To see the other types of publications on this topic, follow the link: Ukrainian cultural narratives.
Journal articles on the topic 'Ukrainian cultural narratives'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Ukrainian cultural narratives.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Grytsenko, O. A. "NARRATIVES OF DECOMMUNIZATION IN UKRAINE’S CULTURAL SPACE." UKRAINIAN CULTURAL STUDIES, no. 1 (4) (2019): 47–53. http://dx.doi.org/10.17721/ucs.2019.1(4).09.
Full textAbstract:
The article offers a cultural study of one of key aspects of the decommunization process in contemporary Ukraine, formally started by the in- troduction of so-called ‘four decommunization laws’ adopted on April 4, 2015, as manifested in the country’s cultural space through major narra- tives that describe, interpret and mythologize this process from various cultural and ideological positions and viewpoints. The methodological background for the study is provided by well-known cultural studies’ approach that, according to Paul Du Gay, Stuart Hall and others, presumes a systemic analysis of five key aspects of a given cultural phenomenon, namely, its production (creation), its consumption (reception), its regulation (by the state and other actors), its representations in culture (including narratives about it), and identities shaped or transformed by it. In this article, the penultimate part of a cultural study of Ukrainian decommunization is presented in detail. An overview of dozens of articles, columns, interviews and other texts about the decommunization in Ukrainian and foreign media demonstrates that there seem to be four main groups of decom- munization narratives, tentatively named: the ‘purification of Ukraine’ narrative, the regional (or decentralized) narrative, the ‘Bandera-ization’ narrative, and the liberal narrative, each with its characteristic modes of emplotment (from epic romance to satire), with its civilization perspective, its set of sym- bols and values, its ‘heroes’ and ‘villains’. Unsurprisingly, those portrayed as heroes in affirmative narratives (that of ‘purification’, for instance) tend to become villains in negative narratives, the head of Ukrainian Institute of National Remembrance Volodymyr Viatrovych being the most prominent one.
2
Golovashina, Oxana. "Models of Integration of Ukrainian Migrants in Poland in the Context of the Conflict of Historical Narratives." Przegląd Wschodnioeuropejski 10, no. 2 (December 30, 2019): 161–68. http://dx.doi.org/10.31648/pw.5470.
Full textAbstract:
The paper studies the integration models used by Ukrainian migrants living in Poland and the resulting problems associated with the rivalry between historical narratives of the Ukrainians and the host community. The author’s work is based on the concept of cultural memory (Maurice Halbwachs, Aleida Assman) and the idea of the dynamic character of images of the past (Jeffrey K. Olik). The data for the study was collected during 30 in-depth interviews with the Ukrainian migrants and also from social networks, forums and open Internet resources. The study has revealed that the majority of the Ukrainian migrants seek to avoid the rivalry between historical narratives, arguing that they personally are not involved in it and events of the past are no longer actual in modern life. Close contacts with representatives of the host community contribute to the assimilation of the Ukrainians. Only a few of the interviewed respondents choose the Ukrainian historical narrative, however they are not going to throw their lot in with Poland. The paper also thoroughly discussed the factors contributing to the choice of one or another position
3
ARKUSHA, Olena. "«Do you require our responsibility to gentry times?». Ukrainian intellectuals’ of the 19th – the beginning of the 20th century opinions about the role of the heritage of the polish-lithuanian commonwealth in the creation of modern ukrainian nation." Ukraine-Poland: Historical Heritage and Public Consciousness 11 (2018): 27–55. http://dx.doi.org/10.33402/up.2018-11-27-55.
Full textAbstract:
European historiography changed considerably during the nineteenth century. Formation of historical source study as a separate science, on the one hand, and awareness of the connection between the historical narrative of the past with political interests, on the other hand, gave impetus to the writing of historical works on national history, the so-called grand narratives. They relied on historical sources, but chose what served the actual political interests, and ignored or interpreted otherwise what they did not fit. The territorial organization of living space has become a priority task of national development in the nineteenth century, and the recognition of land, borders, and people as own should have been historically grounded. The difficulty for Ukrainians was that the traces of Ukrainian-Russ statehood were lost in ancient times, while the neighbors, primarily Russians and Poles, tried to draw both the territory and the past of Ukraine into their own concepts of the creation of modern nation. The creation of the Ukrainian grand narrative was influenced by external factors: the division of the Polish-Lithuanian Commonwealth and the collapse of its once unified political, cultural and intellectual space, and the policy of the Russian authorities, aimed to separate «Little Rus’» from western civilization. Russian censorship successfully removed memory of Polish-Ukrainian ties from historical works and replaced it with the image of the invading Poles. The traumatic, post-war experience, idealization of images of Cossack soldiers was the favorable ground for this. As a result, in Ukrainian historical grand narrative the «Polish-Lithuanian» period was interpreted as an external occupation, a break in the «correct» history of Ukraine. The whole complex of everyday life, cultural and political influences of Ukrainians in the Polish-Lithuanian Commonwealth remained beyond history. Its main content was recognized by the Polish-Ukrainian conflicts. The views on the legacy of the Commonwealth in the Ukrainian society of the nineteenth century can also be analyzed from the perspective of the intellectual biographies of their creators and take into account the experience of relations with the Poles, the private image and repression of the Russian government. An unbiased rethinking by professional historians of the past of the Polish-Lithuanian Commonwealth from the point of view of the interactions of various cultural spaces in the nineteenth century was not a matter of time. Keywords Ukrainian-Polish relations in the nineteenth century, Ukrainian-Russian relations in the nineteenth century, Ukrainian historiography of the nineteenth century, intellectual biography, cultural and intellectual heritage of the Polish-Lithuanian Commonwealth.
4
Grytsenko, Oleksandr. "History Works as Texts of Culture, or, Professional Historians in the National Narrative’s Embrace." Culturology Ideas, no. 17 (1'2020) (2020): 99–115. http://dx.doi.org/10.37627/2311-9489-17-2020-1.99-115.
Full textAbstract:
The article offers a comparative study of Ukrainian and Polish historical narratives understood as elements of national cultures of remembrance. Using a methodology of cultural studies borrowed from the Birmingham school, the scheme of ‘modes of emplotment’ proposed by Hayden White, the basic model of historical narrative developed by Jerzy Topolski, and Franklin Ankersmit’s notion of narrative substance, a discourse analysis of fragments of four books by contemporary Ukrainian and Polish authors (Yaroslav Hrytsak, Oleksandr Paliy, Grzegorz Motyka, Włodzimierz Mędrzecki) relating the same period (Western Ukraine between the World wars) was accomplished. All layers of the historical narrative (the informational, the persuasive, and the deep world-view related one), as well as modes of emplotment adopted by the authors and their positioning in their narratives were analyzed. The comparative study makes it possible to elucidate the relations between each of the four texts and the mainstream national historic narratives of the two countries. It also helps us to understand the reasons why the attempts to create a single non-conflicted vision of the ‘difficult issues’ of pour shared past have failed so far.
5
Golovashina, Oksana V. "Battles for Bandera: Dissonant Historical Narratives of Ukrainians in Poland and Problems of Integration." Changing Societies & Personalities 5, no. 3 (October 11, 2021): 355. http://dx.doi.org/10.15826/csp.2021.5.3.139.
Full textAbstract:
The increasing flux of Ukrainian migrants into Poland increases the urgency of correlating Polish and Ukrainian historical narratives. Here, a key problem concerns the new pantheon of Ukrainian national heroes, some of whom are viewed quite negatively by many Poles. In this article, problems of competing historical narratives, as well as correlations between historical conceptions and models of migrant integration, are examined with the reference to field research carried out with Ukrainian migrants living in Poland. Here, the main sources comprised interviews with migrants, monitoring of formal and informal cultural activities organized for migrants, as well as data obtained via social networks, thematic forums and the expatriate press. It was found that the main factors determining strategies for facilitating interaction between historical narratives comprise the degree of inclusion of migrants living in different communities of the host country, as well as the level of cohesion among the migrant communities themselves.
6
Binder, Harald. "Urban Landscape and Printed Press in Habsburg Lemberg: the Kotsko Memorial of 1912." East Central Europe 33, no. 1-2 (2006): 53–70. http://dx.doi.org/10.1163/187633006x00051.
Full textAbstract:
AbstractThis article analyzes a political demonstration in Habsburg Lemberg commemorating the death of a Ukrainian student during fights at the university. The Ukrainians in Lemberg figured as an urban minority that claimed chief historical rights on the city, but was largely deprived of the chance to express this claim in public space. In this case, Lemberg's Ukrainians found two alternative sites to be suitable for the public expression of national self: the cemetery, a space largely outside the realm of political control, and a building in the city center of national significance to the local Ukrainian community. In these commemorations, the press played the role of transforming political events into consistent narratives that were in line with different groups' political intentions.
7
Labashchuk, Oksana, Halyna Derkach, and Tetiana Reshetukha. "Child in the Natal Narratives of Modern Ukrainian Mothers: Folkloric Symbols and Frequent Motifs." Folklore: Electronic Journal of Folklore 80 (December 2020): 69–96. http://dx.doi.org/10.7592/fejf2020.80.ukraine.
Full textAbstract:
The article focuses on the manner natal narratives accumulate and transmit prevailing traditional ideas about motherhood and the baby in modern society. It lists and exemplifies the major motifs that are typical of oral tradition of the Ukrainians, Slavs, and other peoples. This research is based on stories of more than 500 women about personal experience of pregnancy and childbirth, which were recorded using the narrative interview method. The thick description method (Clifford Geertz 1973) has been applied for material interpretation. The authors analyse animal–child symbolism in the narration of pregnancy, the accents on weather and time while telling about the moment of birth, and the manifestation of each child’s uniqueness in the mother’s interpretation.
8
Valentsova, Marina, and Ludmila Vinogradova. "Folk Carpathian-Ukrainian demonology: motivational-functional research method." Journal of Ethnology and Culturology 29 (August 2021): 44–52. http://dx.doi.org/10.52603/rec.2021.29.06.
