Модусы монструозности в визионерском и аутсайдерском искусстве: от божественного к машинному и обратно

Eruv is a term coined in the rabbinic Hebrew of the Mishnah (late second century ce). It refers to a rabbinic ritual construct, mostly for urban Jewish dwelling, that emerged at a particular moment in Jewish cultural history and was subsequently developed and adapted to different historical circumstances all the way to the 21st century. Difficult to translate, it refers first and foremost to a rabbinic ritual construct having to do with rabbinic Sabbath law and the prohibitions of weekday activities associated with it. The verbal root for the nominal form eruv in rabbinic Hebrew suggests mingling, mixing, or merging. Either food, or the residential community of neighbors and their residential domains, or even halakhic prohibition and permissibility suggest themselves as possible referents for the intended ritual act of “merging.” The fact is that in its earliest rabbinic use the term refers specifically to food in two different but related contexts. First, eruv refers to the food collected from neighbors before the onset of the Sabbath. In the most concise formulation in the Mishnah, a loaf of bread, whole and unbroken, is referred to as eruv (Mishnah Eruvin 7:10). The collection of food from all the neighbors involved constitutes a symbolic collective meal, and its deposit in one of the residences allows the neighbors to consider their individual residences as one collective individual domain and thus to act in such a collective individual residence as in an individual one. Alternately, in the Mishnah eruv refers to the meal deposited on the boundary of the outskirts of a residential community, marking the distance one is permitted by biblical law to walk on the Sabbath, but which can be extended by the deposit of the ritual food on that boundary. Such an extension enables, for instance, the social mingling with residents of the neighboring town. This dual use of the term for both the “neighborhood eruv” (in Mishnaic Hebrew eruv hatzerot, more precisely the eruv of courtyards) and the eruv of distance (eruv tehumim) is invoked by the plural form Eruvin as the title for the Mishnaic and Talmudic tractate. Elsewhere, Talmudic law also articulates a third kind of eruv meal, called the eruv of meal preparation or eruv tavshilin, which however receives only marginal attention, confined to the interior of household practice as it is. In modern times eruv has come to denote the boundary markers erected by Jewish orthodox communities in cities the world over, both for the eruv of distance and the eruv of neighborhood. Such boundaries typically consist of pre-existing markers in the urban landscape, as for instance fences, walls, or creeks, symbolically repurposed for the goal of identifying a circumference of the Jewish residential community. They are meant to invoke the walled streets, neighborhoods, and towns of urban late antiquity that enabled the rabbinic construal of virtual private domains to begin with. In the case of the “neighborhood eruv,” such pre-existing boundaries are supplemented by symbolic doorways where gaps occur, as they inevitably do in the modern urban landscape, such as in the case with street crossings. In the latter half of the 20th century, the symbolic doorways have been constructed with posts and nylon fishing lines. The boundary markers of the “eruv of distance” had enjoyed some prominence especially amongst Jewish maskilim in the 19th and early 20th century in their various projects to discuss and critique Jewish traditionalism. With the growth of cities beyond walkability, this type of eruv lost much of its visibility and significance, both culturally and halakhically. The “eruv of neighborhood,” on the other hand, attracted a different kind of scrutiny, as it came into public view in cities where it was and continues to be instituted, and requires approval by municipal authorities of various sorts. Especially in the later part of the 20th and early 21st centuries, these public installations have provoked a number of urban controversies around the world. Finally, beyond its nature as a technical term referring to a specific rabbinic ritual, the eruv presents the articulation of an implied Jewish theory of social and specifically urban space. Since the last decade of the 20th century the multidimensionality of social space that the eruv suggests has sparked the interest of people beyond religious studies, such as conceptual architects, artists, and literary scholars.

