The article attempts to comprehend the influence of cultural memory on the episteme of cordocentrism in the nation-building process in nowadays Ukraine, as well as to analyze the spontaneous activation and prove the effectiveness of the re-actualization of the gestalt of indigenous national consciousness, which manifests Ukrainian cordocentrism through the aesthetics of aísthēsis, and which, in the conditions of the Russian-Ukrainian hybrid war, becomes a reliable protection of cultural memory while preserving the sovereign existential unity of the nation. The activation of the updated art episteme in the domestic space coincides with the international search for alternatives to art forms that are derived from consumer capitalism, one of those alternatives being the paradigm conventionally named "New sincerity". This latter, stimulates cultural oscillation between the concepts of outdated, as of today, patterns of postmodernism and modernism. It is hypothesized that such transformations might allow the commodified society of consumerism to get rid of the limitations of the collective memory imposed onto it and cultivated by the market ideology of "paradigm wars" and the de-skilling of the art business in particular. These transformations might also allow the society to overcome the overwhelming civilizational crisis that has been much discussed in the recent decades in publications dedicated to art history and contemporaneity, as well as those dedicated to cultural and civilizational changes and strategies.
| Published in | American Journal of Art and Design (Volume 9, Issue 3) |
| DOI | 10.11648/j.ajad.20240903.13 |
| Page(s) | 57-68 |
| Creative Commons |
This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited. |
| Copyright |
Copyright © The Author(s), 2024. Published by Science Publishing Group |
Art Episteme, Contemporary Art, Collective Memory, Cultural Memory, National Identity, Paradigm Wars, Russian-Ukrainian War, Ukrainian Cordocentrism
| [1] | Agamben, G. (2024) L’esperienza del linguaggio è un’esperienza politica. Quodlibet. 16 febbraio. |
| [2] |
Agamben, G. (2022) La terza guerra mondiale non è ancora finita. Quodlibet.
https://www.quodlibet.it/giorgio-agamben-la-terza-guerra-mondiale-non-ncora-finita |
| [3] | Arendt, Hannah. (1998) The human condition. Chicago, Illinois: The University of Chicago Press, 3, 168-169, 170-171. |
| [4] | Assmann, Jan. (2008). Communicative and Cultural memory. In: Astrid Erll, Ansgar Nünning (Eds.). Cultural Memory Studies. An International and Interdisciplinary Handbook. Berlin, New York, 109–118. |
| [5] | Azimi, Roxana. (2024) L’Unesco dénombre 341 sites culturels endommagés en Ukraine, après deux ans de guerre. Le Monde. 14 février 2024. |
| [6] | Belting, Hans. (2009) Contemporary art as Global art: A critical estimate. In The global art world: audiences, markets and museums, p. 38–73. Ed. Hans Belting and Andrea Buddensieg. Ostfildern: Hatje Cantz. |
| [7] | Chyzhevskyi, Dmytro. (1991) Narysy z istorii filosofii na Ukraini [Essays on the history of philosophy in Ukraine]. New York: Ukrainian Congress Committee of America, 7-12, 17-19. |
| [8] | Dronova, O. L.; Nahornyi, T. V. (2021) Napriamy rozvytku Ukrainy za riznymy stsenariiamy hlobalizatsiinykh protsesiv. Ukrainskyi heohrafichnyi zhurnal. Vyp. 2(114), 23. |
| [9] | Fitzgerald, J. D. (2012). Sincerity, not irony, is our age’s ethos. The Atlantic. Is. 20. |
| [10] | Judt, Tony. (2023) Postwar. A history of Europe since 1945. Kyiv: Nash Format, 806. |
| [11] | Halbwachs, Maurice. (1992) On Collective Memory [1925]. Ed. and trans. Lewis A. Coser. Chicago: Chicago University Press. |
| [12] | Kiossev, Alexander. (1995) The Self-Colonizing Metaphor. Cultural Aspects of the Modernisation Process. № 3. Oslo: TMV Skriftserie. |
| [13] | Kochetkova, Y. (2024) War is personal. |
| [14] | Kot S, Mozolevska A, Polishchuk O, Stodolinska Y. (2024) The Discursive Power of Digital Popular Art during the Russo-Ukrainian War: Re/Shaping Visual Narratives. Arts. 13(1): 38. |
| [15] | Krymsky, Serhiy. (2008) Under the signature of Sofia. Kyiv: "Kyiv-Mohyla Academy". |
| [16] | Laura Lian. (2021) John Lennon Peace Statue. |
| [17] | Lychkovakh, Volodymyr. (2010) Sacred horizons of Ukrainian culture: Archetypes — chronotopes — signatures. Art culture. Actual problems: Scientific Bulletin / Modern art research institute of National Academy of Arts of Ukraine. Kyiv: HIMJEST, 187-194. |
| [18] | Lyons, Siobhan. (2014) On Happiness. Philosophy Now. Is. 100. |
| [19] |
Lyons, Siobhan. (2015) The Afterlives of Modernism. Philosophy Now. Issue 108.