Full textAbstract:
The traditional way of describing and researching national demonological systems is the character approach. The article attempts to substantiate another possibility of studying Slavic demonology – through the concept of a mythological motive. The motive is understood as a semantic predicate of demonological narratives of various kinds, the minimal meaningful unit of plot composition (including motives-actions, motives-situations, motives-descriptions etc.). The composition of motives in each mythological tradition is unique and can be used to understand the mentality of the people, their way of perception of the world and their attitude to the world. The article describes, with varying degree of detail, some of the motives characteristic of the Carpathian-Ukrainian demonology: motives “to scare a person”, “to lead astray”, telling fairy tales as a protective charm, substitution of babies by demons, motives of double-mindedness, gaining magical power against hail, a circular dance of forest demons and a number of others. Among them, there are world-known, all-Slavic, actually Carpathian-Ukrainian and also Carpathian-Balkan motives. An analysis of these, as well as of other motives, contained in mythological narratives from the collections of V. Hnatiuk, V. Shukhevych, A. Onyschuk and others, allows us to realize the specificity and uniqueness of the Carpathian Ukrainian tradition, and can also provide material for conclusions of an ethnogenetic nature.
9
Pakhomenko, Sergii, and Olga Sarajeva. "Formation of the Historical Memory of the Bulgarian Minority of Ukraine (1991 – 2020): Actors, Narratives and Commemoration." Istoriya-History 30, no. 1 (January 15, 2022): 87–99. http://dx.doi.org/10.53656/his2022-1-4-form.
Full textAbstract:
Nearly three centuries have passed since Bulgarian migrants appeared on the territory of contemporary Ukraine. They had to leave their historic homeland due to the strengthening of control of the Ottoman administration over all spheres of life of Bulgarians in the metropolis, as well as the intensification of the Russian-Turkish military confrontation, which drastically affected the economic, social, and cultural situation of the Bulgarian population. The Bulgarians, settled down on the Ukrainian lands, became an integral part of the multi-ethnic Ukrainian society, though fell victim to the assimilation policy of the Soviet period. Bulgarians are undergoing a period of national and cultural revival in the independent Ukraine, which is intimately linked to the process of recovering the historical memory of Ukrainian Bulgarians, restoring the pantheon of national heroes, memorable dates, and revival of traditional culture. In this connection, the researches dedicated to the analysis of the process of formation of the historical memory of the Bulgarian community in modern Ukraine are of particular relevance. The authors emphasize the difference between the two main groups of the Bulgarian community on the territory of Ukraine – Bessarabian and Azov (Taurida) Bulgarians, which is reflected in a reassessment of the role of the migration of ancestors of modern Ukrainian Bulgarians from the metropolis as well as in a monopolization of objects of national and cultural heritage by certain organizations, etc.
10
Rewakowicz, Maria G. "Geography Matters: Regionalism and Identities in Contemporary Ukrainian Prose." Canadian-American Slavic Studies 44, no. 1-2 (2010): 82–101. http://dx.doi.org/10.1163/221023910x512813.
Full textAbstract:
AbstractThis paper examines the representations of four Ukrainian cities (Kyiv, Rivne, Chernivtsi, and Lviv) in a few selected fictional narratives by four contemporary Ukrainian authors. Each of these cities represents not just concrete urban settings, but also provides a certain set of beliefs, myths, and historical accounts. The sense of belonging to the local territory is underscored, yet the sense of belonging to the nation and the world is not dismissed. Kurkov, Irvanets, Kozhelianko, and Vynnychuk celebrate the city as a generator and site of identity, simultaneously regional and national.
11
Puleri, Marco. "Values for the Sake of the (Post-Soviet) Nation." Southeastern Europe 42, no. 3 (November 17, 2018): 350–75. http://dx.doi.org/10.1163/18763332-000012.
Full textAbstract:
The aim of this paper is to deeply rethink and better understand the different approaches to ‘value-based’ politics – and social subroupings’ reactions to it – in the post-Soviet area through the lens of the Ukrainian scene, by analysing both the political and cultural narratives which have emerged in the aftermath of the recent Ukrainian-Russian clash of discourses. An accurate tracking of the policies normativising the field of culture on the one hand, and of blurred cultural boundaries on the other, will help us to question the fixed constructs of national and cultural identity when looking at the everchanging post-Soviet social milieus. This could lead to a general reassessment of the dynamics of self-representation in the post-Soviet cultural and political scene.
12
Szostek, Joanna. "The Power and Limits of Russia’s Strategic Narrative in Ukraine: The Role of Linkage." Perspectives on Politics 15, no. 2 (June 2017): 379–95. http://dx.doi.org/10.1017/s153759271700007x.
Full textAbstract:
Governments project strategic narratives about international affairs, hoping thereby to shape the perceptions and behaviour of foreign audiences. If individuals encounter incompatible narratives projected by different states, how can their acceptance of one narrative over another be explained? I suggest that support for the strategic narrative of a foreign government is more likely when there is social and communicativelinkageat the individual level, i.e., when an individual maintains personal and cultural connections to the foreign state through regular travel, media consumption, religious attendance, and conversations with friends or relatives. The role of linkage is demonstrated in Ukraine, where a “pro-Russian, anti-Western” narrative projected from Moscow has been competing against a “pro-Western, anti-Russian” narrative projected from Kyiv. Previous accounts of international persuasion have been framed in terms of a state’s resources producing advantageous “soft power.” However, I propose a shift in focus—from the resources stateshaveto what individualsdoto maintain social and communicative ties via which ideas cross borders. In a competitive discursive environment such linkage can in fact have mixed consequences for the states involved, as the Ukrainian case illustrates.
13
Zhurba, О. I., and Т. F. Lytvynova. "NARRATIVIZATION OF THE UKRAINIAN PAST IN THE LATE 19TH – EARLY 21ST CENTURY: IS OVERCOMING POSSIBLE?" Вестник Пермского университета. История, no. 3(50) (2020): 27–41. http://dx.doi.org/10.17072/2219-3111-2020-3-27-41.
Full textAbstract:
The basic strategies for constructing the framework of the Ukrainian national historical and historiographic narratives in the late 19th and early 20th centuries are analyzed in the first part of the paper. The nationalization of Ukrainian history and historical writing and the decisive role in forming the Ukrainian project of the pre-modern Little Russian nation are shown. The main mechanisms of the process are revealed, such as the historiographic expansion of the Little Russian intellectual range, the consolidation and ethnicization of regional history of the metropolises, the building of linear, teleological constructions, and the anthropologization of the ethnic community. Attention is paid to the technology of forming images of neighbors as contouring enemies. The authors demonstrate the methods for implementing the basic principles of constructing a national narrative in the practice of historical writing. Three competing strategies for creating large Ukrainian national histories that have had a decisive influence on the algorithms of modern didactic, affirmative and analytical historiography are presented. In the second part of the paper, contemporary approaches to the modernization of the traditional national narrative determined during the discussion of 2012−2014 are identified: 1) the deconstruction of national narrative, the rejection of the «tyranny» of asynchronous territoriality, and the development of dual research optics (the methodology of regional history and the integration of national history into the contexts of large cultural communities); 2) the decorative updating of the national narrative through the implementation of a multinational approach; 3) the middle position of «pluralistic indifference», consistent with the arguments of the extreme parties. It is noted that the current socio-political situation has formed an increased demand for the modernization of the ethno-national narrative of the early 20th century, which threatens to discard Ukrainian historiography to the standards of historiography at the turn of the 19th and 20th centuries.
14
Coulson, Jaquelin. "The Holodomor in Collective Memory." General Assembly Review 2, no. 1 (January 19, 2021): 1–15. http://dx.doi.org/10.5206/tgar.v2i1.10421.
Full textAbstract:
This paper concerns the role of genocide in collective memory and its function for national identity-building in post-Soviet Ukraine. Known as the Holodomor, Ukraine’s famine of 1932-33 has become an important part of the country’s national history. Upon gaining independence in 1991, the Ukrainian government set out to build and affirm a national identity distinct from Russia, grounded in Ukraine’s unique history and national myths. The claim to have undergone genocide as a nation in the Holodomor comprised part of this state-building project, though whether this claim is appropriate under international law has long been disputed. This paper examines the ways in which the Holodomor-as-genocide thesis was embedded in Ukrainian national identity, particularly under the administration of Viktor Yushchenko. Through the creation of new institutions, campaigns, and laws, the Ukrainian government sought to have the Holodomor recognized as genocide at the international and domestic levels, and to make its sacred commemoration a cornerstone of Ukrainian society. This narrative was deployed to unite the nation under a shared history of suffering that effaced politically inexpedient realities, such as cases of complicity in the Holodomor and the Shoah by Ukrainian elites. Narratives assigning blame to Ukrainian Jews and Russians alike delineated a narrow conception of the true Ukrainian nation to the exclusion of the alleged perpetrators. Further, it served to distance Ukraine from Russia by emphasizing the consequences of Soviet colonialism and the importance of Ukrainian collective memory as a matter of political sovereignty and cultural emancipation.
15
Drobotenko, Mykola. "DIRECTIONS OF CONSOLIDATION OF THE UKRAINIAN NATION IN THE POST-COLONIAL EPOCH." Almanac of Ukrainian Studies, no. 23 (2018): 51–55. http://dx.doi.org/10.17721/2520-2626/2018.23.8.
Full textAbstract:
Some issues of consolidation of the Ukrainian nation are considered. The peculiarity of postcolonial discourse is the study of new types of cultural and social identities, issues of self-conceptualization, and the legitimization of local narratives as national ones. It is known that the phenomenon of collective identity has attracted the attention of many researchers and is actively debated in various social and humanitarian discourses. Foreign science studies this phenomenon mainly according to sociocultural anthropology, sociology and psychology from various theoretical and methodological positions (Z. Freud, E. Erickson, K. Jung, B. Anderson, M. Barrett, S. Bauman, F. Bart, E. Gellner, R. Jenkins, H. Kon, B. Connor, B. Lukman, D. Matteson, A. Melutchchi, J. G. Mead, M. Mead, K. Moscovichi, E. Smith, G. Tejfel, J. Turner, J. Habermas, S. Huntington, etc.). In Russian and Ukrainian science, identity is studied within the framework of philosophy, political science, sociology, cultural studies, and psychology. The author extrapolated the Ericksonian term "identity" to the concept of "national identity". The components of this concept are analyzed, the interconnection of the components is searched and directions of consolidation of Ukrainians are offered. The emphasis is made on the fact that the level of their morality, synthesized from the various feelings inherited from their predecessors during many centuries of existence of the Ukrainian people on the lands of modern Ukraine, should be considered a special feature of Ukrainian national identity. Historical facts of the formation of the modern Ukrainian people prove the immutability of his desire for freedom, justice, dedication to their ideals, on which the modern society is based and around which consolidation of the people of Ukraine is possible. It is noted that, speaking of the uniqueness of the Ukrainian nation, one should mention its ideological principles, which allowed Ukrainians to defend their interests and protect the values on which national identity is based. It is emphasized that understanding the essence and ways of any consolidation is based on the natural physical laws of the existence of matter, of the world - this should be taken into account in the process of achieving the goal.
