Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).04
Nadiia Bedrina
The topic of recovery after the consequences of a full-scale invasion is currently very relevant. The digitization of cultural heritage objects has significant potential for the promotion of Ukrainian culture both within the country and beyond. This contributes to the preservation and study of history and cultural traditions, and also attracts the attention of tourists and researchers who want to learn more about the rich cultural heritage of Ukraine. The introduction of innovative approaches to the post-conflict recovery process is one of the ways to overcome the cultural crisis. Digitized cultural heritage objects are valuable information resources that enable preservation, research and promotion of cultural heritage. The purpose of the article is to outline the possibilities and prospects of creating mobile applications for the preservation of the cultural heritage of Ukraine on the example of the Kharkiv region. The research methodology is based on general scientific methods of analysis and synthesis. The phenomenological approach made it possible to investigate mobile applications as a phenomenon of modern culture. An axiological approach allows considering the valuable status of cultural heritage objects in Kharkiv and the region. Scientific novelty and practical significance: based on the material of previous projects related to the design of mobile applications and the digitization of Kharkiv's cultural heritage objects, further vectors of work have been determined. Conclusions: thus, in this study, we considered the possibilities and prospects of creating the functionality of mobile applications using digitized 3D objects for the preservation of the cultural heritage of Ukraine on the example of the Kharkiv region. The research highlighted functionality in the design of mobile applications with digitized 3D cultural objects: augmented reality (AR), social interaction, navigation, historical context, multimedia, gamification, interactivity, virtual tours and museums, personalization, accessibility.
{"title":"MOBILE APP DESIGN FUNCTIONALITY WITH DIGITALIZED CULTURAL HERITAGE OBJECTS OF KHARKIV CITY AND KHARKIV REGION","authors":"Nadiia Bedrina","doi":"10.17721/ucs.2023.1(12).04","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).04","url":null,"abstract":"The topic of recovery after the consequences of a full-scale invasion is currently very relevant. The digitization of cultural heritage objects has significant potential for the promotion of Ukrainian culture both within the country and beyond. This contributes to the preservation and study of history and cultural traditions, and also attracts the attention of tourists and researchers who want to learn more about the rich cultural heritage of Ukraine. The introduction of innovative approaches to the post-conflict recovery process is one of the ways to overcome the cultural crisis. Digitized cultural heritage objects are valuable information resources that enable preservation, research and promotion of cultural heritage. The purpose of the article is to outline the possibilities and prospects of creating mobile applications for the preservation of the cultural heritage of Ukraine on the example of the Kharkiv region. The research methodology is based on general scientific methods of analysis and synthesis. The phenomenological approach made it possible to investigate mobile applications as a phenomenon of modern culture. An axiological approach allows considering the valuable status of cultural heritage objects in Kharkiv and the region. Scientific novelty and practical significance: based on the material of previous projects related to the design of mobile applications and the digitization of Kharkiv's cultural heritage objects, further vectors of work have been determined. Conclusions: thus, in this study, we considered the possibilities and prospects of creating the functionality of mobile applications using digitized 3D objects for the preservation of the cultural heritage of Ukraine on the example of the Kharkiv region. The research highlighted functionality in the design of mobile applications with digitized 3D cultural objects: augmented reality (AR), social interaction, navigation, historical context, multimedia, gamification, interactivity, virtual tours and museums, personalization, accessibility.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135651830","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}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).12
Mariia-Milana Luibyva
The article provides a cultural analysis of the triad of pain, punishment and pleasure as a significant component of medieval religious practices and their representations. The artistic and visual sphere of medieval culture is characterized by the hegemony of images of violence. Accordingly, the study attempts to identify the potential of portraying violence to generate and legitimize various forms of pleasure. Violence in the religious discourse of the Middle Ages and its representations operates on several different levels: the pleasure associated with identifying with the victim, the pleasure of projecting cruelty on the tormentors, the pleasure of fantasizing about ritual violence against the sacred victim. Comparing the mechanisms of pain gratification in religious practices and masochism sheds light on the symbolic load and functions of pain in Medieval Culture. Medieval images of pain as a tool of punishment did not just reflect cruel realities: and images were common because they were motivated and created by certain types of pleasure. Artistic images of pain and suffering do not just depict broken bodies and psyche, they also create opportunities for constructing the "I", institutions and ideas in the interests of a whole range of different programs and ideological positions. The hegemony of violence in the visual art of the era has the potential to create a space for the cultivation of broader, subversive possibilities: compassion and opposition to the pain of martyrs, fantasies of resistance, emancipation, the formation of alternative forms of eroticism, getting voyeuristic pleasure from hurting others. The paper attempts a transcultural comparison of the practices of getting pleasure from causing pain on the example of religious practices (self-harm) and masochism: they are based on dramatic expectation, postponement, delay in final satisfaction, investment in fantasy, attraction to exhibitionism. Using masochism as an interpretive category, one can see the structures of fantasy, tension, and view that formed the basis of certain genres of medieval representation. Through fantasy, obscurity, and exhibitionism, masochism transcodes the body in pain to the scene of erotic liberation. With the help of a similar trio of techniques, martyrdom forms the sublime body of a saint.
