Functions of Archetypes in the Collective Experience of the Russian-Ukrainian War

The article offers a methodical approach to the formation of a prospective model of the management system of the Air Force of the Armed Forces of Ukraine based on the experience of the Russian-Ukrainian war, offers suggestions regarding indicators and criteria for evaluating the effectiveness of the management system of the Air Force of the Armed Forces of Ukraine. The experience of the large-scale Russian-Ukrainian war showed that the modern Air Force of the Armed Forces of Ukraine is one of the main carriers of combat power. The effectiveness of the Air Force's task performance depends to a large extent on the management system. The methodology of building a perspective structure of the control system and the system of control points of the Air Force, and their place in the hierarchical control structure, should be based on the objective laws of armed struggle, provisions of military strategy, operational art and tactics. The analysis of known modern models and methods made it possible to state that in the conditions of a large- scale Russian-Ukrainian war there is a need to improve the general method of evaluating the management system in order to develop reasonable recommendations for its formation. The method of forming a prospective model of the Air Force management system should consist of three stages. The first stage is an assessment of the effectiveness of the Air Force management system. The second stage is an assessment of the degree of compatibility of the management system of the Air Force of the Armed Forces of Ukraine with the management systems of the armed forces of NATO countries. The third stage is the formation of a model of the Air Force management system based on a generalized indicator of the effectiveness of the task of the Air Force management system with the management systems of the armed forces of NATO countries. Evaluation of the effectiveness of the management system was carried out using scenario research methods. Based on the experience of combat operations, it was determined that the perspective model of the Air Force management system should be compatible with the management systems of the armed forces of NATO countries. Assessment of the degree of compatibility of management systems was carried out using methods of expert assessment and representative theory of measurements. The developed methodical approaches to the evaluation of the effectiveness and compatibility of management systems and the comparison of their options made it possible to provide substantiated proposals for the formation of a prospective management system of the Air Force of the Armed Forces of Ukraine. The practical value of the research results lies in the direct use of methods during the preparation and implementation of management of units and units of the Air Force of the Armed Forces of Ukraine, the provision of substantiated recommendations for determining the quality of management in the performance of combat missions.

Professional Ukrainian critics have traditionally focused more on Zhadan’s prose, with his poetry receiving thorough analysis mainly from Ivan Dziuba, a critic from an older generation. Given Zhadan’s prolific output — 16 collections with over 700 texts — a systematic approach to his work is essential. Currently, Zhadan’s work is either identified with the stages of the formation of Ukrainian society (Babenko), or his poetry is considered as the history of Ukrainian society after 1991 and the process of growing up (Boichenko). The paper’s author identifies two distinct periods in Zhadan’s poetic career: pre-2014, before Russia’s invasion of Ukraine, and post-2014. The war and personal experiences marked significant shifts in his creative expression. In the first period, Zhadan’s work is known for intertwining literature and politics, showcasing an anarchistic worldview, focusing on social issues, and challenging traditional values. Following 2014, his work took a philosophical turn, delving into existential themes, language reform, nature, and interpersonal relationships. Post-2014 interviews reveal Zhadan’s shift from anarchism to embracing the issue of a national state. Aesthetic changes are slower than ideological ones. The poet mythologizes the Russian-Ukrainian war as much as possible; the war appears as an existential state in his work. He looks to Czeslaw Milosz’s poetry as a template for articulating the Russian-Ukrainian war experience. The paper also underscores the significant role of biblical motifs, evangelical imagery and narratives in Zhadan’s body of work across both periods. Whereas prior to 2014, Zhadan’s use of New Testament imagery often bordered on politicized parody, the onset of the Russian-Ukrainian war prompted a departure from such desacralization. He moved from postmodernist aesthetics to a ‘New Sincerity’ approach, reflecting a profound transformation in his poetic vision.