16
Kononenko, Natalie. "How God Paired Men and Women: Stories and Religious Revival in Post-Soviet Rural Ukraine." Canadian-American Slavic Studies 44, no. 1-2 (2010): 118–50. http://dx.doi.org/10.1163/221023910x512831.
Full textAbstract:
AbstractReligious stories told by Ukrainian women who are active in the revival of village churches seem to be coded protestations against gender inequality. Examination of the narratives in context reveals that they are a way of coping with a shift in authority from civil to religious. Also important is performance. Women feel deprived because they no longer act as celebrants of religious rites, especially funerals and baptisms.
17
Lashchuk, Iuliia. "Displaced Art and the Reconstruction of Memory: Ukrainian Artists from Crimea and Donbas." Open Cultural Studies 2, no. 1 (December 1, 2018): 700–709. http://dx.doi.org/10.1515/culture-2018-0063.
Full textAbstract:
Abstract After the occupation of Crimea and the conflict in Eastern Ukraine, many people were forced to leave their homes and look for a new place to live. The cultural context, memories, narratives, including the scarcely built identity of artificially made sites like those from Donbas (Donetsk and Luhansk regions) and the multicultural identity of Crimea, were all destroyed and left behind. Among the people who left their roots and moved away were many artists, who naturally fell into two groups-the ones who wanted to remember and the ones who wanted to forget. The aim of this paper is to analyse the ways in which the local memory of those lost places is represented in the works of Ukrainian artists from the conflict territories, who were forced to change their dwelling- place. The main idea is to show how losing the memory of places, objects, sounds, etc. affects the continuity of personal history.
18
Semenova, Oksana. "National Cinematography as a Response to Russian Information Aggression (A Case Study of Historical and Patriotic Films)." Ukrainian Studies, no. 2(79) (August 3, 2021): 30–49. http://dx.doi.org/10.30840/2413-7065.2(79).2021.234951.
Full textAbstract:
The article reveals the influence of Russian information propaganda on cultural industries of Ukraine, in particular film making, and describes place and role of contemporary Ukrainian cinematography as a “soft power” in counteracting humanitarian expansion of the Russian Federation, as a factor having an influence on mass consciousness and social attitudes of Ukrainians, as means of counter-propaganda and construction of all-Ukrainian identity and formation of consolidated political nation as a whole. The author has studied the state of national cinematography during 2014–2021, analyzed the reasons which hindered its development and described public and state legislative initiatives directed at support and development of cinematography. The most popular Ukrainian historical and patriotic fiction and documentary films are examined and their role in counteracting Russia’s propaganda is defined.The article contains analysis of anti-Ukrainian films produced in the Russian Federation, annexed Crimea, and quasi-states "Donetsk People’s Republic" and "Luhansk People’s Republic"; reveals essential features of its information and psychological impact; defines manipulative techniques and methods. On the basis of analysis of Russian propaganda films, the author made a conclusion about portraying a negative image of Ukraine and broad usage of messages about the “unconstitutional coups d'etat”, “Kyiv regime” that fights against population of Donbas. We may see such negative narratives as: Ukrainians are “junta”, “fascists”, “Banderites”, “hardcore nationalists”, who fight against “common people” and “miners”. Russian propaganda concerning Crimea includes, first of all, creation of illusory picture which justifies Russia’s annexation of Crimea before the world, with meaning that this process was “inevitable” and “historically justified”.Ukrainian cinematography is considered as efficient means of opposing Russian information aggression, formation of patriotic feelings of Ukrainian people, and their aspiration for historical truth and justice. State system policy on counteracting propaganda has caused a powerful development of national cinematography, which pays considerable attention to making and promoting historical and patriotic fiction and documentary films.
19
Kononenko, Natalie K. "The Influence of the Orthodox Church on Ukrainian Dumy." Slavic Review 50, no. 3 (1991): 566–75. http://dx.doi.org/10.2307/2499853.
Full textAbstract:
Dumy, the oral epic songs of Ukraine, like other heroic poetries, have a military subject matter. One duma cycle tells of battles with the Turks and Tatars in the fifteenth to seventeenth centuries; another sings of the Khmel'nyts'kyi uprising against the Poles that began in 1648. In addition to the expected narratives about armed conflict, the duma tradition also contains a group of songs, usually called the cycle about everyday life, that deals with topics only tenuously connected to war. These songs tell of such problems as filial ingratitude and sibling disloyalty. The popularity of this "unheroic" body of dumy relative to the other cycles suggests a powerful nonmilitary influence on the Ukrainian epic tradition at some point in its development. Other content features, some unusual elements in duma form, and many unique characteristics of duma performers likewise indicate such influence.
20
Huсhkova, Dana, and Valeria Chernak. "Slovak Views of Ukraine (1880–1914)." Академічний журнал "Слово і Час", no. 4 (April 24, 2019): 51–63. http://dx.doi.org/10.33608/0236-1477.2019.04.51-63.
Full textAbstract:
The Ukrainian themes appeared in the Slovak context of the period 1880–1914 within three thematic lines: 1) the Slavophilic line (a wide complex of ideological, historical, linguistic, ethnological, confessional and cultural issues concerning Russia and Eastern Slavs); 2) the documentary factual line (travelogue narratives); and 3) the literary line (translations of Ukrainian literary works and information about the Ukrainian literary life in the genres of literary journalism). These lines overlapped, but the first one, i.e. ideologically-based line of Slavic solidarity, was the most significant. This line substantially determined the nature of the Slovak views on the Ukrainian religious life, emancipation movement (in correlation ‘Little Russia’ – ‘Great Russia’), institutions, personally witnessed affairs and also the Ukrainian literature. In terms of the conservative national discourse, the Ukrainian independence movement was represented as a manifestation of separatism and the distinct Ukrainian nationality was rejected or questioned. Its acceptance was a matter of the later period. The interliterary contacts were sporadic and occasional. At the beginning of the 20th century, under the influence of the modernization and liberal attitude of the rising generation to the right of self-determination, the Ukrainian literature was primarily perceived as a literature of a close Slavic nation, which was, as well as the Slovak nation, in the position of an oppressed ethnic group lacking its own political independence.
21
Zykun, Natalia. "Cultural diplomacy in the context of international strategic communications." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 165–77. http://dx.doi.org/10.34079/2226-3055-2020-13-22-165-177.
Full textAbstract:
Cultural diplomacy is studied as a topical scientific object in the context of development and further institutionalization of international strategic communications of Ukraine. The author considers it expedient to single out in the technology of international strategic communications in general and in cultural diplomacy in particular three levels of implementation: practical (activity); scientific (theoretical); media (informing about cultural projects and endeavors, first of all, international ones; strengthening their effects, expanding the audience of sympathizers and supporters of Ukraine; dispelling ideological and worldview stereotypes, breaking down hostile destructive narratives about Ukraine). The latter is considered a prerequisite for conveying important cultural narratives. The aim of the paper was to define the essence of cultural diplomacy as a component of public diplomacy precisely through media representation. This specified the following tasks: sampling of media texts with reference to cultural diplomacy; characterization of semantic characteristics of nomination and directions of semantic realization of its meaning; tracing the role and place of cultural diplomacy in the system of international strategic communications, based on the analysis and generalization of media discourse; identification of cultural diplomacy’s main tools, formulation of problems and prospects of media reflection. The empirical basis of the study was media texts from such Ukrainian newspapers as «Den», «Dzerkalo Tyzhnia», «Ukraina Moloda», «Holos Ukrainy», and others over the past five years (a total of over 70 publications of various genres), in which cultural diplomacy is reflected as an important element of interstate cooperation. With the use of scientific methods of continuous sampling, quantitative method of content analysis, descriptive and comparative methods, analysis and synthesis method, the use of the «cultural diplomacy» nomination is traced, the attention is focused on the tasks and effective forms of its implementation. The paper proved the necessity of further institutionalization of cultural diplomacy as a set of endeavors aimed at promoting the interests of the state by means of culture, art, education, cultural industries in general; expanding the range of subjects and potential recipients; increase of the resources directed on it: intellectual, expert, consulting, financial ones.
22
Bondarenko, Mariia. "Non-linearity and/in Translation: On Complex Strategies in the Ukrainian Rendition of Joyce’s Novel-Hypertext “Ulysses”." Respectus Philologicus 35, no. 40 (April 23, 2019): 195–210. http://dx.doi.org/10.15388/respectus.2019.35.40.14.
Full textAbstract:
[full article and abstract in English]
By positing that translation is the main manifestation of “interliterarity” (in D. Ďurišin’s conceptualization) that brings to the fore the meta-creational capacities of the target literature, the present article attempts (1) to study a translatability potential of a hypertext as based on the Ukrainian translation of James Joyce’s novel-hypertext Ulysses, and (2) to justify the role of its reception in the Ukrainian literary field as a force for language and culture development. The synthesis of a “verbal music” with a mosaic of texts and narratives – imitated, playfully transformed or directly quoted – is claimed to be a key source of hypertextuality in Ulysses. In this line of reasoning, the paper particularly focuses on (1) the role of both overcoming cultural barriers and leaving a space for reader’s co-creativity while transferring of intertexts; (2) the approaches to interpretation of parody and pastiche as forms of writing-as-translation practice; (3) J. Wawrzycka’s concept regarding translation of musicalized fiction as trans-semantification, i. e. attending to literariness of the text; (4) the idea of translator’s visibility attributed to the Ukrainian re-languaging of musicalized fiction.