https://philosophynow.org/issues/108/The_Afterlives_of_Modernism |
| [20] | Lyotard, J.-F. (1997) Anima Minima. Trans. G. Van Den Abbeele. In Postmodern Fables (pp. 235-249). Minneapolis: University of Minnesota Press. |
| [21] | Majumder, N. (2021) Paradigm War: A Distinct Indigenous Vision. Academia Letters, Article 926. |
| [22] | Marchenko, O.; Pushonkova, O.; Gladun, O.; Kolomiiets, O.; Protsyshyn, V. & Pianzin, S. (2023) «Expansion as a Culture-Creating Principle of Post-Modernity: Semantic Contexts and Aesthetic Practices». Journal of Education Culture and Society. # 2, 57-77. |
| [23] | McAuliffe, Sam. (2023) The Urgency of Art. Philosophy Now. Is. 155. |
| [24] | Ministry of Culture and Information Policy of Ukraine. In Italy, the exhibition of the Ukrainian artist "Holy Tablets of Ukraine. Oleksandr Zhivotkov". |
| [25] | Nancy, Jean-Luc & Barrau, Aurelien. (2015) What’s these worlds coming to? Trans. Travis Holloway and Flor Méchain. New York: Fordham University Press. |
| [26] | Nora, Pierre. (1989) Between Memory and History: Les Lieux de Mémoire. Representations, № 26. Special Issue: Memory and Counter-Memory (Spring), 7-24. |
| [27] | Onatskyi, E. (1965) Ukrainian small encyclopedia. Book XIV. Buenos Aires: UAPC in Argentina, 1719. |
| [28] | Protas, M., Bulavina, N. (2023) Cultural habitus of art: The aletheia of self-identification versus the post-truth of postmodernity. American Journal of Art and Design. Vol. 8, Issue 3, September, 87–98. |
| [29] | Ricoeur, Paul. (1995) The creativity of language. In Richard Kearney (ed.), States of Mind: Dialogues with Contemporary Thinkers on the European Mind, pp. 216-245. Manchester: Manchester University Press. |
| [30] |
Skurativskyi, V. (2023) Paradoxes of modernity and postmodernity. National art in modern global media. World. Culture. War. Proceedings of the International Scientific and Practical Internet Conference, June 29. Kyiv: Institute for cultural research of the National Academy of Arts of Ukraine, p. 25-30.
