Search

In a recent podcast Kateryna Mishchenko asked whether she, as a Ukrainian author, has the right to participate in German discourses, and whether she can do so through the German language. This refers both to the public debate on the 'Krieg in Europa', following Russia's invasion of Ukraine, and, inextricably linked to it, memory discourses on the Holocaust and World War II. This article discusses Mishchenko's perspective on the war in Europe in literary and non-literary texts in comparison to that of Katja Petrowskaja. Petrowskaja moved to Berlin in 1999 and made a name for herself with her family history Vielleicht Esther (2014). Both authors can be regarded as prominent voices within a post-Soviet exile community in Berlin. The article asks how contemporary authors from Ukraine who find themselves exiled in Germany are contributing to a politicization of the German literary field, and what role their contribution to a transnational memory of the Holocaust and World War II plays within this process, drawing on Hannah Arendt's understanding of refugees as a transnational avant-garde in her essay of 1943. [ABSTRACT FROM AUTHOR]

The purpose of the article is to establish the contribution of Ukrainian avant-garde artist, pedagogue, theorist Kazymyr Severynovych Malevych to the Ukrainian and world pictorial art. The methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist's creative activity. The scientific novelty of the research is in establishing Kazymyr Malevych's contribution to the development of the Ukrainian and world pictorial art. We have studied the special features of his art, theoretical works and teaching activity, as these were an important factor in preserving and popularizing the Ukrainian culture. Conclusions. Malevych's life and art have become the valuable heritage of the whole world. He influenced the development of visual arts with his activity and personally created direction in abstractionism. Guided by his own research and artistic search, he established a new direction in avant-garde art - suprematism, which became a unique phenomenon for fine art. His style was a major influence for visual arts, architecture and design. Malevych elaborated his own manner of teaching art to students. He was followed by Ukrainian and German constructivists, American minimalists and French abstractionists. His creative ideas are still relevant to this day. [ABSTRACT FROM AUTHOR]

The purpose of the article is to determine the peculiarities and role of women's artistic practices such as painting, sculpture, installation, performance, crafts, etc. in the cultural process, to determine the historical and social context – both in Ukraine and the world - in the creative activities of women artists. Methodology. The study includes the methods of systematization, formal, stylistic analysis, historical, comparative, descriptive, biographical methods. The scientific novelty lies in the research of the creative activities of women artists, which is one of the promising and understudied fields in the development of art history and historiography. These results are significant for further research on the works of women artists both in Ukraine and abroad. Conclusion. As a result, the peculiarities of the artists' work were defined, their role in the artistic process of the 20th century was explained, the influence of the sociopolitical and ideological factors on the creative work of Ukrainian and foreign female artists was shown. [ABSTRACT FROM AUTHOR]

The objective of this study is to analyze the outcomes of Dziga Vertov’s conceptual search based on his works, The Eleventh Year (1928) and The Man with a Movie Camera (1929), which became the most remarkable documentaries in the Soviet cinematography. The authors also go into the reasons of diametrically opposite reviews of the critics on these films. This article is based on little-known critical publications about these films in the Ukrainian and Russian media in the 1920s. Dziga Vertov came to the All-Ukrainian Photo Cinema Administration (VUFKU) after being fired from Sovkino. Dziga Vertov retained a lot of material shot for the upcoming film, The Man with a Movie Camera, on which he had been working for quite a long time. However, Ukraine stipulated a mandatory condition that he should film The Eleventh Year, a movie about the progress achieved by the republic after the October Revolution. Analysis of Vertov’s contemporaries’ polemics about The Eleventh Year and The Man with a Movie Camera on pages of specialized journals in the 1920s showed that the most common types of publications were: 1. Unconditional recognition (combination of revolutionary ideas with vivid means of expression). 2. Brutal criticism (exaggerated aestheticism and deviation from the Socialist ideology). [ABSTRACT FROM AUTHOR]

The author is focusing on the term "Smart Harlequin" introduced by outstanding Ukrainian theatre director Les Kurbas. By this term Kurbas defined a new type of intellectual, a super-expressive, easy-going, and psychologically flexible actor capable to cope with tasks facing the art of avant-garde. According to Kurbas, only an educated actor-intellectual could be a full-fledged participant to the theatre art and social processes. An active creator of spectacles, Smart Harlequin would transform on stage to become a primary carrier of the intellectual principle, as opposed to underlying the emotionality of the scenic environment. Besides, in the avant-garde Smart Harlequin would often assume the function of drama playwright, author of the text. Forms of the modern theatre--such as new drama, verbatim and devised theatre--normally combine in one person both an author and a performer, whom any actor-intellectual actually is and whose method of scenic existence was foreseen by Les Kurbas. In front of spectators, Smart Harlequin of the 21st century emerges as a researcher inviting the audience to think over problems the theatre selects for social actualisation through play situations. As a rule, that actor-researcher tries to solve the problem in several ways in an improvisational style, while clearly demonstrating his or her attitude to it. Aside from purely artistic tasks, the avant-garde would assign Smart Harlequin with a good many non-artistic ones, such as being an active creator of the new social environment and catalyst of social processes. [ABSTRACT FROM AUTHOR]

Copyright of Architectus is the property of Oficyna Wydawnicza Politechniki Wroclawskiej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)