23
Pilipenko, Gleb P. "The Ukrainian Language in Argentina and Paraguay as an Identity Marker." Slovene 7, no. 1 (2018): 281–307. http://dx.doi.org/10.31168/2305-6754.2018.7.1.12.
Full textAbstract:
This paper discusses the function of the Ukrainian language in Argentina and Paraguay. Although there are studies that focus on describing the historical and ethnographic features of the Ukrainian diaspora in this region, there are no studies devoted to the analysis of speech. I collected oral narratives during a field study of Slavic communities in the region in 2015, and this allowed me to draw conclusions about the processes occurring in informants’ speech. I discovered that the Ukrainian language used by descendants of the first and second waves of migration, living in the province of Misiones in Argentina and in the department of Itapúa in Paraguay, retains the traits of the primary dialect system of the South-Western dialect group of Galicia (Halychyna). A large number of contact phenomena (borrowed lexemes, numerals, affirmative and negative particles, etc.) were recorded, as well as language strategies that typically accompany these phenomena. For example, reiteration strategy, metalinguistic comments, and hesitations in choosing suitable words were all present. The principle difficulty in the adoption of words borrowed from Spanish — particularly nouns — is gender affiliation. A characteristic common to all informants was the strategy of code-switching. An analysis of the functioning of toponyms revealed that place names preceded by prepositions remain indeclinable. Personal names remain an important identity marker for members of the Ukrainian diaspora and both Spanish and Ukrainian feature a distinction between onomastic spaces. The identity of speakers is also reflected in ethnonyms that have emerged in the new land of resettlement.
24
МУШКЕТИК, ЛЕСЯ. "Угорські запозичення в західноукраїнських топонімічних переказах." Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (June 2019): 103–16. http://dx.doi.org/10.1556/060.2019.64109.
Full textAbstract:
The oral folk prose of Transcarpathia is a valuable source of history and culture of the region. Supplementing the written sources, it has maintained popular attitudes towards events, giving assessments and interpretations that are often different from the official one. In the Ukrainian oral tradition, we find many words borrowed from other languages, in particular Hungarian, which reflects the long period of cohabitation as well as shared historical events and contacts. They also occur in local toponymic legends, which in their own way explain the origin of the local names and are closely linked with the life and culture of the region, contain a lot of ethnographic, historical, mythological, and other information. They are represented mainly by lexical borrowings, Hungarian proper names and realities, which were transformed, absorbed and modified in another system, and, among other things, has served the originality of the Transcarpathian folklore. The process of borrowing the Hungarianisms is marked by heterochronology and a significant degree of assimilation in the receiving environment. It is known about the long-lasting contacts of the Hungarians with Rus at the time of birth of the homeland - the Honfoglalás, as evidenced by the current geographical names associated with the heroes of the events of that time - the leaders of uprisings Attila, Almash, Prince Latorets (the legends Almashivka, About the Laborets and the White Horse Mukachevo Castle). In the names of toponymic legends and writings there are mentions of the famous Hungarian leaders, the leaders of the uprisings - King Matthias Corvinus, Prince Ferenc Rákóczi II, Lajos Kossuth (the legends Matyashivka, Bovtsar, Koshutova riberiya). Many names of villages, castles and rivers originate from Hungarian lexemes and are their derivatives, explaining the name itself (narratives Sevlyuskyy castle, Gotar, village Gedfork). The times of the Tatar invasion were reflected in the legends The Great Ravine Bovdogovanya and The village Goronda. Sometimes, the nomination is made up of two words - Ukrainian and Hungarian (Mount Goverla, Canyon Grobtedie). In legends, one can find mythological and legendary elements. The process of borrowing Hungarianisms into Ukrainian is marked by heterochronology, meanwhile borrowings remain unchanged only partially, and in general, they are assimilated in accordance with the phonetic and morphological rules of the Ukrainian language. Consequently, this is a creative process, caused by a number of different factors - social, ethnocultural, aesthetic, etc. In the course of time, events and characters in oral narratives are erased from human memory, so they can be mixed, modified and updated, adapting to new realities.
25
Kolisnyk, O. V., L. V. Ocheretna, M. I. Yakovlev, O. V. Kolosnichenko, K. L. Pashkevich, and O. M. Kretova. "TENDENCIES AND ART TECHNIQUES IN CONTEMPORARY COMIC BOOK GRAPHIC DESIGN." Art and Design, no. 3 (November 13, 2020): 34–45. http://dx.doi.org/10.30857/2617-0272.2020.3.2.
Full textAbstract:
Purpose. Exploring of the distinctive features of modern comics, their artistic and compositional solutions, types, main trends in American, European and Asian culture. Definition of the original formation of modern Ukrainian comics. Methodology. The basis of the research methodology includes integrated use of historical and comparative methods, system analysis, synthesis, generalization. Results. Basing on the analysis of modern comic book content, the history of comics and its perception by the audience as a modern media text are revealed, characteristics of individual elements in comics are systematized. The specifics of the artistic and compositional system of modern comics, the nature of figurative and stylistic techniques, graphic features of American, European, Asian, Ukrainian comics are determined. Patterns which are inherent in comics as visual narratives of different socio-cultural parts of the world, as well as aspects that shape modern Ukrainian comics, are considered. Scientific novelty. Characteristics of comics as an object of graphic design are determined: features of artistic and compositional design solutions in different regions of the world are systematized; leading trends in the development of specific types of comics in the United States, Europe, Asia and Ukraine are revealed. Practical significance. Based on art analysis of comic book types and by identifying trends in their development within modern art the specifics of the further development of comics are determined and ideas for future creative projects are presented, features that have both artistic and commercial value are indicated.
26
Voropayeva, Tetiana. "THE MAIN CHALLENGES, THREATS AND DANGERS FOR MODERN UKRAINIANNESS." Almanac of Ukrainian Studies, no. 27 (2020): 50–59. http://dx.doi.org/10.17721/2520-2626/2020.27.8.
Full textAbstract:
The article is devoted to the study of the biggest challenges, threats and dangers for modern Ukrainianness. The issue of challenges, threats and dangers facing Ukraine and Ukrainianness since 1991 is very relevant today. Scientists who work in the field of crisisology distinguish the concepts of «challenges», «threats», «dangers», «crises», «risks», «catastrophes», «collapse», «wreck», etc. The theoretical and methodological basis of our study is a combination of scientific potential of crisisology, conflictology and Ukrainian studies. Crisisology, conflictology and Ukrainian studies face the task of transdisciplinary understanding of the essence and severity of these challenges, threats and dangers, which are relevant in many areas such as military-defense, geopolitical, demographic, state-building, spiritual worldview, ecological, economics, energy, information, cultural and artistic, linguistic, moral and ethical, scientific, nation-building, educational, political and legal, social, territorial, technological, financial, etc. To these are added threats and dangers: 1) large-scale war with Russia; 2) total spread of COVID-19 in Ukraine; 3) the implementation of a new geostrategic course in Russia (called «geopolitical revenge»); 4) spreading the ideology of the «Russian world», intensifying new attempts by the Russian Federation to dismember Ukraine, supporting separatization and federalization of Ukraine; 5) possible escalation of the Russian-Ukrainian and Armenian-Azerbaijani conflicts, which could lead to a new global confrontation and even a world war; 6) ineffective fight against corruption in Ukraine; 7) the lack of a proper response from the authorities to the need to immediately end Russia’s information and psychological war against Ukraine; 8) destruction of small and medium business and further financial and economic stratification of Ukrainian society; 9) procrastination with the solution of the poverty problem (in conditions when about 60% of Ukrainians are below the poverty line); 10) possible man-made disasters in Ukraine; 11) possible transformation of Ukraine from a subject into an object of international relations; 12) possible rejection of European integration; 13) discrediting the Orange Revolution and the Revolution of Dignity, in order to spread Russian narratives about the coup in Ukraine; 14) intensification of interfaith conflicts in Ukraine; 15) inadequate decision-making by incompetent authorities (threat of economic decline and large-scale financial crisis in Ukraine, possible change in Ukraine’s vector of development, threat of capitulation, refusal of the authorities to resolve the «Ukrainian crisis» (which began after Russia’s aggression and has become a factor influencing the security of Europe and the world) from the standpoint of Ukraine as a subject, not an object); 16) refusal to solve the problems of internally displaced persons; 17) possible «freezing» of the Russian-Ukrainian armed conflict in order to further destabilize Ukraine; 18) strengthening of geopolitical and geoeconomic instability, intensification of intercivilizational and geopolitical confrontation in the world; 19) possible decline of democracy and rise of authoritarianism in Ukraine; 20) expansion of the border with Russia (in case of its absorption of Belarus); 21) possible disintegration of Ukrainian society and world Ukrainiannes; 22) further violation of international law by the Russian Federation; 23) exacerbation of the economic and migration crisis in Europe; 24) radicalization of part of the Islamic world; 25) due to the collapse of the USSR. The challenges, threats and dangers facing Ukrainians can unfold at the global, continental and national levels. Ukrainians must find adequate answers to modern challenges and mechanisms to minimize threats and dangers; ensure stable economic growth; to create a powerful system of national security, army and defense-industrial complex; find ways to ensure national interests in the current crisis; to develop optimal models for resolving the Russian-Ukrainian armed conflict, reintegrating the population of the occupied territories and restoring the territorial integrity of Ukraine.
27
Rykhlitska, O. D., and O. I. Kosyk. "ORNAMENTAL MOTIVES OF MODERN DESIGN PRACTICES." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 59–65. http://dx.doi.org/10.17721/ucs.2021.1(8).13.
