{"title":"Marian(a) J. Rubchak: In Memoriam (1931–2021)","authors":"Michael M. Naydan","doi":"10.21226/ewjus704","DOIUrl":"https://doi.org/10.21226/ewjus704","url":null,"abstract":"","PeriodicalId":31621,"journal":{"name":"EastWest Journal of Ukrainian Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42858361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Vadym Adadurov. “Napoleonida” na skhodi Ievropy: Uiavlennia, proekty ta diial'nist' uriadu Frantsii shchodo pivdenno-zakhidnykh okrain Rosiis'koi imperii na pochatku XIX stolittia.","authors":"Serhiy Bilenky","doi":"10.21226/ewjus717","DOIUrl":"https://doi.org/10.21226/ewjus717","url":null,"abstract":"","PeriodicalId":31621,"journal":{"name":"EastWest Journal of Ukrainian Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48115510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Oleksandr Pahiria. Karpats'ka Ukraina v dokumentakh Druhoi Chekho-Slovats'koi respubliky.","authors":"I. Kovalchuk","doi":"10.21226/ewjus721","DOIUrl":"https://doi.org/10.21226/ewjus721","url":null,"abstract":"","PeriodicalId":31621,"journal":{"name":"EastWest Journal of Ukrainian Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42107248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When Russia invaded Ukraine in 2014, the Russian media ran what I propose to call a simulation of “non-invasion”—a spectacle aimed to distance Russia from the war. This essay explores activist art resistance against this simulation. Specifically, I discuss three art projects that were staged during the first, most violent year of the Russian-Ukrainian conflict: Mariia (Maria) Kulikovs'ka’s performance at “Manifesta 10” in St. Petersburg, Serhii Zakharov’s guerrilla installations on the streets of occupied Donetsk, and Izolyatsia’s #onvacation occupation of the Russian pavilion at the 56th Venice Biennale. These art projects, I argue, not only attacked the simulation from the outside as independent entities, but, by penetrating the simulation on site and online, they disrupted it from within. I offer three reasons to support this claim. First, these art projects superimposed images of the invasion over the physical sites where the “non-invasion” simulation dwelt and, in this way, not only made the war visible but also produced “a glitch in the matrix” effect—a conflict within the simulation visual regime that was inconsistent with its concealment function. Second, they “hailed” (in Louis Althusser’s terms) actants of the simulation as subjects of Putin’s regime, provoking suppressive reactions that proved Russia’s participation in the war—which the simulation, thus, failed to downplay. And third, with carefully orchestrated strategies of online outreach to the public, these art projects attached themselves to the media dimension of the simulation, making the simulation’s media proliferation work against itself.
{"title":"Art Resistance against Russia’s “Non-Invasion” of Ukraine","authors":"Nazar Kozak","doi":"10.21226/ewjus585","DOIUrl":"https://doi.org/10.21226/ewjus585","url":null,"abstract":"When Russia invaded Ukraine in 2014, the Russian media ran what I propose to call a simulation of “non-invasion”—a spectacle aimed to distance Russia from the war. This essay explores activist art resistance against this simulation. Specifically, I discuss three art projects that were staged during the first, most violent year of the Russian-Ukrainian conflict: Mariia (Maria) Kulikovs'ka’s performance at “Manifesta 10” in St. Petersburg, Serhii Zakharov’s guerrilla installations on the streets of occupied Donetsk, and Izolyatsia’s #onvacation occupation of the Russian pavilion at the 56th Venice Biennale. These art projects, I argue, not only attacked the simulation from the outside as independent entities, but, by penetrating the simulation on site and online, they disrupted it from within.\u0000I offer three reasons to support this claim. First, these art projects superimposed images of the invasion over the physical sites where the “non-invasion” simulation dwelt and, in this way, not only made the war visible but also produced “a glitch in the matrix” effect—a conflict within the simulation visual regime that was inconsistent with its concealment function. Second, they “hailed” (in Louis Althusser’s terms) actants of the simulation as subjects of Putin’s regime, provoking suppressive reactions that proved Russia’s participation in the war—which the simulation, thus, failed to downplay. And third, with carefully orchestrated strategies of online outreach to the public, these art projects attached themselves to the media dimension of the simulation, making the simulation’s media proliferation work against itself.","PeriodicalId":31621,"journal":{"name":"EastWest Journal of Ukrainian Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47906841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This special issue is dedicated to the study of an important phenomenon that has been taking place in Ukraine for what is now approaching a decade. The 2013–14 Revolution of Dignity was quickly followed by Moscow’s annexation of Crimea and then by a war between Russia and Ukraine in the Donbas region. The war greatly impacted various aspects of life in Ukraine in the past eight years including its profound effect on Ukrainian culture. Ukrainian artists, who had been leading a vigorous, varied, and long-awaited free explosion of creative achievements in Ukraine since the country’s independence in 1991, were roused and galvanized by the sudden appearance of war in their land. The war became the subject of artistic projects by many of Ukraine’s leading