The Idiot as Artist:The Fantasy Boats of James Henry Pullen

Relevance of the study. One of the features of the piano music of the early 20th century is traditions overcoming of the romantic style and search for opportunities to go beyond it. Numerous composers of a new generation have experimented with musical language, form and phonic visualization. At the same time, the genre of musical miniature did not lose its relevance, on the contrary, it became one of those piano genres where many musical innovations were tested. The study of piano miniature allows us to consider the evolution of small forms in piano music, the process of style and genre transformation, a gradual transition from the established romantic tradition (including the national one) to a new era, marked by the search for contemporary expressive means. The work study of V. Rebikov, an innovative composer who wrote more than 30 cycles of piano pieces and who made a significant contribution to the development of small forms of piano music, is an important stage on the way to a comprehensive understanding of the musical art evolution of the 20th century. Numerous ideas that were tested in his works found their development in the music of next generations of composers and still remain instant and modern. The study of some of V. Rebikov's miniatures key-cycles, which were important stages in the formation of the unique image of the composer, in the context of the figurative and stylistic genesis trends in the art of the first third of the 20th century, allows, with some assumptions, talk about his work as an example of stylistic and harmonic transformations of their time. Main objective of the study is to identify the fundamental elements of V. Rebikov composer's style, which are manifested in his piano works of small forms, in the context of the patterns development of piano miniature at the beginning of the 20th century. The methodological baseline is the methods of historical, systemic, harmonic, style and performance analysis. Results and Conclusions. Analysis of V. Rebikov's musical heritage, as well as of other composers who did not gain great popularity at their time, proved that there are no composers, whose work can be dispensed with, setting the task of identifying the historical stages in the deve-lopment of musical art, since the value of a particular contribution is determined and will be determined by future generations. Therefore, the study of the work of all composers of the early 20th century is necessary for understanding historical formation of musical art, including piano, as well as for identifying the origins and principles that fed the music of the 20th and early 21st centuries.

Blood Sack to Sacks of Blood: The Social Acceptance of the Vampire in Popular Culture

Although at least thirty-five women were buried in the earlier necropolis at Vron during the period between ca. 370 / 75 and ca. 435 / 45, only three of them were equipped with typically Germanic brooches or other elements of dress. Such a low proportion of women whose dress was secured according to the Germanic custom by means of brooches, is not unusual in the burial sites of Northern Gaul, and indeed clearly distinguishes these from the burial grounds on the right bank of the Rhine in free Germania, where practically all the women used one or more brooches to fasten their clothing, and were subsequently buried with them. The evidence from Vron, as from other comparable military burial sites to the west of the Rhine (e.g. Oudenburg, Vermand, Vireux-Molhain), attesting how few women were buried with brooch jewellery , may indicate either that in actual fact very few Germanic women had accompanied their men-folk into Northern Gaul, or that the majority of women of barbaric origin had, in the process of cultural assimilation, abandoned their exotic costume at a very early date and now favoured Gallo-Roman dress. Among the typically Germanic dress ornaments observed at Vron, one may distinguish five different brooch types and one hairpin type, analysed below: 1. Simple cross-bow brooches belong to the most frequently attested and geographically widespread group of Germanic women's brooches in the 4 th and 5 th centuries (mid-4 th to mid-5 th centuries) between the Elbe and the Loire (fig. 2). They are almost invariably made of bronze, as are the two examples from Grave 163A and Pit 9. The brooch from Grave 163A, worn as a single item, is remarkable for its greater length, its short spring, and upper chord. These rather unusual features appear most frequently in the simple cross-bow brooches from the Lower Rhine and Westphalia. There, this unusual form may be dated chiefly to the first half of the 5 th century. This corresponds to the chronology proposed by Cl. Seillier, who attributes, on other evidence, Grave 163A to his Phase 3 (= ca.415/20-435/45). 2. Cross-bow brooches with a trapezoid foot-plate represent a further typological development of the simple cross-bow brooch. The silver brooch from Grave 242A possesses in addition a beaded wire decoration on the bow, together with a stamped metal plaque covering the trapezoid foot-plate, features which enable it to be classed with the Vert-la-Gravelle variant (fig. 3). This form of brooch, known almost exclusively by the archaeological evidence from the left bank of the Rhine is probably to be interpreted as the product of workshops in Northern Gaul, which are known to have manufactured other types of Germanic costume ornaments for the wives of foederati (see below). Comparison with the very similar brooches from Grave 7 at Vert-la-Gravelle (Mame) enable this example from Vron to be dated at the earliest to the last third of the 4 th century or to the turn of the century. The location of the inhumation within the burial ground suggests a date within Seillier's Phase 2 (= ca. 390-415/20). 3. The bronze hairpin from the same grave, over 17 cm long, with a small round head, belongs to the Fecamp type (fig. 4), known chiefly from the Germanic female burials and other archaeological evidence found in Westphalia and the Lower Rhine.