Full textAbstract:
The article analyzes modern design practices based on symbolic and ornamental motives of folk art and their modern actualization in ethno-artistic areas, reflecting the relationship of traditional aspects with innovative, symbolic translation of cultural experience in time and space, creating symbolic value images, enhancing emotional environment and creating new narratives. Symbols, as the basis of the existence of the people, reflect the ethno- national aspects of culture, is an opportunity to find yourself at the level of relationship with your people, your nation, traditions. The appeal to archetypes is a special methodological perspective in which the meaning of the future is created due to the transformation of the past into a symbol. What is relevant in modern Ukrainian realities is that the whole cultural paradigm is being reconsidered and new ways of national identification are being sought. Embroidery is marked by a special color and incredible ornamentation, complex performance technique, which is reflected in the symbols of sociocultural practices, immersing in the depths of traditional norms and values that encourage to feel, assimilate, preserve and transmit. In modern domestic discourse, design practices are thought of as aimed at transforming the cultural environment into the integrity of cultural and natural components. They serve as a basis for forming an idea of the world and building harmonious relationships with the world. And the use of symbols-amulets and a certain emotional color is a special process of self-identification and the foundation for the revival of national culture and spiritual values, seeing their own place in the global cultural and artistic space. Therefore, the use of ornamental symbols in design practice is the basis for the revival of national culture and spiritual values and the formation of a new promising direction of Ukrainian design. Among the spiritual heritage of Ukraine with its color and incredible ornamentation, complex technique is embroidery, which is reflected in the symbols-codes of modern socio-cultural practices
28
Irvin-Erickson, Douglas. "Raphaël Lemkin, Genocide, Colonialism, Famine, and Ukraine." East/West: Journal of Ukrainian Studies 8, no. 1 (April 28, 2021): 193–215. http://dx.doi.org/10.21226/ewjus645.
Full textAbstract:
Many words have been used to name and describe the Great Ukrainian Famine of 1932-33, including “famine” and “catastrophe,” “the Holodomor,” and now “genocide.” Was the famine genocide? Was the famine part of a genocide? Is the word genocide an exaggeration? Is naming the famine a genocide part of an attempt to dramatize events for political purposes today? Is the refusal to call the famine a genocide an act of genocide denial? This article argues that, though more than seven decades have passed and the Soviet Union has come and gone, questions about genocide in Ukraine remain intertwined in the discourses and narratives surrounding conflicts over Ukraine’s economic, political, social, and cultural position between the European Union and the Russian Federation. Given the implications of this word—“genocide”—within the context of current conflicts over Ukrainian history and identity and even sovereignty, it is important to reflect on how this concept has been used and applied. This paper analyzes conflict in Ukraine in the 1930s using Raphaël Lemkin's definition of genocide, as opposed to the legal definition established by the UN Genocide Convention, and discusses the conceptual strengths of Lemkin's definition of genocide in terms of understanding a wide-spectrum of oppressive, repressive, and violent processes of empire-building and colonization that occurred in Ukraine, and which culminated in the Holodomor.
29
Wojnowski, Zbigniew. "Staging Patriotism: Popular Responses to Solidarność in Soviet Ukraine, 1980-1981." Slavic Review 71, no. 4 (2012): 824–48. http://dx.doi.org/10.5612/slavicreview.71.4.0824.
Full textAbstract:
Zbigniew Wojnowski explores Soviet popular responses to Solidarity during the early 1980s, focusing in particular on Ukraine and its western borderlands. Shifting emphasis from internal Soviet dynamics to transnational interactions in eastern Europe, Wojnowski challenges dominant narratives of late Soviet and Ukrainian history. Whereas Alexei Yurchak maintains that members of the “last Soviet generation” were essentially indifferent to the Soviet state and its ideology, popular responses to Solidarity suggest that, in some contexts at least, Soviet citizens still engaged with the state in active and meaningful ways during the early 1980s. Drawing on the rhetoric of Soviet patriotism in various public forums, many residents of Ukraine claimed the right to comment on official policies. In this sense, the types of citizenship that had developed in the USSR after 1945 survived into the early 1980s. Most surprisingly, perhaps, Soviet patriotism provided a crucial source of vitality for Leonid Brezhnev's regime even in Ukraine's western borderlands, which have often been seen as the “least Soviet” part of the USSR.
30
Dmytriyeva, Olena. "Transformation of Borys Lyatoshynsky›s school ideas in the creative search of Leonid Grabovsky and Valentyn Silvestrov." Contemporary Art, no. 17 (November 30, 2021): 119–30. http://dx.doi.org/10.31500/2309-8813.17.2021.248436.
Full textAbstract:
The historical and cultural preconditions for the emergence of the group of composers “Kyiv Avant-Garde” in the context of the 1960s have been studied. The projection of the ideas of Borys Lyatoshynsky’s school in the creative search of his students Leonid Grabovsky and Valentyn Silvestrov, iconic figures of the Ukrainian musical culture of the second half of the XX century is considered. The innovative features of Lyatoshynsky’s school in the transformations of the worldviews of both artists, who marked their creative path with high professionalism and individual artistic and aesthetic achievements, are outlined. The aim of the research was the cultural component of Borys Lyatoshynsky’s school in the context of the creative achievements of Leonid Grabovsky and Valentyn Silvestrov. The musical material and scientific publications related to the works of these artists, which form a unique picture of the processes of formation of Lyatoshynsky’s school, are analyzed. The research methodology consists of structural-functional, comparative and system-activity approaches. In the process of complex culturological analysis of the school of the outstanding artist, the projection of its ideas in the musical and creative narratives of Leonid Grabovsky and Valentin Silvestrov was clarified.
31
Kachak, Tetiana. "Children of the Post-communist Period in Contemporary Ukrainian Literature for Young Readers." Miscellanea Posttotalitariana Wratislaviensia 7 (April 13, 2018): 35–48. http://dx.doi.org/10.19195/2353-8546.2(7).3.
Full textAbstract:
Children of the Post-communist Period in Contemporary Ukrainian Literature for Young Readers. The socio-political transition of the 1990s had a long-lasting impact on children who experienced the collapse of communism and the fall of the Iron Curtain. Contemporary Ukrainian children’s and YA literature offers vivid representations of post-communist childhood experiences in Ukraine. Writers like Zirka Menzatiuk and Olena Zakharchenko show emotions and experiences of children and their perception of ideological, cultural and social changes taking place in their society. The child and adolescent protagonists of these narratives grow up being shaped by the events taking place in their country. The generation of children raised in democratic Ukraine is shown as substantially different from older members of Ukrainian society. They are the first “free generation” that professes democratic values, presents active social positions, and defends human rights. Simultaneously, it also cares about their nation’s history, culture, and traditions. The article outlines contemporary Ukrainian children’s literature devoted to the socio-political transformations of the last 30 years, arguing that some ideological taboos are disappearing and the normative ideas about the behaviour of a growing-up child are changing.Дети посткоммунистической эпохи в современной украинской литературе для молодых читателей. Автор статьи предлагает читателям обзор современной украинской детской литературы, посвященной социально-политическим преобразованиям последних 30 лет. Социальнополитический переход 1990-х годов оказал длительное воздействие на детей, переживших крах коммунизма и падение «железного занавеса». Вопрос детства в посткоммунистической Украине хорошо отражен в современной литературе для детей и молодых взрослых. Такие писатели, как Зирка Мензатюк и Елена Захарченко, демонстрируют эмоции и опыт детей, а также восприятие ими идеологических, культурных и социальных изменений, происходящих в обществе. Дети и подростки, являющиеся главными героями их историй, формируются в результате событий, происходящих в их стране. Поколение детей, воспитанных в независимой Украине, является первым «свободным поколением», которое исповедует демократические ценности, занимает активную гражданскую позицию, защищает права человека, но по-прежнему заботится об истории, культуре и традициях страны.
32
Linkiewicz, Olga. "„Ta Ukraina, to ona w wojnie i w wojnie…”. Wyobrażenia o przeszłości w życiu społecznym Zachodniej Ukrainy po 1991 roku." Kultura i Społeczeństwo 59, no. 2 (May 12, 2015): 147–64. http://dx.doi.org/10.35757/kis.2015.59.2.8.
Full textAbstract:
Research by students of the Institute of Ethnology and Cultural Anthropology of the University of Warsaw, conducted in the years 1992–2010 in various regions of western Ukraine, shows that in rural communities and in areas with low levels of urbanization local ties and knowledge transmitted within the family circle and the neighborhood community play a large role in maintaining identity and a strong group separateness. An important element of local knowledge is imagining about the past. This article describes selected ideas about past and recent history. The author suggests that knowledge about the past is read and interpreted within the framework of a religious worldview, which constitutes the basis of the common cosmology of the communities examined. Hence local narratives about the past have a different nature, and vary both from historiography and from the dominant transmissions in the western Ukrainian national discourse of collective memory. They are actualized in daily life and serve to build adaptive social strategies.
33
Babii, Nadiia. "Alternative spaces of cafes of Western Ukrainian cities in the end of the XX century in the context of civilizational preferences." Culturology Ideas, no. 19 (1'2021) (2020): 102–16. http://dx.doi.org/10.37627/2311-9489-19-2021-1.102-116.
Full textAbstract:
The article analyzes the influence of informal spaces of the end of the XX century on the formation of the cultural environment of the cities of Western Ukraine, shows the importance of cult cafes as alternative spaces where informal art communities were gathered and leadership groups of the 90s were formed. It clarifies the role of the object in the interdisciplinary relations of cultural discourse of the XXI century invoking the analysis of factual material, interviews with participants in the processes, scientific discussion, and published texts. The author looks at the subject of research as reflection originating from the present. The article determines that alternative spaces declare the values of "living" through the connection of a man with the place and through places with spaces. The culture of cafés being traditional for the region has been reflected in numerous narratives. For the generations of the 70s- 90s of the 20th century, cafés became the most democratic space playing the role of a communicator, replacing modern media. The author notes the gradual movement of these locations from urban centers or intersections of creative intelligentsia in the 80s to remote or even peripheral areas of cities in the 90s, which was associated with changes in infrastructure, commercialization, new tastes and aesthetic preferences. The cafés of the 90s generation played the role of clubs for countercultural communities, whose activities opposed not only the system, but also the aesthetic paradigm.
34
Melykh, Olga, and Anna Korbut. "Entertainment media in the context of hybrid war in the post-Soviet countries: the case of Ukraine." Economic Annals-ХХI 182, no. 3-4 (April 15, 2020): 25–33. http://dx.doi.org/10.21003/ea.v182-03.