filmmakers, writers, visual artists, and musicians, and also brought to light the work of new creative voices. These artists developed new approaches while providing fresh perspectives on many issues that had also, in fact, been the focus of many of the notable cultural achievements over the past thirty years, including questions of identity, memory, gender, and displacement. Borders and borderlands, concepts intrinsic to Ukraine’s name, once again acted as sites where these topics were explored. The impact of the Russian-Ukrainian war on Ukrainian culture has now, correspondingly, become a subject of scholarly study. The poems, novels, plays, films, installations, performances, paintings, and songs that have emanated from Ukraine are increasingly analyzed at conferences and in articles in various global academic forums. One such assembly was the conference Five Years of War in the Donbas: Cultural Reflections and Reverberations, which was held at Columbia University on 1–2 November 2019. Organized by the Ukrainian Studies Program at Columbia’s Harriman Institute, the conference gathered scholars from the US, Ukraine, Sweden, Hungary, and China to discuss Ukraine’s cultural treatment of the war in a series of panel presentations and discussions.1 Five Years of War in the
{"title":"(After) Five Years of War in the Donbas: Cultural Responses and Reverberations","authors":"Mark Andryczyk","doi":"10.21226/ewjus705","DOIUrl":"https://doi.org/10.21226/ewjus705","url":null,"abstract":"This special issue is dedicated to the study of an important phenomenon that has been taking place in Ukraine for what is now approaching a decade. The 2013–14 Revolution of Dignity was quickly followed by Moscow’s annexation of Crimea and then by a war between Russia and Ukraine in the Donbas region. The war greatly impacted various aspects of life in Ukraine in the past eight years including its profound effect on Ukrainian culture. Ukrainian artists, who had been leading a vigorous, varied, and long-awaited free explosion of creative achievements in Ukraine since the country’s independence in 1991, were roused and galvanized by the sudden appearance of war in their land. The war became the subject of artistic projects by many of Ukraine’s leading filmmakers, writers, visual artists, and musicians, and also brought to light the work of new creative voices. These artists developed new approaches while providing fresh perspectives on many issues that had also, in fact, been the focus of many of the notable cultural achievements over the past thirty years, including questions of identity, memory, gender, and displacement. Borders and borderlands, concepts intrinsic to Ukraine’s name, once again acted as sites where these topics were explored. The impact of the Russian-Ukrainian war on Ukrainian culture has now, correspondingly, become a subject of scholarly study. The poems, novels, plays, films, installations, performances, paintings, and songs that have emanated from Ukraine are increasingly analyzed at conferences and in articles in various global academic forums. One such assembly was the conference Five Years of War in the Donbas: Cultural Reflections and Reverberations, which was held at Columbia University on 1–2 November 2019. Organized by the Ukrainian Studies Program at Columbia’s Harriman Institute, the conference gathered scholars from the US, Ukraine, Sweden, Hungary, and China to discuss Ukraine’s cultural treatment of the war in a series of panel presentations and discussions.1 Five Years of War in the","PeriodicalId":31621,"journal":{"name":"EastWest Journal of Ukrainian Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44888071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of John-Paul Himka and Franz A. J. Szabo, editors. Eastern Christians in the Habsburg Monarchy.","authors":"A. Babynskyi","doi":"10.21226/ewjus722","DOIUrl":"https://doi.org/10.21226/ewjus722","url":null,"abstract":"","PeriodicalId":31621,"journal":{"name":"EastWest Journal of Ukrainian Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49335137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines representations of the enemy in the Ukrainian satirical songs pertaining to the Russo-Ukrainian war in the Donbas. I focus primarily on the output of Orest Liutyi (the stage persona of Antin Mukhars'kyi) and the semi-anonymous Mirko Sablich (Mirko Sablic) collective. Using the method of multimodal discourse analysis, I examine how the enemy opposing the Ukrainian Army is portrayed in the song lyrics and the accompanying music videos. Considering the complex nature of the conflict and the lack of uniformity in the backgrounds of the warring parties, I am particularly interested in who and why is identified as the enemy in the songs. The enemy appears in several guises: “moskal's”—Russian or pro-Russian aggressors from outside Ukraine; “separs”—Ukrainian collaborators who support, often through military efforts, the separation of the Donbas from Ukraine; and “vatniks”—passive anti-Ukrainian individuals who live in Ukraine and whose inaction is perceived to be harmful to Ukraine’s wartime efforts. Whereas these songs call upon Ukrainians to repel the external enemy (“moskal's”) in armed combat, no clear strategy is suggested for how the internal enemies (“separs” and “vatniks”) should be dealt with or, in some cases, even identified. As a result, Liutyi and Sablic, while positioning themselves as “counterpropaganda” projects, risk labelling as “the enemy,” and thus alienating, the audiences most susceptible to propaganda, who could otherwise benefit most from their myth-debunking efforts.