African women’s history embraces a wide variety of societies in more than fifty countries with different geographies, social customs, religions, and historical situations. Despite that range, it is possible to discuss some common threads, beginning with Africa as a predominantly agricultural continent where between 65 and 80 percent of African women are engaged in cultivating food for their families. The centrality of agriculture influences the control of land and of labor by kin groups and clans, usually represented by male political and religious leadership. Africa had a high incidence of matrilineal descent, a social system that placed a woman and her female relations at the center of kinship and family, though male clan leaders influenced the arrangement of families through marriage. Women used a variety of routes to exercise authority—through women’s organizations, as spiritual leaders, and sometimes as queen mothers, advising male rulers and serving as co-rulers or regents. Europeans first arrived at coastal communities in Africa at the end of the 15th century, and their written observations offer some of the earliest documentation concerning African women, though more likely to include information on elite women. Along the West African coast, female market traders acted as arbiters between local societies and European traders. Slaves within Africa were more likely to be women, a reflection of their productive and reproductive contributions to their communities. Women were more vulnerable to enslavement, and women could be integrated into a new society while men were more likely to be traded away or killed as enemies. Women were also slave owners, especially in areas where they had the opportunity to accrue wealth through trading. The presence of European missionaries, traders, and officials increased throughout the 16th to 19th centuries, with many women losing power and economic autonomy with the arrival of cash crops, while continuing their work growing food for their families. Women’s formal political activity was generally ignored and denigrated by colonial authorities, and they lost ground with colonial legal systems. Simultaneously, they found new ways of working and initiated new family forms as Christianity spread and urbanization accelerated. As nationalist movements gained strength in the early 20th century, women’s involvement was essential to the eventual success of those movements, contributing in a variety of ways, including their status as spirit mediums. In areas with more entrenched white settler populations, Africans turned to sometimes protracted armed struggle, and women were centrally involved, though generally not as actual combatants. The 21st century finds women continuing their primary responsibility for agricultural labor and facing ongoing hindrances to gaining education and employment equal to African men. Women still have serious problems in the areas of polygyny, divorce, inheritance, and widowhood. Since the 1980s, the scourge of HIV/AIDS has inflicted untold hardships on women. The late 20th and early 21st centuries have been marked by localized wars in more than a dozen countries, with women frequently the victims. Yet the last half of the 20th century also brought expanded opportunities for education, new job possibilities, increased political involvement, and improved family expectations.

This chapter considers the long history of cross-modal theories of sound and image from both a theoretical and practical perspective. Looking at key ideas related to colour, tone, vibration, space, time and data, the chapter describes key points of audio-visual cross-fertilisation. The discussion starts with colour-pitch theories, from Isaac Newton in the 18th century to Alexander Wallace Rimington in the 19th. It then looks at how these theories evolved alongside a more spectral understanding of both phenomena through the work of Wassily Kandinsky, Margaret Watts Hughes and Arnold Schoenberg in the 20th century. It looks at how this understanding evolved as audio-visual phenomena became concrete media through technology and the work of Pierre Schaeffer, Mary Ellen Bute and John Whitney. In the 21st century it looks at digital and post-digital aesthetics across Kim Cascone, Yasanao Tone and Ryoji Ikeda. The chapter also covers the origins and workings of a wide variety of audio-visual devices from the same periods, including the Helmholtz Sound Synthesizer from the late 19th century, Evgeny Sholpo's Variophone from the early 20th century and the various audio-visual devices (e.g. sound and video synthesizers) that are common in the late 20th and early 21st centuries. The chapter ultimately argues that the tools of technology have themselves become key to an aesthetic understanding of audio-visual culture.