Full textAbstract:
The article provides a complex analysis of how entertainment media can serve to undermine a country’s resilience and security amidst hybrid war using the case of Ukraine as an example. The paper documents that before the launch of Russia’s aggression against Ukraine in 2014, Russian media products had been heavily present in Ukrainian media space, including the entertainment segment. In 2017, Ukraine restricted access to some Russian media products and social media in its territory in an effort to counter disinformation and the use of user data by Russian security services via their access to the social media based in the Russian jurisdiction. Despite the measures taken by the state to address security challenges, build resilience and fight disinformation in the media, the influence of Russian entertainment media in shaping public opinion remains significant. In this paper, the authors analyze segments of the media space where Russian entertainment products are present in Ukraine, the tools used by Russia to enforce its narratives through media content, and the ways Ukraine has responded to these. This paper aims at demonstrating the role of entertainment mass media in the resilience of countries and how it is used in the context of hybrid war. Also, it looks at the efforts to counter this influence. The research shows that Russian entertainment media and content act as a soft power or cultural affinity element alongside misinformation or manipulations via news or information content. By using historical references, demonstrating civilizational and moral superiority, showing Slavic brotherhood, Russia and russocentric forces use entertainment media to shape and manipulate public opinion. As content consumption switches from linear media, such as television, to non-linear clusters of conventional and digital outlets, the room for the distribution of manipulative messages and narratives expands. Among other things, this undermines the resilience of countries and endangers their national security, especially in the hybrid war context. Much is being done to counter this impact. Ukraine’s restrictive measures against some Russian media, social networks and content have been effective in that they have decreased the consumption and the trust for Russian media amongst Ukrainian audiences. Offering alternative content, produced domestically and internationally, has contributed to diversification of the content, moving the audiences from the Russocentric cultural product to a more diverse one.
35
Apryshchenko, Victor. "Industry of Retro or Retro-industry." Communist and Post-Communist Studies 53, no. 2 (June 1, 2020): 137–52. http://dx.doi.org/10.1525/cpcs.2020.53.2.137.
Full textAbstract:
This article deals with some puzzling features in/of contemporary Russian collective memory. In terms of methodology, the article is based on (1) the idea of the commodification of collective memory and (2) the strong interconnections between memory and national identity. While analyzing popular, historical, and political narratives such as those concerning national celebrations, historical texts, and political declarations, I argue that the Ukrainian crisis produced a new type of historical consciousness in Russia, which is connected with the conservative populist tendency in Russian politics currently. As an element of the cultural “industry,” collective memory is connected with an asymmetric exchange that appears in the process of mnemonic commodification. The surplus value of collective memory is caused by the fact that it is used in the process of popular mobilization. I conclude that to maintain the regime and to mobilize support, officials aim to rebuild Soviet images and promote an alternative to the Western model, and that they therefore seek to emphasize traditional values and retro-size Russian contemporaneity.
36
Melichárek, Maroš. "War Song in a Service of Ideology. Comparative Essay on the Example of Yugoslav and Ukrainian-Russian Conflicts." Balkanistic Forum 30, no. 3 (October 5, 2021): 148–68. http://dx.doi.org/10.37708/bf.swu.v30i3.7.
Full textAbstract:
Both the official army music and combatants’ informal folk songs have always played a noteworthy role in their respective societies regardless whether this music was created as means of actual propaganda or subsequently as part of reinvented commemorative culture. This article focuses on comparison of the two most recent European armed conflicts, namely 1) the ethnically motivated conflicts in former Yugoslavia between 1992 and 1995/1999, and 2) the interethnic violence followed by Russian military intervention in Ukraine in 2014; the Russo-Ukrainian conflict has not yet been settled and still threatens to escalate. Building on wide range of primary and secondary sources (mainly of Western, Central and South-Eastern European provenience) that has been ignored by a regional scholarship, the paper seeks to provide a contextual background behind the war songs and to compare their prevalent patterns and typology of their inner dynamics and transformations. This paper will not inquire into international, economical or military implications of the aforementioned armed conflicts; it will focus specifically on textual and contextual analysis of those songs. Study brings completely new insights on phenomenon of war songs in East European and former Yugoslav environment and brings much-needed light on the intertwined social, cultural and identity relations that can be established between the former Yugoslav and post-Soviet countries. This topic is very important since state doctrine, national narratives, historical memory affect current and also future development of both regions what is clearly visible on elaborated material.
37
Kovalyov, Yevgen. "“PEOPLE WANTED FREEDOM”: REFLECTION OF THE “KIEVAN KOZACHCHYNA” OF 1855 IN THE CORRESPONDENCE AND DIARY NOTES BY HRYHORIY GALAGAN." Kyiv Historical Studies 11, no. 2 (2020): 131–36. http://dx.doi.org/10.28925/2524-0757.2020.2.18.
Full textAbstract:
Mass riots of serfs in Right-bank Ukraine in the spring of 1855, known in historiography as the “Kyievan Kozachchyna”, is an important topic that should be careful researched, especially from a cultural and anthropological points of view. In this way it is possible to identify the deep motivation of the peasants’ actions and to explain the reaction of the landlords, clergy and government officials. An important source for the study of the “Kievan Kozachchyna” is the correspondence and diary notes of the Ukrainian public figure Hryhoriy Galagan (1819–1888) of this time. These texts contain not only his own views on the causes, course and consequences of the mass peasant riots in the Kyiv region in the spring of 1855, but also valuable eyewitness accounts of these events, from the governor-general to the ordinary peasant. Galagan’s narratives show a knot of contradictions between representatives of various strata of the agrarian society of the “pre-reform era”, such as the peasantry, landowners, officials and the clergy. Mutual alienation of these strata, lack of communication between them, being in different discursive fields led to the Kyiv Cossacks.
38
Kovalyov, Yevgen. "“PEOPLE WANTED FREEDOM”: REFLECTION OF THE “KIEVAN KOZACHCHYNA” OF 1855 IN THE CORRESPONDENCE AND DIARY NOTES BY HRYHORIY GALAGAN." Kyiv Historical Studies 11, no. 2 (2020): 131–36. http://dx.doi.org/10.28925/2524-0757.2020.2.18.
Full textAbstract:
Mass riots of serfs in Right-bank Ukraine in the spring of 1855, known in historiography as the “Kyievan Kozachchyna”, is an important topic that should be careful researched, especially from a cultural and anthropological points of view. In this way it is possible to identify the deep motivation of the peasants’ actions and to explain the reaction of the landlords, clergy and government officials. An important source for the study of the “Kievan Kozachchyna” is the correspondence and diary notes of the Ukrainian public figure Hryhoriy Galagan (1819–1888) of this time. These texts contain not only his own views on the causes, course and consequences of the mass peasant riots in the Kyiv region in the spring of 1855, but also valuable eyewitness accounts of these events, from the governor-general to the ordinary peasant. Galagan’s narratives show a knot of contradictions between representatives of various strata of the agrarian society of the “pre-reform era”, such as the peasantry, landowners, officials and the clergy. Mutual alienation of these strata, lack of communication between them, being in different discursive fields led to the Kyiv Cossacks.
39
Stepurko, Victor. "NARRATIVE ESSENCE OF LANGUAGE CONTENT IN COMPOSERS’ EVALUATION OF THEIR CREATIVITY." Baltic Journal of Legal and Social Sciences, no. 2 (April 4, 2022): 136–42. http://dx.doi.org/10.30525/2592-8813-2021-2-17.
Full textAbstract:
The paper investigates the narratives of contemporary Ukrainian composers, in the context of their assessment of their own work and the actual musicological components of each work: its focus, conglomeration of musical expressive means, and their multidimensional and multifunctional context. The paper focuses on the problem of inconsistency of the author’s linguistic content in expressing his own ideas about his work with the actual work in terms of the logic of musicology, psychology, etc. A new narrative approach to the interpretation of musical expressive means has formed in modern compositional work. They are viewed as the combinations of different levels of perception: visual, sensory, linguistic, associative-ambiguous, abstract, etc. Thus, wherever there is an information and communicative environment, there function the complex cognitive formations allowing to reflect and evaluate the imagery of the musical work. Hence, the “conceptual sphere” of each work emerges that consists of the relevant ideas, concepts, images, and statements. The research methodology is based on the analysis of the sphere of expression of human thinking and communicative processes by R. Barthes, C. Bremond, F. Jameson, T. Titarenko, T. Todorov, E. Tshebinsky, and others. Also, the studies by H.-G. Gadamer, M. Heidegger, P. Ricoeur, R. Harré consider the narrative as a discursive structure formed on the basis of personal experience. In the field of musical art, the problem of narratology was addressed in the works of N. Gerasimova-Persidska, O. Zinkevych, Y. Chekan, and some other musicologists who expressed the essence of modern compositional thinking, in line with a new sense of time and space, discreteness and dialogic historical context of culture. To establish the artistic conceptuality of certain musical pieces, the comparative analysis of subjective and authorial understanding of composers of their own works in the musicological, cultural, and socio-political context was made. As the works have a significant number of allusions to the stylistics of different eras, the conflicting emotional reaction of the composers gives grounds to assert the idea of expressing a narrative of existential torment of a torn postmodern mind in the inter-genre web in their works. The paper concludes that assimilation and awareness of meaning are possible only through certain messages that can have many meanings, and complex decoding of them may take any form. Perception of oneself in the social environment occurs through the formation of narratives that express the author’s position. However, this stance voiced in interviews and other language content is not always consistent with the actual music series. Thus, an interpretive understanding of musical creativity emerges at the junction of the narrator’s and the listener’s meanings.
40
Bondarets, Oksana. "Museums: Preserving Heritage, Comprehending Past, Forming Identity." NaUKMA Research Papers. History and Theory of Culture 4 (June 15, 2021): 106–12. http://dx.doi.org/10.18523/2617-8907.2021.4.106-112.