{"title":"“Moskal's,” “Separs,” and “Vatniks”: The Many Faces of the Enemy in the Ukrainian Satirical Songs of the War in the Donbas","authors":"I. Shuvalova","doi":"10.21226/ewjus590","DOIUrl":"https://doi.org/10.21226/ewjus590","url":null,"abstract":"This article examines representations of the enemy in the Ukrainian satirical songs pertaining to the Russo-Ukrainian war in the Donbas. I focus primarily on the output of Orest Liutyi (the stage persona of Antin Mukhars'kyi) and the semi-anonymous Mirko Sablich (Mirko Sablic) collective. Using the method of multimodal discourse analysis, I examine how the enemy opposing the Ukrainian Army is portrayed in the song lyrics and the accompanying music videos. Considering the complex nature of the conflict and the lack of uniformity in the backgrounds of the warring parties, I am particularly interested in who and why is identified as the enemy in the songs. The enemy appears in several guises: “moskal's”—Russian or pro-Russian aggressors from outside Ukraine; “separs”—Ukrainian collaborators who support, often through military efforts, the separation of the Donbas from Ukraine; and “vatniks”—passive anti-Ukrainian individuals who live in Ukraine and whose inaction is perceived to be harmful to Ukraine’s wartime efforts. Whereas these songs call upon Ukrainians to repel the external enemy (“moskal's”) in armed combat, no clear strategy is suggested for how the internal enemies (“separs” and “vatniks”) should be dealt with or, in some cases, even identified. As a result, Liutyi and Sablic, while positioning themselves as “counterpropaganda” projects, risk labelling as “the enemy,” and thus alienating, the audiences most susceptible to propaganda, who could otherwise benefit most from their myth-debunking efforts.","PeriodicalId":31621,"journal":{"name":"EastWest Journal of Ukrainian Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46366691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With ongoing war in the Donbas, war narratives and war images saturate public media in Ukraine, the discourse contaminated by ideological remnants of the Soviet World War II cult and by fake news. Art that deals with war wounds can subvert the familiar visual language of war propaganda, where the suffering of victims is a mere pretext for touting the inevitable triumph of the heroes. Currently in Ukraine, the most prolific art in this regard is produced by women-artists who address the trauma of war through painting and installations that offer highly personalized accounts. Often touching upon extreme circumstances, their art is about tolerance, both in terms of endurance and of the mutual understanding necessary for cohabitation. Alevtyna (Alevtina) Kakhidze’s ongoing performance creates an opportunity to comprehend the war in the Donbas from multiple perspectives, including that of a gardener. She associates the tending of plants with her mother who died on occupied territory, refusing to leave her garden. Mariia (Maria) Kulikovs'ka’s sculptures serve as shooting targets for separatists in the occupied centre of contemporary art in Donetsk. Vlada Ralko’s paintings of tortured bodies become a metaphor for scars garnered by a war that remains close to home. Paintings and sculptures by Maryna Skuharieva (Skugareva) and Anna Zviahintseva (Zvyagintseva) address the ruin of representation inflicted by war, and the conceptual performance by Liia (Lia) Dostlieva and Andrii Dostliev contemplates the healing process of war wounds. Neither making spectacle from the “pain of others” nor deeming it unrepresentable, this art seeks emphatic alternatives to traditional war narratives.