{"title":"AD GLORIAM DEI: PATTERNS OF PAIN, SUFFERING AND PLEASURE IN MEDIEVAL CULTURE","authors":"Mariia-Milana Luibyva","doi":"10.17721/ucs.2023.1(12).12","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).12","url":null,"abstract":"The article provides a cultural analysis of the triad of pain, punishment and pleasure as a significant component of medieval religious practices and their representations. The artistic and visual sphere of medieval culture is characterized by the hegemony of images of violence. Accordingly, the study attempts to identify the potential of portraying violence to generate and legitimize various forms of pleasure. Violence in the religious discourse of the Middle Ages and its representations operates on several different levels: the pleasure associated with identifying with the victim, the pleasure of projecting cruelty on the tormentors, the pleasure of fantasizing about ritual violence against the sacred victim. Comparing the mechanisms of pain gratification in religious practices and masochism sheds light on the symbolic load and functions of pain in Medieval Culture. Medieval images of pain as a tool of punishment did not just reflect cruel realities: and images were common because they were motivated and created by certain types of pleasure. Artistic images of pain and suffering do not just depict broken bodies and psyche, they also create opportunities for constructing the \"I\", institutions and ideas in the interests of a whole range of different programs and ideological positions. The hegemony of violence in the visual art of the era has the potential to create a space for the cultivation of broader, subversive possibilities: compassion and opposition to the pain of martyrs, fantasies of resistance, emancipation, the formation of alternative forms of eroticism, getting voyeuristic pleasure from hurting others. The paper attempts a transcultural comparison of the practices of getting pleasure from causing pain on the example of religious practices (self-harm) and masochism: they are based on dramatic expectation, postponement, delay in final satisfaction, investment in fantasy, attraction to exhibitionism. Using masochism as an interpretive category, one can see the structures of fantasy, tension, and view that formed the basis of certain genres of medieval representation. Through fantasy, obscurity, and exhibitionism, masochism transcodes the body in pain to the scene of erotic liberation. With the help of a similar trio of techniques, martyrdom forms the sublime body of a saint.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136257138","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}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).15
Mariia Janyshyn-Pryimenko
The article examines the problem of the artists' identity at the beginning of the 19th century through the prism of the Maria Shymanovska's creative personality. The analysis of the historical and cultural realities of the time made it possible to determine the main factors that influenced the formation of identity. These are geography, religion, social status and gender. It was found that for Maria Szymanowska, Warsaw always remained the central city through which her self-determination took place, even after moving to St. Peregburg in 1828. There was a problem of coherence between the national and religious identities of the artist. Szymanowska was Polish at the level of "I speak the language, I dress," but she was a frankist at the level of "whom I pray to, what books I read, who I believe in," which makes her identity portrait more complex. The composer sought to create a positive image in the aristocratic society and position herself as part of it, thus increasing the social status given to her at birth – petty bourgeoisie, the daughter of a brewer. She did this with acquaintances, a suitable social circle, portraits, clothes, etc. Also, the artist bravely overcame the boundaries of established behavioral models for women. Maria Shymanovska divorced and supported herself and three children from the marriage – artistic and compositional activities were the main source of her income. Through the prism of periodicals of the day, she appears as one of the first women who dares to compete with men on a professional level. Various aspects of Maria Szymanovska's creative biography are intricately intertwined and clash with each other at different levels: Szymanovska is a Polish, but primarily defends the interests of a narrow group of frankists; the artist belongs to the bourgeoisie, but it is important for her to position herself as an aristocrat; she is a woman, however, first of all, she chooses her right to creative and professional realization. The comparison of typical life strategies, which provided for the mentioned factors of identity formation, with the life and creative decisions of Maria Shymanovska, made it possible to outline the specifics of the artist's identity portrait. By overcoming the established identity stereotypes of the time, Maria Shymanovska appears as an extraordinary person who is able to shape new life strategies