Chironomids (nonbiting midges) are used to develop centennial length temperature reconstructions for six subalpine and alpine lakes in the central Great Basin of the United States. Faunal turnover, assessed by detrended correspondence analysis (DCA), indicate that substantial compositional change in the midge communities has occurred during the past 100 years. Although the changes in composition are site-specific, increases in Dicrotendipes and decreases in Procladius characterize the late 20th century at a majority of the sites. Notable faunal turnover in midge community composition is observed at five of the six sites beginning at approximately A.D. 1970. Application of a chironomid-based mean July air temperature inference model (r 2 jack = 0.55, RMSEP = 0.9 °C) to the subfossil chironomid assemblages provides site-specific quantitative reconstructions of past temperature variability for the 20th and 21st centuries. Midge-inferred temperature estimates indicate that four of the six lakes were characterized by above average air temperatures during the post—A.D. 1980 interval and below average temperatures during the early 20th century. The rate of temperature change between A.D. 1920 and A.D. 2010 for these four lakes are: Smith Lake = 0.6 °C 100 yr-1; Birdeye Lake = 0.7 °C 100 yr-1; Cold Lake = 1.2 °C 100 yr-1; Stella Lake = 0.4 °C 100 yr-1. Correspondence between fluctuations in the midge-inferred temperature and instrumental measures of mean July air temperature for Nevada Climate Division #2 is also documented. This study adds to the growing body of evidence that subalpine and alpine lakes in the Intermountain West of the United States have been and are increasingly being affected by anthropogenic climate change in the early 21st century.

The author analyzes three waves of the crisis of democracy during the 20th and early 21st centuries. The first crisis of democracy in the early 20th century is caused by the emergence and development of public politics, which challenged the possibility to govern the masses having conflict potential, it balanced the power of the people and universal suffrage with the control of the media in order to maintain the stability of political system. The second wave of the crisis of democracy (the last third of the 20th century) is associated with the destruction of the conventional world and the weakening of the nation-state; and its markers were: the imbalance between the branches of government, the domination of economics over politics, the predominance of equality over freedom, the problematic implementation of human rights, and, as a consequence, the inability to put into practice the national form of democracy. The third wave of crisis (early the 21st century) is accompanied by the transformation of democracy into post-democracy, in which the power of the people is replaced by the power of global capital, and the illusion of consent is reinforced by the prohibition of alternative points of view and the narrowing of the space of issues allowed for discussion in the name of public security. The crisis of the policy to achieve peace through the transformation of the balance of powers into a balance of interests called into question the principles of democracy. On the contrary, post-democracies justify the use of force to spread democracy around the world, and they take an active part in contemporary military conflicts, which can rightly be defined as hybrid proxy wars. Drawing on J. Habermas’s concept of communicative rationality, the author concludes that to overcome the crisis of democracy it is necessary to accept the very possibility of an alternative to this form of government and allow to discuss these previously marginalized issues as well as to maintain the return of the majority to genuine communication and politics, contribute to its enlightenment.