{"title":"Gardens of Tolerance: Ukrainian Women Artists Reflect the War in the Donbas","authors":"O. Martynyuk","doi":"10.21226/ewjus631","DOIUrl":"https://doi.org/10.21226/ewjus631","url":null,"abstract":"With ongoing war in the Donbas, war narratives and war images saturate public media in Ukraine, the discourse contaminated by ideological remnants of the Soviet World War II cult and by fake news. Art that deals with war wounds can subvert the familiar visual language of war propaganda, where the suffering of victims is a mere pretext for touting the inevitable triumph of the heroes. Currently in Ukraine, the most prolific art in this regard is produced by women-artists who address the trauma of war through painting and installations that offer highly personalized accounts. Often touching upon extreme circumstances, their art is about tolerance, both in terms of endurance and of the mutual understanding necessary for cohabitation. Alevtyna (Alevtina) Kakhidze’s ongoing performance creates an opportunity to comprehend the war in the Donbas from multiple perspectives, including that of a gardener. She associates the tending of plants with her mother who died on occupied territory, refusing to leave her garden. Mariia (Maria) Kulikovs'ka’s sculptures serve as shooting targets for separatists in the occupied centre of contemporary art in Donetsk. Vlada Ralko’s paintings of tortured bodies become a metaphor for scars garnered by a war that remains close to home. Paintings and sculptures by Maryna Skuharieva (Skugareva) and Anna Zviahintseva (Zvyagintseva) address the ruin of representation inflicted by war, and the conceptual performance by Liia (Lia) Dostlieva and Andrii Dostliev contemplates the healing process of war wounds. Neither making spectacle from the “pain of others” nor deeming it unrepresentable, this art seeks emphatic alternatives to traditional war narratives.","PeriodicalId":31621,"journal":{"name":"EastWest Journal of Ukrainian Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45235208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Tamara Hundorova. The Post-Chornobyl Library: Ukrainian Postmodernism of the 1990s.","authors":"Oksana Lutsyshyna","doi":"10.21226/ewjus719","DOIUrl":"https://doi.org/10.21226/ewjus719","url":null,"abstract":"","PeriodicalId":31621,"journal":{"name":"EastWest Journal of Ukrainian Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42331099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1918 Central and Eastern Europe were on the brink of enormous change. The collapse of the German and Austro-Hungarian empires had led to the growth of national self-awareness in many peoples, and the Czechs, Poles, Hungarians, and peoples of the Baltic and Balkan regions declared their nation-statehood. Ukrainians also exercised their right to self-determination, establishing the Western Ukrainian National Republic (Ukr. acronym: ZUNR) on their ethnic territory. The regular military force of the new republic was the Galician Army, with the word “Ukrainian” subsequently added to it (Ukr. acronym: UHA). It immediately commenced armed operations against Polish formations that also aimed to seize power in this territory. However, when establishing their army the Ukrainians encountered serious personnel issues, especially a severe shortage of Ukrainian officers. One means of resolving this problem was to contract military personnel of other nationalities who were citizens of the ZUNR as well as other countries. In some cases actual mercenaries were hired. This article describes where, how, and under what conditions this took place in the UHA.
{"title":"Mercenaries in the Galician Army of the Western Ukrainian National Republic","authors":"O. Stetsyshyn","doi":"10.21226/ewjus715","DOIUrl":"https://doi.org/10.21226/ewjus715","url":null,"abstract":"In 1918 Central and Eastern Europe were on the brink of enormous change. The collapse of the German and Austro-Hungarian empires had led to the growth of national self-awareness in many peoples, and the Czechs, Poles, Hungarians, and peoples of the Baltic and Balkan regions declared their nation-statehood. Ukrainians also exercised their right to self-determination, establishing the Western Ukrainian National Republic (Ukr. acronym: ZUNR) on their ethnic territory. The regular military force of the new republic was the Galician Army, with the word “Ukrainian” subsequently added to it (Ukr. acronym: UHA). It immediately commenced armed operations against Polish formations that also aimed to seize power in this territory. However, when establishing their army the Ukrainians encountered serious personnel issues, especially a severe shortage of Ukrainian officers. One means of resolving this problem was to contract military personnel of other nationalities who were citizens of the ZUNR as well as other countries. In some cases actual mercenaries were hired. This article describes where, how, and under what conditions this took place in the UHA.","PeriodicalId":31621,"journal":{"name":"EastWest Journal of Ukrainian Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46464051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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