{"title":"THE CREATIVE BIOGRAPHY OF MARIA SHYMANOVSKA IN THE CONTEXT OF THE PROBLEM OF IDENTITY","authors":"Mariia Janyshyn-Pryimenko","doi":"10.17721/ucs.2023.1(12).15","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).15","url":null,"abstract":"The article examines the problem of the artists' identity at the beginning of the 19th century through the prism of the Maria Shymanovska's creative personality. The analysis of the historical and cultural realities of the time made it possible to determine the main factors that influenced the formation of identity. These are geography, religion, social status and gender. It was found that for Maria Szymanowska, Warsaw always remained the central city through which her self-determination took place, even after moving to St. Peregburg in 1828. There was a problem of coherence between the national and religious identities of the artist. Szymanowska was Polish at the level of \"I speak the language, I dress,\" but she was a frankist at the level of \"whom I pray to, what books I read, who I believe in,\" which makes her identity portrait more complex. The composer sought to create a positive image in the aristocratic society and position herself as part of it, thus increasing the social status given to her at birth – petty bourgeoisie, the daughter of a brewer. She did this with acquaintances, a suitable social circle, portraits, clothes, etc. Also, the artist bravely overcame the boundaries of established behavioral models for women. Maria Shymanovska divorced and supported herself and three children from the marriage – artistic and compositional activities were the main source of her income. Through the prism of periodicals of the day, she appears as one of the first women who dares to compete with men on a professional level. Various aspects of Maria Szymanovska's creative biography are intricately intertwined and clash with each other at different levels: Szymanovska is a Polish, but primarily defends the interests of a narrow group of frankists; the artist belongs to the bourgeoisie, but it is important for her to position herself as an aristocrat; she is a woman, however, first of all, she chooses her right to creative and professional realization. The comparison of typical life strategies, which provided for the mentioned factors of identity formation, with the life and creative decisions of Maria Shymanovska, made it possible to outline the specifics of the artist's identity portrait. By overcoming the established identity stereotypes of the time, Maria Shymanovska appears as an extraordinary person who is able to shape new life strategies","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136301681","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}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).19
Iryna Parkhomenko
The relevance of the research lies in the need to determine the fundamental principles of the functioning of the music industry in contemporary Ukraine, as reflected in its policies and legislation, as Ukrainian artists continue to actively create music products despite the ongoing armed conflict. Artists in Ukraine require transparent mechanisms for generating their own income, based on a coordinated system of legislation. The article explores the fundamental principles of the functioning of the music industry in contemporary Ukraine, as reflected in Ukraine's cultural policy and legislation, through an analysis of cultural policies regarding music and concert activities of artists in various periods of the Soviet Union, and by comparing it with the current reality in the Ukrainian music market. The study used a systemic and dialectical approach, as well as methods of analysis, synthesis, description, and comparison. The terminological basis of Ukrainian cultural legislation pertaining to the functioning of the music industry and market is analyzed. The absence of terms designating activities related to the production of commercial music products is identified, despite the fact that the music market continues to operate even in times of martial law. An analysis of the fundamental principles of the USSR's cultural policy regarding music in different periods is conducted, and the main state authorities responsible for controlling the concert activities of artists are identified. In the conclusions, it is emphasized that the roots of the fundamental principles of today's cultural policy in the field of music and concert activities in Ukraine still lie in the narrative of concert activities, as it was in the Soviet Union, but without ideological component. Although there are established norms of copyright legislation that allow for progress towards protecting the rights of Ukrainian artists. Further research can focus on studying the path to the popularity of a musical performer in the Soviet Union and comparing it with the situation in Ukraine: from independence to the present day.