https://icr.org.ua/wp-content/uploads/2023/12/Book_2023_Conference_29.06.2023.pdf#page=194 |
| [31] | Stiegler, Bernard. (2019) The Age of Disruption: Technology and Madness in Computer Capitalism. London, UK: Polity Press, 187, 229, 272. |
| [32] | Tkachuk, B. (2019) Ethymological features of modern research in memory philosophy. Visnuk of the Lviv University. Series philosophical science. Issue 23, 101-107. |
| [33] | Vlasevich, T. (2016) Sacral signatures of Ukrainian mentality as representatives of national identity Visnyk of the Lviv University. Series philosophical science. Issue 18, 138–150. |
| [34] | Yaniv, V. (1987) Ukrainian art on the cultural and historical background of Ukraine in connection with its geopolitical location. Trans. Lydia Kachurovska-Kryukov. Munich: Ukrainian Free University, 6-10. |
APA Style
Protas, M., Savchuk, I., Rogotchenko, O. (2024). Cultural Memory in the Context of the Art Episteme of Ukrainian Cordocentrism. American Journal of Art and Design, 9(3), 57-68. https://doi.org/10.11648/j.ajad.20240903.13
ACS Style
Protas, M.; Savchuk, I.; Rogotchenko, O. Cultural Memory in the Context of the Art Episteme of Ukrainian Cordocentrism. Am. J. Art Des. 2024, 9(3), 57-68. doi: 10.11648/j.ajad.20240903.13
Share This Article
Twitter
Linked In
Facebook
Copy
Download@article{10.11648/j.ajad.20240903.13,
author = {Maryna Protas and Ihor Savchuk and Oleksiy Rogotchenko},
title = {Cultural Memory in the Context of the Art Episteme of Ukrainian Cordocentrism
},
journal = {American Journal of Art and Design},
volume = {9},
number = {3},
pages = {57-68},
doi = {10.11648/j.ajad.20240903.13},
url = {https://doi.org/10.11648/j.ajad.20240903.13},
eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20240903.13},
abstract = {The article attempts to comprehend the influence of cultural memory on the episteme of cordocentrism in the nation-building process in nowadays Ukraine, as well as to analyze the spontaneous activation and prove the effectiveness of the re-actualization of the gestalt of indigenous national consciousness, which manifests Ukrainian cordocentrism through the aesthetics of aísthēsis, and which, in the conditions of the Russian-Ukrainian hybrid war, becomes a reliable protection of cultural memory while preserving the sovereign existential unity of the nation. The activation of the updated art episteme in the domestic space coincides with the international search for alternatives to art forms that are derived from consumer capitalism, one of those alternatives being the paradigm conventionally named "New sincerity". This latter, stimulates cultural oscillation between the concepts of outdated, as of today, patterns of postmodernism and modernism. It is hypothesized that such transformations might allow the commodified society of consumerism to get rid of the limitations of the collective memory imposed onto it and cultivated by the market ideology of "paradigm wars" and the de-skilling of the art business in particular. These transformations might also allow the society to overcome the overwhelming civilizational crisis that has been much discussed in the recent decades in publications dedicated to art history and contemporaneity, as well as those dedicated to cultural and civilizational changes and strategies.
},
year = {2024}
}
TY - JOUR T1 - Cultural Memory in the Context of the Art Episteme of Ukrainian Cordocentrism AU - Maryna Protas AU - Ihor Savchuk AU - Oleksiy Rogotchenko Y1 - 2024/09/29 PY - 2024 N1 - https://doi.org/10.11648/j.ajad.20240903.13 DO - 10.11648/j.ajad.20240903.13 T2 - American Journal of Art and Design JF - American Journal of Art and Design JO - American Journal of Art and Design SP - 57 EP - 68 PB - Science Publishing Group SN - 2578-7802 UR - https://doi.org/10.11648/j.ajad.20240903.13 AB - The article attempts to comprehend the influence of cultural memory on the episteme of cordocentrism in the nation-building process in nowadays Ukraine, as well as to analyze the spontaneous activation and prove the effectiveness of the re-actualization of the gestalt of indigenous national consciousness, which manifests Ukrainian cordocentrism through the aesthetics of aísthēsis, and which, in the conditions of the Russian-Ukrainian hybrid war, becomes a reliable protection of cultural memory while preserving the sovereign existential unity of the nation. The activation of the updated art episteme in the domestic space coincides with the international search for alternatives to art forms that are derived from consumer capitalism, one of those alternatives being the paradigm conventionally named "New sincerity". This latter, stimulates cultural oscillation between the concepts of outdated, as of today, patterns of postmodernism and modernism. It is hypothesized that such transformations might allow the commodified society of consumerism to get rid of the limitations of the collective memory imposed onto it and cultivated by the market ideology of "paradigm wars" and the de-skilling of the art business in particular. These transformations might also allow the society to overcome the overwhelming civilizational crisis that has been much discussed in the recent decades in publications dedicated to art history and contemporaneity, as well as those dedicated to cultural and civilizational changes and strategies. VL - 9 IS - 3 ER -
Department of Curatorial Exhibition Activities and Cultural Exchange, Modern Art Research Institute of National Academy of Art of Ukraine, Kyiv, Ukraine
Department of Design and Architecture, Modern Art Research Institute of the National Academy of Art of Ukraine, Kyiv, Ukraine
Department of Theory and History of Culture, Modern Art Research Institute of National Academy of Art of Ukraine, Kyiv, Ukraine
