Літературна Біографія «Homo Politicus»: Хто Олеся Досвітнього – Агітка Анни Боярської

The article analyses the literary modelling patterns of “homo politicus” biography in the novels Who by Oles Dosvitnii and Propaganda by Anna Bojarska. The concept system of both works being traditional for a political novel. At the centre of the novel are fictional characters: Nero, Liia, Leo (Who), Krzysztof Palivoda, Monika Weber, Conchita Estravados, Michel Bernard, Rolf Sperling (Propaganda). On the margins of the concept are “key characters” who have historical prototypes: Niiev, Rezhos, Netkhleb, Pavianore, Kutsenkyi, Struskyi (Who), A. Baader, U. Meinhof, G. Ensslin, J.‑C. Raspe, H. Paul, I. Schubert, P. Estravados (Propaganda). In modelling the inner world of “homo politicus”, Oles Dosvitnii is primarily limited to their political activities (the exception being the family story of Leo and Liia), on the other hand, Anna Bojarska is interested not only in politics, but also in the intimate and family life, and various spheres of character self‑realization (social, professional, creative). In their novels, the Ukrainian novelist and the Polish writer represent different types of “homo politicus” and we observe different versions of human destiny. These people mainly entered politics under the influence of a youthful idealistic desire to change the world. Further literary biography of “homo politicus” unfolds as the realization of a fabulous “three ways” matrix: 1) total disappointment and the ceasing of active political activity (David Sinclair in Propaganda); 2) political struggle, efforts to remain unblemished, being true to revolutionary ideals (Nero, Liia, Leo in the novel Who, Pablo Estravados, Monica Weber, Martha Dougherty – in Propaganda); 3) conscious cooperation (Michel Bernard, Rolf Sperling in Propaganda) or forced cooperation (Hans in the novel Who, Krzysztof Palivoda, Conchita Estravados, Hana – in Propaganda) with the special services, becoming a marionette in the hands of big political players. Actually, Anna Bojarska goes further than Oles Dosvitnii in understanding the ethical aspects of politics, in modelling the inner world of “homo politicus”. In the mid 1920s, the Ukrainian writer introduced an artistic reflexion of the mentality of “homo politicus” as a member of the left movement, while Anna Bojarska was to develop and deepen this in the early 1980s, as demonstrated by the economic and political consequences of left ideology dominance (totalitarian‑Bolshevik) in Poland, depicted through the rebirth of “new left” trends in Western Europe, and the transformation of the revolutionary movement into a puppet theatre, “ping‑pong of spies”.