{"title":"THE FUNCTIONING OF THE MUSIC INDUSTRY IN CONTEMPORARY UKRAINE: FROM CONCERT TO COPYRIGHT","authors":"Iryna Parkhomenko","doi":"10.17721/ucs.2023.1(12).19","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).19","url":null,"abstract":"The relevance of the research lies in the need to determine the fundamental principles of the functioning of the music industry in contemporary Ukraine, as reflected in its policies and legislation, as Ukrainian artists continue to actively create music products despite the ongoing armed conflict. Artists in Ukraine require transparent mechanisms for generating their own income, based on a coordinated system of legislation. The article explores the fundamental principles of the functioning of the music industry in contemporary Ukraine, as reflected in Ukraine's cultural policy and legislation, through an analysis of cultural policies regarding music and concert activities of artists in various periods of the Soviet Union, and by comparing it with the current reality in the Ukrainian music market. The study used a systemic and dialectical approach, as well as methods of analysis, synthesis, description, and comparison. The terminological basis of Ukrainian cultural legislation pertaining to the functioning of the music industry and market is analyzed. The absence of terms designating activities related to the production of commercial music products is identified, despite the fact that the music market continues to operate even in times of martial law. An analysis of the fundamental principles of the USSR's cultural policy regarding music in different periods is conducted, and the main state authorities responsible for controlling the concert activities of artists are identified. In the conclusions, it is emphasized that the roots of the fundamental principles of today's cultural policy in the field of music and concert activities in Ukraine still lie in the narrative of concert activities, as it was in the Soviet Union, but without ideological component. Although there are established norms of copyright legislation that allow for progress towards protecting the rights of Ukrainian artists. Further research can focus on studying the path to the popularity of a musical performer in the Soviet Union and comparing it with the situation in Ukraine: from independence to the present day.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136307716","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}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).03
Svitlana Stoian
The article analyzes the cultural and historical transformations of the nature of the depiction of the theme of war in fine art. It is noted that art has always responded to changes in worldview paradigms and reflected core value principles of various historical periods of human development. The emphasis of depicting the essence of the war changed from the fixation of specific events that took place in real life to the depiction of generalized metaphorical images with the participation of mythological characters that had no relation to reality and vice versa. In addition, fine art also served as a channel for the sublimation of the psychological experiences of artists who expressed their experiences related to the war through their own works. Thanks to this, powerful ingenious works of art, the relevance of which does not decrease even after several centuries, were created. The article provides a comparative analysis of the nature of the depiction of war in the art of ancient civilizations, antiquity, the Middle Ages, the Renaissance, baroque, rococo, classicism, romanticism, avant-garde art of the beginning of the 20th century, Soviet totalitarian practice as well as in modern Ukrainian art. Thanks to the research conducted, the essence and nature of the transformations, that took place in these periods, are visualized, and the direct correlation of these changes with the state and nature of culture is highlighted. Special attention is paid to the analysis of the visualization of the theme of war in the Ukrainian fine art of the totalitarian era as well as in modern art. It is noted that Ukrainian artists had creative resistance to totalitarian ideology. This was manifested in the demonstration of the tragic side of war, existential experiences, awareness of the irreversibility of death and the suffering associated with it. Attention is focused on the fact that the topic of the relationship between art and war in the context of cultural studies is rather understudied but in the context of recent occurrences in Ukraine and the world it is gaining more and more popularity, drawing attention of researchers to the analysis of these mutual influences.
{"title":"THEME OF THE WAR IN FINE ARTS: PECULIARITY OF HISTORICAL AND CULTURAL TRANSFORMATIONS","authors":"Svitlana Stoian","doi":"10.17721/ucs.2023.1(12).03","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).03","url":null,"abstract":"The article analyzes the cultural and historical transformations of the nature of the depiction of the theme of war in fine art. It is noted that art has always responded to changes in worldview paradigms and reflected core value principles of various historical periods of human development. The emphasis of depicting the essence of the war changed from the fixation of specific events that took place in real life to the depiction of generalized metaphorical images with the participation of mythological characters that had no relation to reality and vice versa. In addition, fine art also served as a channel for the sublimation of the psychological experiences of artists who expressed their experiences related to the war through their own works. Thanks to this, powerful ingenious works of art, the relevance of which does not decrease even after several centuries, were created. The article provides a comparative analysis of the nature of the depiction of war in the art of ancient civilizations, antiquity, the Middle Ages, the Renaissance, baroque, rococo, classicism, romanticism, avant-garde art of the beginning of the 20th century, Soviet totalitarian practice as well as in modern Ukrainian art. Thanks to the research conducted, the essence and nature of the transformations, that took place in these periods, are visualized, and the direct correlation of these changes with the state and nature of culture is highlighted. Special attention is paid to the analysis of the visualization of the theme of war in the Ukrainian fine art of the totalitarian era as well as in modern art. It is noted that Ukrainian artists had creative resistance to totalitarian ideology. This was manifested in the demonstration of the tragic side of war, existential experiences, awareness of the irreversibility of death and the suffering associated with it. Attention is focused on the fact that the topic of the relationship between art and war in the context of cultural studies is rather understudied but in the context of recent occurrences in Ukraine and the world it is gaining more and more popularity, drawing attention of researchers to the analysis of these mutual influences.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135651366","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}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).08
