Creative Intellectuals Research Articles

ПАРАДОКС АЛЕКСАНДРА АЛЕКСЕЕВА: ИЗ КАДЕТОВ – В ХУДОЖНИКИ (1919-1930)

The authors of the article examine the way Alexander Alexeev (1901, Kazan – 1982, Paris), the outstanding world and Russian classical literature illustrator and pinscreen creator began his creative career. It is mentioned in the article that Alexander Alexeev had to leave the Russian Empire, forming part of the first wave of the Russian emigration settling down in Paris in the long run. In the beginning of his creative career he worked there as a theatre artist. Henceforward, Alexander Alexeev committed himself to the art of the book illustration. The authors claim in the first fifteen years of his creative activities Alexander Alexeev to have become the most eminent of the Russian emigrants book artist with twenty seven books, including book author frontispiece portrait and some book jackets illustrated. Having examined creative activities in the first fifteen years of his Paris life the authors claim Alexander Alexeev, as many other creative intellectuals of the first wave of the Russian emigration to have retained in his soul and heart the image of his Motherland, visualizing it in his works this way or another. These reminiscences and Motherland perception do demonstrate our contemporaries Alexander Alexeev though being away from Russia for nearly 60 years, in fact to have always been Russian patriot retaining the Russian world particle in his heart, as well as love for his mother, with her images scattered in his works all over his creative activities.

THE RELATIONSHIP BETWEEN PSYCHOANALYSIS AND LITERATURE

Austrian physician and scientist Sigmund Freud’s psychoanalytic concept, which emerged at the beginning of the XX century, greatly influenced the spiritual culture of the 20th century. Z. Freud’s philosophical ideas based on the results obtained in the field of neurosis therapy and the study of the mental processes of the unconscious, as well as their openness to understanding and broad perspectives for explaining the mechanisms of social life, human behavior, the nature of scientific and artistic creativity psychoanalysis gained great importance not only in the eyes of scientists but also in creative intellectuals and the general public. This paper highlights the emergence of psychoanalysis as a field of science and its close relationship with literature by analyzing the works of well-known psychologist Sigmund Freud as well as his influence on the psychoanalytic approach to literature. KEYWORDS: psychoanalysis, literature, conscious, unconscious, writer, psychologist, research method, symbol, individual.

Агатангел Кримський і Буковина

The article using reliable facts and argued assumptions reconstructs a paradigm of A. Krymsky’s contacts with Bukovyna and Bukovynians, in particular not yet traced pages and updates a unique source base, namely forgotten, scattered newspaper and book literary-critical, memoir materials. It turns out that the paradigm of these contacts is interesting and branched out. It began in A. Krymsky’s early youth by reading the works by Y. Fed’kovych and continued in fact throughout his life. Besides the characteristic of Fed’kovych’s interests, it is said about his publication of wide scholar and artistic issues in Bukovina periodicals. The link between A. Krymsky and A. Kobylianska is discussed more deeply than up to now. Thus, we disprove preliminary statements about authenticity of their meetings in Chernivtsi in 1898, in Kyiv, and at the farmstead Zelenyi Hay near Hadiach in 1899; we point to attempts by the Soviet organisers of science to falsify materials relating to the issue. In the history of the scholar’s contacts with eminent philologist and cultural figure V. Simovych’s, they were remarkable due to their epistolary relations and personal meetings in Kharkiv and Kyiv in 1927 and in Lviv in 1940 – meaningful, businesslike, not devoid of a warm human component. A whole range of other asks were outlined, on which it is still worth concentrating in the future, comprehending the subject. So the investigation of prominent, nowadays unjustly forgotten author is completed as well as enriched history of literary, social and cultural interconnections of scientific and creative intellectuals of isolated parts of Ukraine in the late 19th – the first decades of the 20th century.

Agonistic memory as a relational concept: Remembering socialism in Lithuania

Based on a biographical narrative interview, this article analyzes the policies of discursive positioning enacted by Adele, a history teacher born in the Lithuanian countryside in 1951, while telling her life story. Showing how she consistently disrupts two rival narratives, the misalignments between which inform public debate in Lithuania’s divided memory culture, I interpret her account as a bottom-up example of agonistic memory. To date, this mode of remembering the past has usually been described as the project of creative intellectuals. In order to prepare the ground to include the memory practices of the rank and file, I suggest (1) reconceptualizing agonistic memory as a relational concept and (2) using agonistic memory as a sensitizing concept in an analysis of oral history accounts focused on the positions articulated by interviewees in response to public memory discourses.