Relevance of the study. The evolution and the very phenomenon of the Salzburg Festival go hand in hand with the history of music and theatre, the philosophy of art, and the global musical infrastructure of the 20th and early 21st centuries. On the one hand, it is their fair reflection; while on the other hand, it is an integral part of their development. That is why studying and understanding the role and place of the Salzburg Festival is essential for understanding contemporary musical culture in a current historical perspective.Relevance of the study is attributable to the fact that, for the first time in Ukrainian historical musicology, the development and implementation of the idea of holding the Salzburg Festival are considered, indirect relations between the festival ideologists and the Ukrainian cultural space at the turn of the 19th and 20th centuries are discovered, and the century-old history of the main European music and theatre forum is systematized.Main objective of the study is to introduce the phenomenon of the Salzburg Festival as a historical and cultural integrity in the space of the Ukrainian musicological discourse, as well as to outline and systematize a one hundred-year path of the main music and theatre forum in Europe.Methodology of the study includes the use of historical, culturological, and systemic approaches.Results and conclusions. The study revealed that at the stage of shaping the idea of the festival in Salzburg at the beginning of the twentieth century, there were two fundamental visions of its implementation, namely, “Mozart-oriented” and “general theatrical”. They both entered the gene code of the Salzburg Music and Theatre Forum with varying interpretations of its concept and repertoire policy at each phase of its existence. The change of priorities in its fundamental triad, that is, drama — opera — concert, during forum varying periods is also traced.The hundred-year journey of the Salzburg Festival may be divided into three main stages: 1) the development and search of self-identity (1920–1954); 2) “stabilization” and formation of international prestige (1955–1990); and 3) “modernization” and expansion of cultural horizons (from 1991 until today). Each of them is well integrated into history of Western European music and culture of the 20th and early 21st centuries.

Statement of the problem. The instrumental concerto remains one of the most important genre spheres of composer’s interest at the turn of the 20th–beginning of the 21stcentury, which is confirmed by the wide palette of works written by artists of various national schools and directions. Among them are Philip Glass, Calevi Aho, Tan Dun, John Adams, Esa-Pekka Salonen, Einojuhani Rautavaara, Unsuk Chin, Dai Fujikura, Avner Dorman, Errollyn Wallen, Missy Mazzoli, Kaija Saariaho, Sampo Haapamäki, Ney Rosauro, Peter Mahajdik, Jukka Tiensuu, Li-Ying Wu and others. Different in their style, aesthetic level, compositional principles and performance techniques, the latest works in different ways reflect the modern stage of the development of the instrumental concert, and raise the natural question of what exactly unites them. Objectives, methods, and novelty of the research. Recent research and publications has shown that current studies of the concerto of the late 20th and early 21st centuries mainly focus on the work of one artist, a national school – Ukrainian (N. Zymohliad, K. Slipchenko), Spanish (F. J. T. Ruiz), Polish (A. Nowak), on a specific instrument, such as the oboe (V. Martynova), the piano (N. Zymohliad, A. Nowak), the bayan and the accordion (O. Vasylenko), the domra (K. Slipchenko), or on the concerto for orchestra (Ruiz, 2023). In spite of some important observations about the soloist’s “modern virtuosity” (A. Nowak), “genre interaction” (K. Slipchenko), compositional “reduction” (N. Zymohliad), attempts to identify the general trends in the development of the foreign concert at the turn of the 20th – early 21st century have not yet been carried out, which determines the novelty of the chosen research topic. Its purpose is to identify common features of foreign instrumental concerts of the late 20th and the first quarter of the 21st centuries, on the basis of which the key trends in its development at the current stage will be highlighted. In accordance with the objective, the following research methods were chosen: historical; structural and functional; comparative one. Research results and conclusion. The analysis showed that in the field of instrumental concert the trends declared in the 20th century continue to develop, in particular, the mixing of stylistic elements, interaction with distant genre models, the weakening of the principle of sonata and the role of the sonata form or its displacement by other structures. At the same time, a number of recent phenomena that arose in the 20th century, but mostly did not before spread to the instrumental concert genre, are observed, in particular: the expansion of the range of instruments that can be used as soloists (turning to ethnic instruments, involving species or several representatives of the group within the framework of one work, invention of instruments, and its structural modification); diversification of the timbre-expressive and virtuosic palette of the soloist due to the arsenal of extended performance techniques; and hence the new virtuosity of the soloist.