Rostyslav Fanahei
The article is aimed at substantiating the potential of "spatial expansion" of both problematics and optics of cultural studies in their deepening and systematization by the conceptualization of practices of representing space. Late modern cultural studies in general actualize questions not about means of mediation — representations as objects, such as artifacts or mentifacts, and about the very methods of mediation — representations as processes — which is what practices are. At the same time, the "expansion" of these studies, outlined in the article, justifies such adjustment and allows to fully reveal under the temporal production of meanings the corporeal-spatial production of presence, as the basis of human experience of the world, and spatial organization as the main instrument of visual and tactile power relations, which are exercised through discourses, or directly. Moreover, it enables the systematization of a heterogeneous ensemble of practices of representing space in their historical dynamics. A. Lefebvre conceptualized this multiplicity of practices in the constant interaction of "representations of space" and "spaces of representation", which should be considered as fillings of the Foucault dispositive system between catching and the environment. Representations of space as a way of practice reflect the rationalized and visualized production of meanings in terms of both reflection and construction. Spaces of representation reflect the symbolic-corporeal dimension of representation as an imprint of presence, thanks to which we transform the world with our projection, and the presence of the world is given to us for use. On the basis of the outlined system, it is possible to single out a number of practices that are quite generalized and that exert, perhaps, a greater influence on the historical dynamics of the entire heterogeneous ensemble. This series of practices of "spatial issues" justifies the expediency of "spatial optics" at the subject level
{"title":"PRACTICES OF REPRESENTATION OF SPACE AS AN OBJECT OF CULTURAL STUDIES","authors":"Rostyslav Fanahei","doi":"10.17721/ucs.2023.1(12).08","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).08","url":null,"abstract":"The article is aimed at substantiating the potential of \"spatial expansion\" of both problematics and optics of cultural studies in their deepening and systematization by the conceptualization of practices of representing space. Late modern cultural studies in general actualize questions not about means of mediation — representations as objects, such as artifacts or mentifacts, and about the very methods of mediation — representations as processes — which is what practices are. At the same time, the \"expansion\" of these studies, outlined in the article, justifies such adjustment and allows to fully reveal under the temporal production of meanings the corporeal-spatial production of presence, as the basis of human experience of the world, and spatial organization as the main instrument of visual and tactile power relations, which are exercised through discourses, or directly. Moreover, it enables the systematization of a heterogeneous ensemble of practices of representing space in their historical dynamics. A. Lefebvre conceptualized this multiplicity of practices in the constant interaction of \"representations of space\" and \"spaces of representation\", which should be considered as fillings of the Foucault dispositive system between catching and the environment. Representations of space as a way of practice reflect the rationalized and visualized production of meanings in terms of both reflection and construction. Spaces of representation reflect the symbolic-corporeal dimension of representation as an imprint of presence, thanks to which we transform the world with our projection, and the presence of the world is given to us for use. On the basis of the outlined system, it is possible to single out a number of practices that are quite generalized and that exert, perhaps, a greater influence on the historical dynamics of the entire heterogeneous ensemble. This series of practices of \"spatial issues\" justifies the expediency of \"spatial optics\" at the subject level","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136258815","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}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).02
Mariya Rohozha
The article deals with the experience of preserving cultural heritage in the armed conflict in Ukraine and international cooperation in this field. The historical reconstruction of the legal protection of cultural heritage is carried out. It is indicated in the article that during the 19th century, international legal bases for the preservation of cultural heritage were actively developed. However, in the 20th century, two world wars brought significant destruction of cultural heritage by all parties of the conflict. And the optimism of the Europeans of the 19th century regarding a civilized attitude to cultural heritage was destroyed, although the work on the creation of international normative documents in the field continued and international organizations were founded that took care of cultural heritage. In the 21st century, the previous trends persist. Such reconstruction can become the context for the Ukrainian situation. To clarify it, the method of situational analysis is used. The situations with the Hryhorii Skovoroda museum in the village of Skovorodinivka in the Kharkiv region and the Ivankiv Local History