture, and memory in his literary works. This article analyzes these categories in Kosach’s meta-narratives of the artist in exile, by focusing on the texts “Zaproshennia na Tsyteru” (An Invitation to Cythera, 1945), Skorbna symfoniia (The Sorrowful Symphony, undated), and Senior Nikolo (Signore Nikolo, 1954). Kosach’s characters are placed between exile and homeland, nation and empire, and self and other. All these notions are included in a discourse that is inclusive rather than oppositional. Following a strategy used by Lesia Ukrainka, Yurii Kosach also tests the artist’s ability to create in lands beyond one’s homeland and in conditions of cultural oppression. Each story plot of the analyzed narratives is constructed in terms of the cultural and national aspects of the artist’s identity.

中文翻译：

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艺术家的渴望与归属：尤里·科萨奇的叙事中的文化敏感性

作为住在乌克兰境外的民俗作家，尤里·科萨赫（Yurii Kosach）通过对待文学作品中的历史，文化和记忆，建立了一个“想象中的故乡”。本文着重分析了科萨奇（Kosach）流亡艺术家的元叙事中的这些类别，重点研究了文本“ Zaproshennia na Tsyteru”（对Cythera的邀请，1945年），Skorbna symfoniia（《悲痛交响曲》，未注明日期）和Senior Nikolo（Signore） Nikolo，1954年）。科萨奇的角色介于流放者与祖国，民族与帝国，自我与其他之间。所有这些概念都包含在一个包容而不是对立的话语中。按照Lesia Ukrainka所采用的策略，尤里·科萨奇（Yurii Kosach）还测试了艺术家在自己故乡以外的土地上以及在文化压迫条件下创作的能力。