The purpose of the article is to present the summarize of the experience of using unmanned aerial vehicles during the Russian-Ukrainian war in the period of 2022–2024. The methodological basis of the study is based on the principles of historicism, objectivity, and critical analysis of various sources. The authors used general scientific research methods, primarily analysis, synthesis, deduction, induction, as well as special historical methods, including historical comparative studies, historical genetic and problematic chronological methods. The scientific novelty of the obtained results is that the authors for the first time in historiography revealed the strategic, operational and tactical content of the usage of unmanned aircraft during the Russian-Ukrainian war, identified the main forms and methods and trends of its use. Information on the main factors that influenced the use of unmanned aerial vehicles in the Russian-Ukrainian war has been clarified and supplemented.It has been established that the issue of the usage of unmanned aerial vehicles and its impact on the further development of military art is of considerable interest to the world scientific community. However, the incompleteness of events, constant tactical and technological changes that occur during an unfinished war and the secrecy of a significant array of sources have led to a relatively small amount of historiography on the topic. The use of unmanned aircraft was influenced by a combination of tactical, scientific, technological and economic factors. It was their influence that determined the direction of development of forms and methods of using unmanned aircraft. The main tasks performed by the parties’ unmanned aerial vehicles were to destroy enemy strategic rear facilities, fire on the enemy in operational and tactical depth, conduct aerial reconnaissance, and adjust artillery fire. Unmanned aerial vehicles were also used to provide logistical support to units in hard-to-reach areas, conduct electronic warfare, air defence and communications. The main forms of use of unmanned aircraft were air operations, systematic combat operations, air strikes of various scales, and special combat flights. The main methods of performing tasks were echeloned and single strikes, drops and launches of aircraft, barrage strikes, duty in certain areas, and flights with a variable profile. The article identifies trends in the development of the military art of unmanned aircraft, and outlines ethical and philosophical problems associated with attempts to introduce elements of artificial intelligence into the control system of strike unmanned aircraft systems. On the basis of the results obtained, the authors provide relevant recommendations.

This chapter investigates the nineteenth-century war panorama as a form of total immersion into the imaginary and spectacular world of war. Analyzing the visual immersive technology of the nineteenth-century war panorama, it explores how the panorama staged, conveyed, and mediated the viewer's experience of war. The chapter argues that the panorama as a medium is inherently paradoxical: On the one hand, it absorbs the audience into a collective experience or war. It builds a community of spectators, and it trains, disciplines, and prepares viewers for the wars to come. By militarizing audiences, propagating nationalism, and by immersing the audience into national battles, the panorama represents the history of military combat under the auspices of futurity. The chapter describes the paradox, namely a type of pre-modern vision of history intrinsic to the medium of the panorama. The panorama is thus a medium capable of propelling history into the future—shaping national communities that will collaborate in waging wars.

This article is devoted to the consideration of organizational and pedagogical conditions that contribute to the formation of leadership qualities of future officers in military higher educational institutions. In particular, the key aspects of training military personnel are studied using the experience gained during the Russian-Ukrainian war. The authors of the article determine the need to include leadership competencies in professional standards, emphasize the social conditioning of education and consider the role of the teaching staff in the formation of leadership qualities. The study is based on the practical experience of Ukrainian and Russian military higher education institutions and takes into account the challenges that arise in the context of military conflict.

Historical experience demonstrates that periods of conflict often stimulate significant advancements in various fields of science and technology. The ongoing Russian-Ukrainian War is no exception. Drawing upon open sources, the authors of the article trace the development and implementation of Ukrainian and foreign equipment in military medicine within the Ukrainian Defence Forces during the first decade of this war. The article evaluates and summarizes the initial experience of their battlefield application, analyzes challenges encountered by equipment developers and military personnel in implementing scientific and technical advancements, and proposes ways to address these issues. The primary focus is on developments related to electrical engineering. Specifically, the article highlights the equipment in medical electrical engineering and telemedicine screening, the creation of mobile hospitals equipped with modern electrical devices, and various models of evacuation drones and electric stretchers operating on principles of automation and telemechanics, including robotic systems for medical evacuation. Examples of new organisational forms for conducting research and implementing promising projects related to the scientific synthesis of the medical science experience and practice in wartime are given. This underscores the significant and diverse contributions of Ukrainian scientists, engineers, technicians, entrepreneurs, investors, and military personnel. The authors conclude that the development of electrical engineering for military medicine in Ukraine holds international significance. This is particularly relevant given the increasing number of ‘hot spots’ globally. Electrical engineering for the needs of war is developing dynamically and very rapidly. Ukrainian developments provide a powerful impetus to this process. Based on the experience of the ongoing Russian-Ukrainian War, several areas of electrical engineering in Ukrainian military medicine are poised to make a significant impact on the history of science and technology. This includes remote diagnostics based on telemedicine, robotic systems for evacuating the wounded (evacuation drones), and mobile hospitals equipped with advanced electrical equipment. Ukrainian medical electrical engineering, stimulated by the ongoing war, offers an invaluable impetus to the development of both the theory and practice of civilian medicine.