Museum unfold in time and space and focus the theoretical framework. In the article, the author addresses the problem of the biography of a place, which is relevant in modern social sciences and humanities. Despite objections to anthropomorphization, scholars emphasize the close link of places and human destinies there. Skovorodinivka ceases to be exclusively a place of memory of an outstanding Ukrainian philosopher and becomes evidence of the attitude towards the object of cultural heritage in the current war. The article shows that in Ukraine today, the war is blurring the "battlefield" and military actions are spreading to the territory where the civilian population and cultural heritage sites are located. The striking difference in the attitude towards the cultural heritage of mankind during the military conflicts of the optimistic modern XIX and the postmodernist relativistic XX centuries illustrates the loss of position by modern phenomena. The situation with the Hryhorii Skovoroda museum testifies that today international aid comes for the preservation of the destroyed cultural artifacts. International cooperation is also essential in the issue of digitizing the cultural heritage of Ukraine and creating conditions for its preservation. The article indicates the initiatives of SUCHO (Saving Ukrainian Cultural Heritage Online) and the Vasa Museum, Stockholm, on this path
{"title":"SAVING UKRAINIAN CULTURAL HERITAGE DURING THE WAR: PRACTICES OF INTERNATIONAL INTERACTIONS","authors":"Mariya Rohozha","doi":"10.17721/ucs.2023.1(12).02","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).02","url":null,"abstract":"The article deals with the experience of preserving cultural heritage in the armed conflict in Ukraine and international cooperation in this field. The historical reconstruction of the legal protection of cultural heritage is carried out. It is indicated in the article that during the 19th century, international legal bases for the preservation of cultural heritage were actively developed. However, in the 20th century, two world wars brought significant destruction of cultural heritage by all parties of the conflict. And the optimism of the Europeans of the 19th century regarding a civilized attitude to cultural heritage was destroyed, although the work on the creation of international normative documents in the field continued and international organizations were founded that took care of cultural heritage. In the 21st century, the previous trends persist. Such reconstruction can become the context for the Ukrainian situation. To clarify it, the method of situational analysis is used. The situations with the Hryhorii Skovoroda museum in the village of Skovorodinivka in the Kharkiv region and the Ivankiv Local History Museum unfold in time and space and focus the theoretical framework. In the article, the author addresses the problem of the biography of a place, which is relevant in modern social sciences and humanities. Despite objections to anthropomorphization, scholars emphasize the close link of places and human destinies there. Skovorodinivka ceases to be exclusively a place of memory of an outstanding Ukrainian philosopher and becomes evidence of the attitude towards the object of cultural heritage in the current war. The article shows that in Ukraine today, the war is blurring the \"battlefield\" and military actions are spreading to the territory where the civilian population and cultural heritage sites are located. The striking difference in the attitude towards the cultural heritage of mankind during the military conflicts of the optimistic modern XIX and the postmodernist relativistic XX centuries illustrates the loss of position by modern phenomena. The situation with the Hryhorii Skovoroda museum testifies that today international aid comes for the preservation of the destroyed cultural artifacts. International cooperation is also essential in the issue of digitizing the cultural heritage of Ukraine and creating conditions for its preservation. The article indicates the initiatives of SUCHO (Saving Ukrainian Cultural Heritage Online) and the Vasa Museum, Stockholm, on this path","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135649645","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}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).11
Andriy Morozov, Serhiy Hudkov
The article provides an ethical analysis of worldview and ideology. It is noted that the moral and humanistic function of worldview is to form and preserve the individual "Self" in harmonious co-existence with other people, not to dissolve its singularity in the totality of the universal. The worldview ensures the process of humanizing a person, transforming him into a self-worth and original world. The absence of a worldview as a holistic view of the world indicates the dehumanization of man, his degradation to a sub-human (animal) level of existence, distancing from his own essence. The anti-humanist essence of ideology is revealed as a closed inflexible system of dogmatic provisions, which creates a distorted quasi-religious picture of reality and considers a person exclusively as a means, not a goal. The key features of ideology in comparison with worldview are selectivity and fragmentation, intolerant attitude towards any "otherness". The other in the ideological picture of the world is an object of fear, hatred. The example of consumerism shows how ideology takes over worldview functions. A person, ideologically processed, mistakenly perceives an ideological system as a full-fledged authentic worldview, as a true picture of the world, and a system of values imposed by propaganda or manipulation as his own choice. It is shown that consumerism as a simplified and vulgarized ersatz form of liberalism as an existential dominant takes not simple consumption as a natural need, but an internal attitude to assert oneself through a demonstrative pathological desire to possess surplus. In the ideology of consumerism, a specific consumer mindset is formed, aimed at achieving social advantage through consumption; human happiness depends on the level of consumption, and consumerism itself becomes the goal and meaning of life. However, the given statistics of the international index of happiness show that there is no direct relationship between the level of consumption and an increase in the level of freedom, inner satisfaction, and meaningfulness.