Full textAbstract:
Perception of museums as space of co-operation between public and collections is rethought constantly, with primarily taking into account a sociocultural situation. It is reflected on the specifics of the direction of activity and determination of the mission of different museums. Nowadays, scientists interpret the museum space as social space and regard museums as institutes of social memory (historical memory or cultural memory). Communication, interactivity, and participation are considered to be the main components determining the development of the modern museum. The aim of this study is to analyse the strategy of determination of priority directions of the museum activity and the place and role of museums in the processes of memory. Museums accumulate and translate the experience of a certain culture and the way they present this experience; it is a part of the complicated process of formation of the nation identity. Museum professionals often say that an important task now is to choose one and only line among the events and to create a common collective experience that in turn influences the self-identity of an individual. First, every museum must choose the educational strategy and define the priority directions of their activity. The sharpest discussions in Ukraine concern the direction of the national museums. If a museum considers the priority direction of the activity organization of leisure, then the question is whether it can have the status of national. The function of leisure is important but cannot be basic; in fact, the essence of the museum is the function of cognition. A special attention should be paid to the fact that a tendency of “walls without the museum,” that is the museum without traditional collections, now undergoes substantial changes. Such museums afterwards begin to complete their own collection. It is presently impossible to ignore such an important theme as the maintenance of the cultural heritage and digital transformation. Museums actively use multimedia technologies for the maintenance and popularization of the heritage. But a specific feature of the museum as an institution of storage, study, andtranslation of subject forms of culture has not been lost. Museum objects themselves are the basis of adaptive and inculturation possibilities of the museum. In the epoch of globalization, a museum can create optimal terms for the cultural identification. Presently our task is not consideration of certain historic events and their influence on forming the historic memory of the Ukrainian people. It is important to mark that potential of museums as grounds of proceeding in the national memory and Ukrainian identity considerable enough, but not exposed, and not only by regional museums. The study and use of experience of the creation of complex narratives on difficult questions of history in the museums of the world are important enough for Ukrainian museum professionals. Modern museums, while developing projects related to traumatic remembrances, questions of firmness, dialogue, problems of reconciliation in conflict periods of history, run into numerous problems but must not forget that these projects will assist a reflection among the public.
41
Voitsekhovska, Tetiana V. "Archeographic Publications of Cossack Chronicles during ХVІІІ–ХХІ centuries." Universum Historiae et Archeologiae 1, no. 1-2 (December 27, 2019): 94. http://dx.doi.org/10.15421/2611811.
Full textAbstract:
The article shows the publications of the Cossack Chronicles of Eyewitness, H. Hrabianka’s and S. Velychko’s during ХVІІІ–ХХІ centuries. During the study historical and comparative method and method of analysis and synthesis were used. The distinctive phenomenon of Ukrainian historiography of the late seventeenth – and early eighteenth-century is the so-called «Cossack chronicles». These works are products of the culture of the Cossack chancellerists of the Hetmanate, which were the new forms of history writing. Cossack chronicles deals with the political concept social elite of ХVІІІ century and cultural ideals of the Baroque period. The article contains the analysis of the publications these historical-literary compositions, their correspondence to the academic, scientific-critical or popular type of publications. The ways and methods of text transmission, which were used in the publication of the Cossack «chronicles» taking into account in edition practice of their editorial offices and numerous copies are disclosed. The scientific support of publications of Cossack «chronicles», are characterized. The article contains the analysis of the presence of comments, notes, name and geographical indications, the dictionary of obsolete words, archeographic, paleographic and textological study of the compositions, as well as information about the author’s personality in the texts of Cossack «chronicles» . Today there are several editions of Cossack Chronicles. But these publications are not intended for historians, but for a wide range of readers and do not qualify for a scientific status. Because these texts are reprints or photographic reproduction of the earlier editions of the second half of the nineteenth – early twentieth century. The publication 1971 of the Chronicle of the Eyewitness is the most qualitative publication from all the Cossack chronicles. This text is given in comparison with the corresponding fragments of the remaining copies of the composition, and this work has the obligatory attributes of academic type of the publication. Therefore modern Ukrainian historical science is in urgent need of a full-fledged scientific study and reprinting of the Cossack Chronicles of Eyewitness, H. Hrabianka’s and S. Velychko’s which was important historical narratives and compositions of the political thought of the eighteenth century.
42
Pipchenko, N., and M. Dovbenko. "PUBLIC DIPLOMACY AS A TOOL OF SHAPING THE PERCEPTION OF UKRAINE IN THE WEST AMID THE AGGRAVATION OF RELATIONS WITH RUSSIA." Actual Problems of International Relations, no. 138 (2019): 14–24. http://dx.doi.org/10.17721/apmv.2018.138.0.14-24.
Full textAbstract:
The article is devoted to the analysis of Ukraine’s public diplomacy in terms of aggravation of relations with Russia. Public diplomacy is researched as an instrument for shaping the perception of Ukraine in the West that is exposed to constant threats of information influence by the Russian Federation. The paper analyses the role of public diplomacy in shaping the favorable image of the state in the mass consciousness and ensuring national interests in the international arena. The peculiarities of the development of public diplomacy of Ukraine at the institutional and practical levels being intensified since 2014 after the beginning of Russian aggression against Ukraine, are determined. Conceptual documents and specially created institutions for shaping a positive perception of Ukraine abroad and disrupting negative influence of Russian propaganda are examined. As a result, the main directions of Ukraine's public diplomacy are the development ties with the public and media; realization of image, cultural and informational projects abroad; cooperation of governmental bodies for supporting foreign-policy interests. Through the content analysis of the Western media space on the coverage of Ukraine and the expert assessment of public diplomacy of Ukraine, the peculiarities of the influence of Ukrainian public diplomacy on shaping its perception in the West were identified and a set of recommendations was developed to improve Ukraine's perceptions in the face of aggravation of relations with Russia. These include developing West and Russian directions of public diplomacy, intensifying media coverage of Ukraine, changing narratives about Ukraine as well as engaging civil activists and artists for promotion the national interests abroad.
43
Bohatyrets, Valentyna, and Olena Yehorova. "‘Ukrainian Institute’ as a Strategic Narrative of Ukraine’s Positive Image Making." Історико-політичні проблеми сучасного світу, no. 37-38 (December 18, 2018): 228–33. http://dx.doi.org/10.31861/mhpi2018.37-38.228-233.
Full textAbstract:
The research aims to delve into the problem of systematic neglecting and denying of the tools of soft power in Ukrainian foreign policy. The key issue of the project is to disclose the importance of cultural diplomacy and explore the significance of different countries’ cultural institutions abroad. The research highlights the examples of successful implementation of cultural diplomacy cases and its role in crafting the approaches in bridge-building between Ukraine and the world during the years of its gaining independence. The objective is to point out the value and the potential of such institutions in today’s globalized world. Noteworthy, the Ukrainian Institute (UI) was established by the Ministry of Foreign Affairs of Ukraine in 2017.
The key message of ours is to show that Ukrainian Institute could make drastic changes in the approaches to the cultural diplomacy of Ukraine by promoting a positive image of Ukraine around the world, fight stereotypes, foster business connections, facilitate mutual understanding, attract investments and tourist, and put our country on the map. We also have to deal with the syndrome of the international community fatigue in terms of Ukraine and its careless attitude and disconnectedness in reforming and advancing of key branches of the Ukrainian society as well as unsuccessful tackling of corruption issues. Thus, we need to concentrate our efforts on showing relatively new Ukraine, fight international community’s unawareness and recognition of Ukraine, and give the voice to our rich and vibrant cultural sector.
Keywords: soft power, cultural diplomacy, cultural institute, Ukrainian Institute, image-building, foreign policy, Ukraine
44
Omelchuk, Olesia. "Koriak’s Cultural Critique." Слово і Час, no. 7 (July 21, 2019): 18–26. http://dx.doi.org/10.33608/0236-1477.2019.07.18-26.
Full textAbstract:
According to the author of the article, the content and directions of literary criticism of Volodymyr Koriak (1889–1937) were determined by the idea of proletarian culture. Its basic principle was the struggle between the bourgeois and proletarian world, formulated in the philosophy of Marxism. However, this concept was not sufficient to build the concept of Ukrainian proletarian literature. In 1920s the most problematic for the critics was the choice of the criteria for identifying the literary text as a proletarian one. They had to take into account such non-textual factors as the author’s biography, national cultural forms, historical influences of Europeanism, colonialism, anti-colonialism, nationalism, imperialism, etc. Koriak’s works reflect the conflicts and compromises that the concept of Ukrainian proletarian literature underwent during 1919 – 1934. Especially complicated were such topics as the history of Ukrainian Marxist-proletarian thought, the ‘Borotbyst’ narrative, the issues of proletarian style and bourgeois cultural influences. The Ukrainian ‘narodnytstvo’ became a major part of Koriak’s critique. As a result, the bourgeois legacy (namely modernism, ‘narodnytstvo’, ‘national literature’) in Koriak’s literary-critical discourse received a particular negative evaluation. Koriak’s literary work testifi es to the fact that the proletarian-Marxist criticism of his contemporaries is featured by the coexistence of the three schemes of constructing proletarian literature: proletarian literature as terra nova; proletarian literature as a continuation of the socialist ideas of the pre-October literary works; proletarian literature as a transformation of the past (bourgeois) qualities and their recombination with new proletarian ones.
45
Prosalova, Vira. "THE CAMP CHRONOTOPE IN THE ARTISTIC COMPREHENSION OF THE PRAGUE LITERARY SCHOOL REPRESENTATIVE." Polish Studies of Kyiv, no. 35 (2019): 290–96. http://dx.doi.org/10.17721/psk.2019.35.290-296.