In scientific research, the artistic images and meanings of the mythology of the Russian-Ukrainian war; their influence on the society and cultural space of Ukraine and its image in the world are outlined and broadly classified. The research focuses on the events after the full-scale invasion of Ukraine by Russia on February 24, 2022. The mythology of war has several vectors. First of all, it is the creation of new myths and an appeal to the archetypal images of Ukrainian culture, to the archaic layers of our worldview, actualized in the conditions of a fullscale war. Through art, you can convey the images of a new mythology that is being created before our eyes. Today, the Cyborgs (defenders of the Donetsk airport), the militarized image of Taras Shevchenko, have already become the core images of the mythology of the Russian-Ukrainian war. The full-scale invasion gave rise to new images and meanings: The Ghost of Kyiv, Bucha, Azovstal, Chornobaivka, Zmiiny, Zmiiebaivka Red Forest, Patron Dog, Crimean Dog, Bavovniatko. Among the characteristic features of artistic reflections of war events, the following can be distinguished: "glamorization" of war images, their humorous and satirical depiction and interpretation; dehumanization of the enemy (Orcs, Russians, Rashists); a powerful array of song creativity (the curse song "It will be like the witch will say!" became especially popular); creative depiction of acute social problems caused by the war (experience of war by women, children, less mobile groups of people, animals); creative understanding of the personal experience of war. It has been proven that russia's full-scale invasion of Ukraine on February 24, 2022, the occupation of territories, the destruction of civilian infrastructure, and the abuse of peaceful people became the impetus for serious worldview changes for many Ukrainians. It can be argued that russian aggression contributed to the process of Ukrainization. This also affected art reflections, especially among singers, artists, and actors. In this research, the author only outlines certain trends and vectors of the mythology of the war, which were reflected in art practice.

The paper examines allusions in Bohdan Tomenchuk’s poetry collection “Embroider, Mother, a bulletproof vest.” The various types of allusions are grouped based on their functions (activation of historical memory, adherence to literary tradition, text-structuring), themes (historical, mythological), and typology (ranging from nominal and quotation-type to associative). An attempt was made to differentiate the concept of allusion from quotation and reminiscence, while also juxtaposing it with intertext and intertextuality for comparison. In the poet’s texts about the modern Russian-Ukrainian war, the references to literary works are accompanied by numerous allusions to historical reality. These are references of the nominal type (topographical or proper names connected with certain historical events in the reader's mind). The author's distinctive approach involves overlapping different types of allusions, namely those of historical and literary nature, as well as historical and mythological. Behind a direct allusion, an associative one may emerge, linking to a text from a different time period through shared words, phrases, or thematic aura. The involvement of allusion in Tomenchuk’s poetry often occurs on the basis of the allegation (the new text ‘absorbs’ the previous one, without entering into a controversy with the original text). In this case, we deal with intertext (a text within a text). When an allusion entering a new text gets engaged in a dialogue with the original text, we deal with intertextuality as a process of textual interaction. By involving an allusion, the author makes it an element of the structure that serves as an impetus for the reader to navigate within a receptive context, searching among known texts relevant for interpreting the allusion while disregarding distant ones. Intertextuality engages cognition here. Sometimes allusion is not just an element of a structure but a structural principle, and it is proper to name it a structuring allusion. Various allusions in B. Tomenchuk’s poetry make it possible to fit the widest range of emotions and thoughts in a small textual space, to integrate the new experience of war into a broad historical and literary canvas with a biblical and mythological background.