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Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).10
Margaryta Korobko, Anna Mishchenko
Today Ukraine is struggling with the war on its own territory. Russian invasion has provoked many discussions in the cultural sphere. In the end of February 2022 Ukraine's Minister of Culture and Information Policy Oleksandr Tkachenko called the world to impose cultural sanctions on the Russian Federation. It means to cancel Russian culture. Cancel culture refers to the popular practice of withdrawing support for (canceling) public figures and companies after they have done or said something considered objectionable or offensive. Cancel culture is generally discussed as being performed on social media in the form of group shaming. What ethical issues this phenomenon implicates? What does it mean for Ukraine? Cancel culture is a complicated phenomenon in the modern world. We can begin our analysis of the contemporary problem of the culture of cancellation in ethics and politics by analyzing the classic works of Hannah Arendt, Isaiah Berlin, and Michael Oakeshott. Oleksandr Klekovkin, a Ukrainian theater expert, actively promotes the idea of abolishing Russian culture in Ukraine. American lawyer Alan Dershowitz sees a negative aspect of the cancel culture phenomenon. So far, a clear understanding of this phenomenon has not been developed academically. The purpose of the article is an attempt to analyze the phenomenon of "cancellation culture" in ethical and political aspects, actualized in the conditions of the Russian-Ukrainian war in the context of the cancellation of Russian culture in Ukraine. If in a certain society, even under the conditions of a democratic political regime, the idea of at least a hypothetical possibility of solving all problems prevails, it will stop at nothing to achieve such an ideal state. This is the lesson we should have learned after two world wars. However, in practice, in many modern societies, there are again attempts to instill value monism, which manifests itself as "cancel culture". By legitimizing "cancel culture" as a modern trend, political systems significantly limit discursiveness and pluralism within society. After all, it becomes too uncomfortable to express an opinion that contradicts the generally accepted one. This threatens career, social status, and sometimes even safety.
{"title":"CANCEL CULTURE: ETHICAL AND POLITICAL ASPECTS (IN THE CONTEXT OF THE RUSSIAN–UKRAINIAN WAR)","authors":"Margaryta Korobko, Anna Mishchenko","doi":"10.17721/ucs.2023.1(12).10","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).10","url":null,"abstract":"Today Ukraine is struggling with the war on its own territory. Russian invasion has provoked many discussions in the cultural sphere. In the end of February 2022 Ukraine's Minister of Culture and Information Policy Oleksandr Tkachenko called the world to impose cultural sanctions on the Russian Federation. It means to cancel Russian culture. Cancel culture refers to the popular practice of withdrawing support for (canceling) public figures and companies after they have done or said something considered objectionable or offensive. Cancel culture is generally discussed as being performed on social media in the form of group shaming. What ethical issues this phenomenon implicates? What does it mean for Ukraine? Cancel culture is a complicated phenomenon in the modern world. We can begin our analysis of the contemporary problem of the culture of cancellation in ethics and politics by analyzing the classic works of Hannah Arendt, Isaiah Berlin, and Michael Oakeshott. Oleksandr Klekovkin, a Ukrainian theater expert, actively promotes the idea of abolishing Russian culture in Ukraine. American lawyer Alan Dershowitz sees a negative aspect of the cancel culture phenomenon. So far, a clear understanding of this phenomenon has not been developed academically. The purpose of the article is an attempt to analyze the phenomenon of \"cancellation culture\" in ethical and political aspects, actualized in the conditions of the Russian-Ukrainian war in the context of the cancellation of Russian culture in Ukraine. If in a certain society, even under the conditions of a democratic political regime, the idea of at least a hypothetical possibility of solving all problems prevails, it will stop at nothing to achieve such an ideal state. This is the lesson we should have learned after two world wars. However, in practice, in many modern societies, there are again attempts to instill value monism, which manifests itself as \"cancel culture\". By legitimizing \"cancel culture\" as a modern trend, political systems significantly limit discursiveness and pluralism within society. After all, it becomes too uncomfortable to express an opinion that contradicts the generally accepted one. This threatens career, social status, and sometimes even safety.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136257390","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}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).01
I. Maslikova
