Europe's “Shadow Agent”: Rethinking Ukraine's Historical Role in the 20th Century

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The article is devoted to the problem of adequately understanding the role of Ukraine and the Ukrainian nation in European being. The authors focus not on economic, cultural, and scientific factors, which are also important, but on geopolitical and military-political factors. The article describes and analyzes the most important moments of active participation of Ukrainians in events that are extremely important for the whole of Europe. To this end, the authors use the concepts of active and latent geopolitical subjectivity, national subject, and actor. They introduce the concepts of “shadow agent” and “pulsating subjectivity” into scientific discourse for the theoretical understanding of the role of Ukraine and Ukrainians in the events of the 20th century. With their help, the authors seek to reveal as deeply as possible the essence of the “key moments” in European history to which Ukraine is directly involved. These include the destruction of the despotic Russian Empire in 1917, the halting of the Bolshevik invasion of Western Europe in 1920, and active participation – from September 1, 1939, to September 2, 1945 in combat operations against the totalitarian states of the Axis, the liquidation of the Gulag, and, ultimately, the dismantling of the USSR. The article concludes that throughout the 20th century, Ukraine and Ukrainians repeatedly played one of the key roles on the “geopolitical chessboard,” either as an active player or as a shadow actor, and if they had not done so, Europe would now look much worse, and European civilization might even have dissolved into the Eurasian geopolitical swamp. However, the real role of Ukraine and Ukrainians was not always recorded, so it seemed that historically significant events took place, but without Ukraine. Therefore, the authors note: “bringing” Ukraine “out of the shadows,” showing the whole world, and above all Europe, its true historical value as an integral factor, and often even the savior of European civilization, is today one of the most pressing tasks of the Ukrainian intellectual elite, including scholars of Ukrainian studies.

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  • Pan-Art
  • Nikolai Andreevich Khrenov

This article is a continuation of the publications: Хренов Н. А. Искусство рубежа ХХ-ХХI веков в контексте повторяющихся эпох: новая чувствительность в художественной сфере как вызов. Часть I // Pan-Art. 2024. Т. 4. Вып. 3; Хренов Н. А. Искусство рубежа ХХ-ХХI веков в контексте повторяющихся эпох: новая чувствительность в художественной сфере как вызов. Часть II // Pan-Art. 2024. Т. 4. Вып. 4. In this part, the author continues to record in history the rises and falls in the emotional life of society. Observations of art make it possible to comprehend a certain logic in the ebbs and flows of emotional life at the turn of the 19th and 20th centuries. However, the causes of this were found in biology. Thus, N. Vasiliev, in the history of emotions, distinguishes two phases: the hysterical and the neurasthenic. If the hysterical phase is associated with a lack of emotional impressions, then the neurasthenic phase, which begins in cities at the turn of the 19th and 20th centuries, is associated with an overabundance of emotions. This circumstance affects the reception of art, contributing to the emergence and spread of mass culture, the functioning of which does not correlate with universal artistic styles. Seeking to identify this new logic at other levels, the author, drawing on the ideas of N. Vasiliev, resorts to a parallel between the culture of Europe in the 19th and 20th centuries, on the one hand, and the Hellenistic culture of antiquity, on the other. The shifts unfolding in antiquity along with the growth of the urban population and the consequences of these shifts on emotional life allow for a more precise understanding of the different forms of expression of emotions in urban culture. This circumstance allows for a deeper analysis of the situation that arises in European and Russian culture already in the 19th century, which is known as the situation of decadence. However, this problem is drawing attention in our time – in particular, an analysis is being conducted of some films of late Soviet cinema (“Mournful Unconcern” (1987) by A. Sokurov, “The Asthenic Syndrome” (1989) by K. Muratova).

  • Research Article
  • 10.31318/2522-4190.2021.130.231228
100th Anniversary of the Salzburg Festival: Historical and Cultural Phenomenon of the 20th and Early 21st Centuries
  • Mar 18, 2021
  • Scientific herald of Tchaikovsky National Music Academy of Ukraine
  • Ganna Rizaieva

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.

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