The article explores the peculiarities of contemporary Ukrainian military poetry. The main attention is focused on the problem of the voice of witnesses and the trauma of the generation caught in the war. Emphasis is placed on the problem of memory, which serves as the main means of representing one's own identity, which is reflected in various aspects. The article is dedicated to the figure of Victoria Amelina, a famous Ukrainian writer, public figure, volunteer, author of the novels «November Syndrome, or Homo Compatiens» (2014) and «Home for Dom» (2017), childrenʼs books «Someone, or The Water Heart» (2016) and «E-e-stories of the Excavator Eka» (2021), laureate of international and all-Ukrainian awards, who was killed in the summer of 2023 in Kramatorsk as a result of an Iskander ballistic missile hitting the pizzeria «Ria». The object of the analysis was the poetry collection «Testimony», published after the authorʼs death in 2024, which can be interpreted as an ego-document of recording crimes and pain, the history of resistance and struggle. The main attention is focused on the transfer of the traumatic experience of the modern Russian-Ukrainian war through the means of literature, and the features of Viktoria Amelinaʼs poetry are also identified, in particular, the emphasis is placed on the main motifs of poems written after the full-scale invasion (the motif of death, the motif of losing Home and the rebirth of Home, the motif of memory, an optimistic vision of the future, the motif of faith and disbelief in God). It is traced how the memory of the generation caught in the war functions, how literature constructs memory, in what way the «ancient» and «new» memory intersect, how the mapping of places of memory occurs, and what mechanisms are most effective in the process of prescribing the experience of war on the modern memorial map of Ukrainians. Attention is also focused on the most important and iconic landscapes and topos of war, in particular cities and places of memory, pain, resistance (native Home, foreign home, shelter, hometown, mass grave, memory etc.).

This project highlights the pliancy of childhood as a symbolic trope and its effectiveness as a catalyst for the discussion of broader social issues within art. Through an examination of select works of post-colonial sub-Saharan African literature and film, I reflect upon the ethical and aesthetic challenges of adult authors representing child narration. The works included here span generic categories including novel, spoken word performance, poetry, memoir, and film by authors including Shailja Patel, Binyavanga Wainaina, Goretti Kyomuhendo, Ngũgĩ wa Thiong’o, Ben Okri, and Bhekizizwe Peterson; and filmmakers Djibril Diop Mambety and Ramadan Suleman. In these narratives, experiences of assimilation into the social world of adulthood are intensified and potentially disrupted by the aftermath of colonial rule, manifested in social inequalities based upon gender, race, religion, and ethnicity; poverty due to ongoing economic exploitation and environmental degradation; and experiences of violence and war. Childhood is also configured as a period endowed with exceptional resilience, creativity, linguistic flexibility, openness to cultural plurality, fluid conceptions of individual identity and belonging, and influence upon community traditions and transitions. A central concern of my project is the tension between reliance upon established literary convention and the disruption of forms that have become inadequate to the expression of extreme social upheaval, and, from a post-colonial perspective, inadequate to articulate childhood experiences shaped by diverse cultural locations. In building my methodological framework, I engage the interdisciplinary nature of post-colonial studies to engage with the fields of narrative theory, trauma studies, disability studies, film studies, autobiography/memoir studies, and gender and sexuality studies. By focusing on the junction of child-based narratives and post-coloniality, my thesis illuminates attempts to communicate collective experiences of loss and mourning; the ideological significance of attempts to aesthetically envision juvenile perspectives, especially when these images intersect with the process of nation-building; and the inadequacies of conventions of historiographic continuity to account for experiences of colonial violence, poverty, and war.

This research commenced from the questions on how the reconstruction of regional identity has been related with the collective memories and experiences of Korean war in Jangsung-Gun, Chonnam. Jangsung has been symbolized as Munhyang, county of literature, by local historians during 1970’s. This research investigates the estate struggle and War memory using an oral history approach to reveal the silenced aspect of the formal history.BR Jangsung had blood-shed sarcifices due to the conflict between the ruling group and the lower group during the war. In such conflict, estate, education levels, and classes played great roles. Although belonging to the same social rank, each expaned family group experienced different social struggles depending on their orientation for the nation building process and social discrimination against lower estate.BR The regional regime after the war was led by the right wing camp and they appropriated the War experiences and memories ideologically and represented in the form of War memorials.BR In conclusion, we have to reconsider the corresponding relation between the level of democratization of authoritarian regime and the representing of the past memories. The emergence of newly narrated stories is contingent on the fading memory of the authoritarian memory. There remains a crucial methodological question: since the oral history is constituted through the exchange of the interviewer and the interviewee, the interviewer’s question focusing on the estate aspect could have led to the interviewee’s narration of the war memories with the emphasis on the estate aspect.