Full textAbstract:
The article highlights the peculiarities of artistic comprehension of the camp chronotope by representatives of the Prague Literary School: Yevgen Malaniuk, Yuri Lypa, Galia Mazurenko, Yuri Daragan. The background for conducting the current study includes the lyric poem ‘U shpitali’ by Y. Daragan (Eng. In the Hospital), epic works, namely the essay ‘Tabir’ by Y. Lypa (Eng. The Camp) and the story of G. Mazurenko ‘Ne tot kozak, khto poborov, a tot kozak, khto ‘vyvernet’sya’...’ (Eng. Not that Cossack, who overpowered, but that Cossack, who ‘will dodge’) and the diary entries. The camp in the works of these authors is regarded as someone else’s space, closed, restricted, isolated and hostile. This space, fenced by the wires, is opposed to the home land as desired, open and inaccessible. The differences in the representation of the camp chronotope by different authors were revealed; it is found that the per- ception of camps for interned soldiers in Poland was influenced primarily by the age of the writer, the duration and place of his detention. The camp in Kalisha favorably differed from other detention places of interned by more well-adjusted life, numerous events in the cultural life, lively activity of the literary and artistic societies. Yevgeny Malaniuk and Yuri Lypa’s impressions about staying in a camp for interned Ukrainian soldiers in Kalisha are compared. The paper reveals that the writers have presented the reflection of the collective and personal experience of staying in the places of reservation, created a series of narratives that confirm the real threat of loss (according to Merab Mamardashvili) of the “ontological rooting in the world”. The difference in the perception of the camps’ conditions by Yuri Lypa and Yevgen Malaniuk is mainly due to the long detention of the latter in Kalisha, as well as the careful search for answers to the question about causes of the tragic defeat in the national liberation struggle, the critical attitude towards their compatriots.
46
Kyrylchuk, Oleksandr. "COUNTERDISCURSIVE ARTISTIC STRATEGIES OF UKRAINIAN ROMANTICISM." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 11(79) (September 29, 2021): 159–62. http://dx.doi.org/10.25264/2519-2558-2021-11(79)-159-162.
Full textAbstract:
In Ukrainian romantic literature of the 1830s and 1840s, the authors turned their attention to folk art and historical themes. This aesthetic orientation of writing allowed the creation of texts that revealed aspects of the national life of Ukrainians. Romantic poets sought to artistically comprehend the Ukrainian past, to bring it out of oblivion, which was to help restore the historical memory of society and form a model of national self-identity. The ethnocultural identity, articulated in the texts of the Romantics, challenged the Russian imperial narrative, which sought to marginalize the Ukrainian value system by assimilating it with metropolitan axiology. Romantic literature of the first half of the nineteenth century created a powerful counterdiscursive strategy, which later transformed from the sphere of culture into the socio-political plane. The anti-colonial tendency introduces military symbols into romantic literature, as the appeal to the Cossack heritage actualizes in the Ukrainian cultural code markers of knightly victory and armed defence of the homeland. Romantic poets of the 1830s and 1840s transferred folklore and baroque chronicle imagery to written literature, in which the figures of the Cossacks were often heroized and glorified. Cossack military images allow Ukrainian authors to praise the pre-colonial period and poetize their military might, which, although in literary projection, opposes the oppressor. In the conditions of the Russian imperial discourse, the Ukrainian romantics resorted to the latent challenge to the metropolis, in the image of the enemy depicting the Poles, traditional opponents of the Cossacks. Such a strategy allows us to oppose the imperial narrative not directly, but through intermediaries, which are the Poles. At the same time, along with the military theme, the poetry of the Romantics includes the rhetoric of cruelty, which formats the Ukrainian world, dividing it into “Friends” and “Foes”. In general, the atmosphere of violence that often accompanies the image of the Other in romantic poetry allows us to represent the colonial trauma of the Ukrainian community, as acts of violence are interpreted as “just revenge” on enemies. At the same time, the glorification of one’s cruelty is an attempt to imitate the power of imperial discourse, which always labels such actions as a forced measure to subdue savages or preserve the achievements of civilization. The Ukrainian counterdiscursive strategy in the literature of Romanticism appears as an attempt to oppose and at the same time imitate metropolitan models.
47
Surovtsev, Oleg. "Bukovynian Jews during the Holocaust: The problem of preserving historical memory." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 1, no. 49 (June 30, 2019): 93–100. http://dx.doi.org/10.31861/hj2019.49.93-100.
Full textAbstract:
In the article, based on archival materials, published memoirs, a retrospective analysis of events and contemporary reflections of the Holocaust on the territory of Bukovina during the Second World War is carried out. During the Soviet, German-Romanian occupation of the region, the Bukovinian Jewish community suffered severe suffering and trials, huge human and material losses, which greatly undermined the social, economic and cultural positions of the Jewish population in Bukovina. In fact, the socio-cultural face of Chernivtsi and the region changed, entire generations of Bukovinian Jews were erased from historical memory, forever disappeared into the darkness of history.
From the late 80’s – early 90’s XX century. in the conditions of the collapse of the USSR and the emergence of an independent Ukraine, it became possible to study the events of the Holocaust in the Chernivtsi region, to study the fate of Bukovynian Jews during the Second World War. Despite the mass emigration, in 1990-1995 the Jewish community of Chernivtsi published five collections of memories of Holocaust survivors of the Holocaust in Bukovina, erected a memorial sign at the scene of the shootings in the summer of 1941 and a memorial plaque on the Chernivtsi ghetto (in 2016 the efforts of the Jewish community of Chernivtsi to create a full memorial in the territory of the former ghetto).
Since 2010, the Museum of Jewish History and Culture of Bukovina has been established in Chernivtsi, and at the Chernivtsi National University there is a Center of Jewish studies, which is actively engaged in the study and promotion of Bukovina Jewish history, including the topic of the Holocaust.
Since 2017, work has begun on the creation of the Holocaust Museum in Chernivtsi in the building of the former memorial synagogue «Beit Kadish» on the territory of a Jewish cemetery, which aims to commemorate the memory of Bukovinian Jews who died during the Second World War.
Over the past 30 years, more than 65 monuments (memorials, plaques) have appeared in the Chernivtsi region to commemorate those killed in the Holocaust. However, around the Holocaust events in Bukovina, a memory conflict has arisen – it is about different interpretations of events (Ukrainian, Romanian, Jewish, post-Soviet narratives) and commemorative practices related to it. An example of the post-Soviet memory of the Holocaust is the recently opened memorial in one of the districts of Chernivtsi (Sadgora), on the so-called “Kozak Hill”, in memory of the executed Jews in the summer of 1941. The Soviet term “Great Patriotic War” is used in the inscription on the monument.
Keywords: Holocaust, Transnistria, ghetto, «autorization», deportation, primar
48
Papitchenko, Linda. "SOCIAL-CULTURAL DETERMINANTS OF PERSONAL DIGNITY DEVELOPMENT THROUGH THE PRISM OF THE POST-COLONIAL AND POST-TOTALITARIAN UKRAINIAN NARRATIVE." PSYCHOLOGICAL JOURNAL 6, no. 12 (December 30, 2020): 38–47. http://dx.doi.org/10.31108/1.2020.6.12.4.
Full textAbstract:
The author focused her research on dignity determinants and their links with the social-cultural environment on the example of Ukrainian society. For this purpose, an analysis of the cultural and historical imperial and totalitarian background of the Ukrainian past has been conducted. The research used the following methods: theoretical-analytical, structural-systemic, historical-comparative. The author has specified and outlined that dignity is an integral formation, based on the intersection of three axiological spheres: personal, professional and social values. The article outlines the impact of artificially created cultural regimes on people’s dignity and the determinants of the higher and lower order of formed dignity in the context of Ukrainian realities. The former include external factors – postcolonial and post-totalitarian Ukrainian society – and internal factors – life-purpose orientation, values, and spirituality. Determinants of the lower order are represented by the behavioural, verbal and emotional spheres of a personality. A particular focus has been placed on the close connection between human freedom and the issue of human dignity. Emphasis has been given to one of the key values attacked by the empire or totalitarian regime, namely freedom in almost all its manifestations: an individual’s freedom of thought, freedom of action, freedom of creative development, free expression and development of the culture of the enslaved people. The current consequences for this phenomenon in the Ukrainian society are: lowered ability of many people to accept responsibility as a key concept of freedom and to avoid simple answers to complex and multidimensional challenges, that is, non-desire to consider complex phenomena from different points of view and to search for multilevel solutions. The author has examined the influence of the socio-cultural environment on an individual’s dignity development. The list of the following socio-cultural factors is presented: social factors, as politics in its various aspects, ideology, social environment, interpersonal interactions; cultural factors, a language, mentality, spiritual and emotional experiences, broadly defined: the culture of free thinking and creative realization, the culture of meaningful cooperation, civility, culture in its artistic aspect, and so on.
49
Rudling, Per A. "Multiculturalism, memory, and ritualization: Ukrainian nationalist monuments in Edmonton, Alberta." Nationalities Papers 39, no. 5 (September 2011): 733–68. http://dx.doi.org/10.1080/00905992.2011.599375.
Full textAbstract:
Canadians of Ukrainian descent constitute a significant part of the population of the Albertan capital. Among other things, their presence is felt in the public space as Ukrainian monuments constitute a part of the landscape. The article studies three key monuments, physical manifestations of the ideology of local Ukrainian nationalist elites in Edmonton: a 1973 monument to nationalist leader Roman Shukhevych, a 1976 memorial constructed by the Ukrainian Waffen-SS in Edmonton, and a 1983 memorial to the 1932–1933 famine in the Ukrainian SSR. Representing a narrative of suffering, resistance, and redemption, all three monuments were organized by the same activists and are representative for the selective memory of an “ethnic” elite, which presents nationalist ideology as authentic Ukrainian cultural heritage. The narrative is based partly upon an uncritical cult of totalitarian, anti-Semitic, and terroristic political figures, whose war crimes, ethnic cleansing, and collaboration with Nazi Germany the nationalists deny and obfuscate. The article argues that government support and direct public funding has strengthened the radicals within the community and helped promulgate their mythology. In the case of the Ukrainian Canadian political elite, official multiculturalism underwrites a narrative at odds with the liberal democratic values it was intended to promote. The failure to deconstruct the “ethnic” building blocks of Canadian multiculturalism and the willingness to accept at face value the primordial claims and nationalist myths of “ethnic” groups has given Canadian multiculturalism the character of multi-nationalism.
50
James, Daniel, and Mirta Zaida Lobato. "Family Photos, Oral Narratives, and Identity Formation: The Ukrainians of Berisso." Hispanic American Historical Review 84, no. 1 (February 1, 2004): 5–36. http://dx.doi.org/10.1215/00182168-84-1-5.
Full text