This bibliography addresses the discourse between Latina/o/xs and various architectural and spatial traditions. In the architectural context of the United States, Latina/o/x communities have struggled to carve a space for themselves, sometimes described as a third, subaltern, or alter/native space. Peoples of Latin American descent have experienced persecution in certain architectural settings, operating in consort with state strategies to stereotype, relegate, and criminalize Latina/o/x bodies. Examples here include the border wall dividing the United States and Mexico, urban development projects that segregate and displace historic populations, prison systems holding disproportionate numbers of minorities, and border facilities designed to control and contain immigrant communities. State-sponsored violence—witnessed historically in public lynchings during the 19th century and police brutality used to suppress the Chicano Movement of the 1960s—has likewise produced a feeling that architectural environments, particularly those in the public sphere, remain out of reach for Latina/o/xs. Yet, the architectural history of Latina/o/xs can be said to precede the formation of the United States by more than a thousand years, particularly if we consider the broader history of architecture in the Americas and the Caribbean. It is a history that reaches back to ancient monumental sites of Indigenous peoples in Mesoamerica, the Andes, Amazon, Caribbean, and US Southwest. It projects forward through Spanish and Portuguese urbanization during the colonial period, including African influences that accompanied the trauma of slavery in the Americas after 1492, and Asian material cultures that followed indentured laborers during the 19th century. It is a history that moves forward through nationalist beaux-arts and neoclassic works of the 19th and early 20th centuries into the international modernist styles of the mid- to late 20th century, associated with notable architects like Luis Barragán of Mexico and Oscar Niemeyer of Brazil, among many others. Those architects of the modern era produced spaces that would include multiple publics in a bid to rethink national identities in places like Brazil, Cuba, and Mexico. Haunted by the socio-racial and gendered hierarchies of the colonial era, modern architects strove toward utopic decolonial solutions in the built environment. We might productively place Latina/o/x architecture within those histories of the wider hemisphere, as a facet of that striving toward a decolonial future. There are political, cultural, and historical reasons, however, to study Latina/o/x architecture on its own terms. To do so requires us to critically assess the limits of categories like “Latin American” and “Latina/o/x,” which are often confused, disputed, and in flux. These categories impossibly encompass huge and diverse populations. The term “Latin American” attempts to define peoples and cultures across the Spanish-, French-, and Portuguese-speaking Americas and Caribbean, while “Latina/o/x” describes members of the Latin American diaspora, particularly in the United States. Within these shifting terms of inclusion and exclusion, Latin American architecture has received notably more attention in scholarly literature, to the detriment of Latina/o/x contributions. This is, in part, because of historic discrimination faced by immigrants from Latin America in the United States and elsewhere. It also reveals a lacuna in histories of architecture more broadly, and the practice of architecture itself, which has tended to be dominated by heteronormative, white, Anglo-male norms and narratives. In the early 21st century, Latina/o/xs account for less than 10 percent of registered architects in the United States according to the American Institute of Architects (AIA). Nonetheless, with a population at nearly 40 million, Latina/o/xs are the largest minority group in the United States, projected to comprise a quarter of the population by the year 2050. The lack of representation in the field of architecture, compared to demographic realities, makes clear why the study of Latina/o/x architecture is of critical importance. The following bibliography works against social and historical factors that would ignore or erase Latina/o/xs from architectural discourse. This bibliography will focus on major works of scholarship that discuss Latina/o/xs as both users and producers of architecture. Special attention is paid to the ethnic and cultural diversity of Latina/o/x architecture, from the largest historic populations of Mexico, Puerto Rico, and Cuba to the vernacular building practices and decolonial aesthetics of an increasingly transcultural and transregional Latina/o/x population.