The model of ethnification posits that in post-socialist contexts ethnic identities are used as a source for political mobilization against ethnic outgroups. In Croatia, this is further amplified by collective war experiences. This paper investigates the association between identity-based variables, related to ethnification and war experiences, and anti-immigrant prejudice in Croatia. The study employed structural equation modelling of the data from a large youth sample (N = 1,034). Higher ethnic threat, lower cultural capital, more exclusive conception of nationhood and right-wing political orientation predicted stronger anti-immigrant prejudice. Ethnic threat moderated the effect of political orientation on prejudice: under high ethnic threat there was no difference between left-wing and right-wing individuals. As the results correspond to findings from Western countries, we argue that comparable explanations of anti-immigrant prejudice may be applied to non-Western and Western contexts.

This article incorporates two complex concepts: trauma and culture. Trauma in the original medical sense meant simply a physical injury; it came to mean a state of shock brought on by injury; and in psychoanalysis it means the condition that can result from an emotional shock. Traditionalists might object that trauma is only individual, not collective; there can therefore be no cultural trauma. However, the term ‘collective traumatic memory’ can justifiably be used in relation to the experience of war. This article argues that individuals could sometimes express the traumatic experience of the war in a way which transcended the personal and could symbolize collective experience and mentalities. To understand the cultural trauma of war, it explains the enthusiasm for war in certain cultures and sections of societies, what occasioned the trauma, and how culture reacted to it.

The relevance of the research presented in the article lies in the features and specifics of the issue of working with content in modern media. These features are the use of multidisciplinary approaches that will provide an integrated effect. One such approach is the use of the concept of “narrative” in the processes of modern information wars, both in innovative social and traditional media. Narrative is a multidisciplinary phenomenon, it is the basic unit of text formation in literary criticism, the technology of meaning formation in philosophy, the bearer of key messages in online linguistics and the means of learning about the environment in psychology. Based on the stated relevance, the main subject of the study are the processes of creating and using narratives used to exert destructive influence on Internet users. This problem is solved using such methods as: analysis and synthesis (based on the results of previous research), observation (media monitoring and identification of specific facts, trends and patterns), modeling (algorithms for the functioning of narratives). As a result of the study, the introduction of a new concept of “combat narratives” was proposed and substantiated, which is presented as destructive plots, which are divided into super narratives (main plot) and subnarratives (individual elements of the main plot). The main object of study, on the basis of which this concept is revealed, is the supernarrative “nostalgia for the USSR” and the subnarratives that accompany it. The main algorithm of penetration of destructive Russian narratives into the media space of Ukraine through three filters (Russian, pro-Russian, pro-Ukrainian mass media) was also presented. As prospects for further study of the issues presented in the article, the need for in-depth study of mechanisms for managing information processes in the media and the development of mechanisms for protection against information attacks using combat narratives. One of the basic prerequisites for such decisions is the formation of critical thinking, information stability and media literacy in the Ukrainian media environment.

: In 1986 the Combined Arms Support Command was directed to review the functional area of Logistics Command and Control or LOG C2 by the Army Vice Chief of Staff. The intent was to ascertain if the Corps LOG C2 structure required changes in order to adequately sustain Airland Battle Doctrine. An interim operational concept was produced in 1989 which reorganized the previously functionally aligned battalions of the COSCOM into multifunctional Corps Support Battalions and Groups. However since the logistics community could not come to full agreement on the issue, action was further delayed and studied. The eruption of Operation Desert Shield in August 1990 caught the logistics community in limbo and the Army went to war with the new LOG C2 structure in its heart and mind but not fully implemented. This paper examines the birth and evolution of the concept and provides a pragmatic view of what was envisioned and what was to be gained. LOG C2 performance is evaluated as a result of personal and collective experiences in the Gulf War and finally the author recommends some changes and compromises that may be in order and indicates that expectations may need alteration.