F. NIETZSCHE’S HISTORIOSOPHY AND UKRAINIAN ARCHEOGRAPHY

Abstract

In the second half of the 19th century the practice of publishing historical sources (publication archeography) acquired a new quality. Thanks to the establishment of the ideas of positivism, the standards for the publication of historical documents were finally fixed, the number of elements of archeo- graphic design increased and the content of each of them was determined. Thanks to such stages of work as publication planning, targeted selection of sources, creation of a publishing project, it acquired better organization. This made it possible to avoid the publication of «accidental» documents to a greater extent, the publication of those documents that had already been published before. At this time, the development of new documentary layers and the discovery of unknown documents accelerated.

Since the informativeness of the publication was one of the priorities of the positivist style of thinking, a whole range of forms of archeographic publi- cation emerged that provided historians with the necessary information for their work. At the same time, the paradigm of positivism, having changed the perception of the remnants of the past, ignored their basic features. Unlike romanticism, which focused on iconic, legendary sources, on the image of a «cornerstone» positivism had pragmatic ideas. The remnants of the past appeared as raw material from which an intermediate product was obtained with the help of technology - a fact that was then built into the historical narrative like a brick. Archeography was one such technology. Such forms of publication as regests, publication in excerpts, selective publication increased the informativeness of the material on a certain issue, but ignored the very monument of the past itself.

The idea of the source as a passive material made the historian-editor a dom- inant in the process of interaction. Therefore, he actively intervenes in the formation of the image of the monument with his edits, the ability to make changes, divide the text into parts and impose his idea about the falsity or un- necessariness of this or that information. For the sake of greater accessibility and comprehensibility, ancient texts were transmitted in modern letters and using the rules of modern grammar. Thus, the editor and compiler influence the image of the past that appears before us with the help of sources as a monument of the epoque.

At the end of the 19th century the intellectual atmosphere in Western Europe is changing. F. Nietzsche’s philosophy became an important factor in such changes.

The latter influenced the formation of new trends in archeography indirectly.

F. Nietzsche put forward new requirements for the culture of presenting mon- uments of antiquity, which does not prevent them from awakening modern people from their intellectual slumber with their rude, dissonant voice with modernity. Instead of passive, raw material, from which the historian has yet to produce a product in the form of a fact, we are faced with an element that can itself capture the researcher in its vortex.

The new intellectual image of the monuments of the past prompts to change those elements of archeographic architecture that were designed to modern- ize them. At the end of the 19th century in Ukrainian archeography, there is a surge of interest in ways of conveying the authenticity of a monument through: reproduction of ancient writing, grammatical features, text appear- ance; compliance with the original structure of the text of the monument as well as reducing the ability of the editor and compiler to influence the authenticity of the monument. By getting rid of the narratives of fitting the monument into the modern needs of historical science, the semantic content of the elements of archeographic design (prefaces, comments, headings from the compiler) changes. New forms of publication are emerging, focused on «random» documents. Thanks to this, the contemporary can better hear the «rude» voice of antiquity, which F. Nietzsche demanded.