This essay provides an intellectual history for the cultural turn that transformed the human sciences in the mid-20th century and led to the creation of cultural sociology in the late 20th century. It does so by conceptualizing and contextualizing the limitations of the binary primitive/modernity. In the 19th and early 20th centuries, leading thinkers – among them Marx, Weber, Durkheim, and Freud – confined thinking and feeling styles like ritual, symbolism, totem, and devotional practice to a primitivism that would be transformed by the rationality and universalism of modernity. While the barbarisms of the 20th century cast doubt on such predictions, only an intellectual revolution could provide the foundations for an alternative social theory. The cultural turn in philosophy, aesthetics, and anthropology erased the division between primitive and modern; in sociology, the classical writings of Durkheim were recentered around his later, religious sociology. These intellectual currents fed into a cultural sociology that challenged the sociology of culture, creating radically new research programs in the late 20th and early 21st centuries.

Oxford Bibliographies in Social Work includes three articles describing the scholarly writings of a select group of deceased social workers who have been especially prominent and influential in the profession within the United States. We refer to these individuals as social work luminaries. These three bibliographies can be used to identify the publications of prominent individuals who have been most influential in the development of social work. We identified these individuals by first reviewing the biographies of significant social workers in the Franklin’s article on Encyclopedia of Social Work and obituaries collected by the Council on Social Work Education since the publication of the Encyclopedia of Social Work. From this list we reviewed the biographical material and publications, selecting the most prominent luminaries for each of the three articles. For each luminary we provide a brief biographical overview and one to five annotated citations of their most important publications. Respectively, the three articles describe the publications of luminaries (1) who were involved in the founding and creation of the social work profession in the United States during the late 19th and early 20th centuries, (2) who subsequently contributed to the clarification and elaboration of social work practice and theory, and (3) who contributed to social work theory and scholarship in the late 20th and early 21st centuries. This article presents social work luminaries who made major contributions to research and practice in the late 20th and early 21st centuries. Luminaries in this era often made more use of scientific findings than those luminaries in the previous two articles. They related practice and theory to the social conditions of this more current period, and they often were concerned about a research-based (i.e., empirical) practice and incorporated contemporary ideas of social justice into their thinking. In this period, as in the previous one, most luminaries fell into one of several categories in terms of their contributions to social work scholarship, although several luminaries contributed to more than one category. We have organized this article around these different categories, which include contributions to social work methods; specific fields of service; the overall field of social work; diversity, multiculturalism, and empowerment; and social work research.

The evolution of the nation’s mentality is a complex interplay of historical events, societal transformations, and cultural assimilation. The 20th century brought about a series of changes that left an indelible mark on the collective psyche of its people. Navigating through the tumultuous historical landscape of the 20th and early 21st centuries becomes exceptionally important in studying the nuances of fractures in the mentality of Ukrainians. This scientific article aims to delve into the aspects of mental transformations that took place among Ukrainians during this period, shedding light on both historical and assimilation factors that contributed to the evolution and distortion of the Ukrainian worldview. The historical context encompasses a list of events, from the tumultuous first decades of the 20th century, marked by wars and revolutions, to the complex socio-political landscape of the post-Soviet era. Simultaneously, assimilation processes, whether globalization, external cultural influences, internal transformations, wars, or genocide, add impetus to the formation of the Ukrainian mentality. By carefully studying these two components, the goal is to uncover the nuances of changes, challenges, and resilience embedded in the mental profile of Ukrainians, offering a comprehensive understanding of the factors shaping their worldview. In the quest to unravel the complexities associated with the mental transformation of Ukrainians, this article seeks to provide a scientific investigation rooted in historical analysis and assimilation frameworks. Through a detailed examination of key events and cultural dynamics, it is important to contribute to a broader discourse on the evolution of national mentalities, fostering a deeper understanding of the Ukrainian experience in the 20th and early 21st centuries. In this context, it is crucial to consider individual stories and testimonies preserved in personal archives, such as the archive of O. S. Pohribniak. These sources provide an opportunity to trace significant sociocultural changes in the young generation of the 21st century.