The article analyzes the experience of international cooperation in the field of culture during the Russian-Ukrainian war. Significant achievements in international cooperation by the means of culture resulted in the institutionalization of cultural diplomacy as a tool of the cultural policy of "soft power". Cultural diplomacy includes the exchange of ideas, information, and cultural goods between peoples in order to foster mutual understanding. Thanks to the United24 platform and the Ukrainian Institute, large-scale projects have been implemented last year. These projects aimed at helping victims of war, their rehabilitation, rebuilding cultural infrastructure, Ukraine's involvement in weighty cultural events and processes, and the presentation of Ukrainian culture to the world. Informational, volunteer, rehabilitation, sanctions, diplomatic activities in the field of culture in wartime conditions proved that cultural diplomacy is an effective tool of cultural, humanitarian and security policies. Realization of the main goal of Ukrainian cultural diplomacy – the expansion of Ukraine's recognition abroad is impossible without awareness of the value basis of Ukrainian culture and the belonging of the Ukrainian people to a broad cultural and political context. The issue of the cultural identity of Ukrainians is connected with the colonial past of Ukraine, the aggressive expansion of Russia. The revaluation of the cultural role of Russia gained urgent relevance against the background of the war and, on the one hand, led to the practices of "the cancel culture". This practice is important to ensure that there are no attempts to apparently balance the victims of Ukrainians and Russians in the war, the anonymity of the true victims and the lack of fair retribution for criminals, the silencing of the truth, and war fatigue. On the other hand, such processes aggravated the issue of various "others", who will be able to unite on the basis of a common contemporary Ukrainian culture after the war. Therefore, in order to clarify the specifics of cultural identity, a number of cultural problems arise that require a theoretical solution (the nature of cultural identity, the constitution of cultural subjectivity in the conditions of imperialism and post-colonialism, cultural prejudices, national imagination, "the cancel culture", revaluation of the cultural role of Ukraine). Cultural studies of these issues will strengthen the discussions around the issues of a better political order and the formation of post-colonial cultural policy in Ukraine.
{"title":"INTERNATIONAL COOPERATION IN THE FIELD OF CULTURE UNDER THE CONDITIONS OF THE RUSSIAN-UKRAINIAN WAR: CULTURAL ASPECT","authors":"I. Maslikova","doi":"10.17721/ucs.2023.1(12).01","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).01","url":null,"abstract":"The article analyzes the experience of international cooperation in the field of culture during the Russian-Ukrainian war. Significant achievements in international cooperation by the means of culture resulted in the institutionalization of cultural diplomacy as a tool of the cultural policy of \"soft power\". Cultural diplomacy includes the exchange of ideas, information, and cultural goods between peoples in order to foster mutual understanding. Thanks to the United24 platform and the Ukrainian Institute, large-scale projects have been implemented last year. These projects aimed at helping victims of war, their rehabilitation, rebuilding cultural infrastructure, Ukraine's involvement in weighty cultural events and processes, and the presentation of Ukrainian culture to the world. Informational, volunteer, rehabilitation, sanctions, diplomatic activities in the field of culture in wartime conditions proved that cultural diplomacy is an effective tool of cultural, humanitarian and security policies. Realization of the main goal of Ukrainian cultural diplomacy – the expansion of Ukraine's recognition abroad is impossible without awareness of the value basis of Ukrainian culture and the belonging of the Ukrainian people to a broad cultural and political context. The issue of the cultural identity of Ukrainians is connected with the colonial past of Ukraine, the aggressive expansion of Russia. The revaluation of the cultural role of Russia gained urgent relevance against the background of the war and, on the one hand, led to the practices of \"the cancel culture\". This practice is important to ensure that there are no attempts to apparently balance the victims of Ukrainians and Russians in the war, the anonymity of the true victims and the lack of fair retribution for criminals, the silencing of the truth, and war fatigue. On the other hand, such processes aggravated the issue of various \"others\", who will be able to unite on the basis of a common contemporary Ukrainian culture after the war. Therefore, in order to clarify the specifics of cultural identity, a number of cultural problems arise that require a theoretical solution (the nature of cultural identity, the constitution of cultural subjectivity in the conditions of imperialism and post-colonialism, cultural prejudices, national imagination, \"the cancel culture\", revaluation of the cultural role of Ukraine). Cultural studies of these issues will strengthen the discussions around the issues of a better political order and the formation of post-colonial cultural policy in Ukraine.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67445073","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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