THE KYIV PERIOD OF MIKHAIL MORDKIN'S CREATIVITY (1918-1919)

The purpose of the study is to identify the main directions of Mikhail Mordkin’s creativity in Kyiv in 1918-1919. Chronological, comparative, typological and other methods are used in this work. The Kyiv period of M. Mordkin's creativity is associated with his pedagogical, performing and choreographic activities. His productions of the ballets Flowers of Granada, Giselle, La Fille mal gardée (The Wayward Daughter), as well as dance numbers and divertissements in opera and drama performances became meaningful to the artistic life of the city. M. Mordkin gained valuable experience of the director as a result of cooperation with Ukrainian creative intellectuals (L. Kurbas, M. Bonch-Tomashevsky, A. Petritsky, V. Verkhovinets). The stage production skills of Mordkin as the dancer served as an example for many Ukrainian artists. Mordkin as the teacher managed to significantly increase the size of the ballet troupe of the Kyiv Opera in a short time. It was made thanks students from his own studio, he expanded their professional capabilities through careful and systematic physical training. The research materials can serve as a basis for creating special courses on the history of choreography, can be used in subsequent theoretical studies devoted to the learning of Russian and Ukrainian ballet theaters or in the educational process in academic institutions of the corresponding profile.

Doctoral supervision and COVID-19: Autoethnographies from four faculty across three continents

Doctoral students represent the fresh and creative intellectuals needed to address the many social, economic, political, health care, and education disparities that have been highlighted by the 2020 pandemic. Our work as doctoral student supervisors could not be more central nor vital than it was at the beginning of, during, and following the pandemic. Written during the pandemic of 2020, the purpose of this paper was to describe how four faculty from three continents navigated their relationships with doctoral students in the research and dissertation phase of their doctoral programs. Using a common set of prompts, four faculty members each wrote an autoethnography of our experience as doctoral student supervisors. Even though our basic advising philosophies and contexts were quite different, we learned about the possibility and power of resilience, empathy, and mentoring online. Our findings imply that new online practices could be closely examined and retained after the pandemic to expand the reach, depth and impact of doctoral education.

Doctoral supervision and COVID-19: Autoethnographies from four faculty across three continents

Doctoral students represent the fresh and creative intellectuals needed to address the many social, economic, political, health care, and education disparities that have been highlighted by the 2020 pandemic. Our work as doctoral student supervisors could not be more central nor vital than it was at the beginning of, during, and following the pandemic. Written during the pandemic of 2020, the purpose of this paper was to describe how four faculty from three continents navigated their relationships with doctoral students in the research and dissertation phase of their doctoral programs. Using a common set of prompts, four faculty members each wrote an autoethnography of our experience as doctoral student supervisors. Even though our basic advising philosophies and contexts were quite different, we learned about the possibility and power of resilience, empathy, and mentoring online. Our findings imply that new online practices could be closely examined and retained after the pandemic to expand the reach, depth and impact of doctoral education.

Artistic features of portrait works of people’s artist Huseyngulu Aliev

Achieving a realistic view of the image on canvas or paper is a key requirement of the portrait genre. Since the establishment of the professional school of painting, the portrait has attracted the attention of Azerbaijani artists and has been widely used in their work. Thus, in our miniatures of the Middle Ages, as well as among the paintings created in the XIX–XXI centuries, you can find beautiful, eye-catching portraits with high artistic value. Thus, the portrait has always occupied one of the main places in Azerbaijani painting. Of course, the main object of the portrait genre is a person, so its spiritual world and position in society is the main theme of fine art. For many years, portraits in Azerbaijani painting have been mainly dedicated not only to creative intellectuals, but also to workers, collective farmers and labor pioneers. In portraits, on the one side, there is a generalization of images, and on the other side, there is a more democratic approach to the selection of models. The characters in the portraits are close people, friends, relatives of the artists, or strangers who are attracted only by their appearance. Elements of painting in the human image of Azerbaijani artists attract attention: color, texture experiment, spatial elements, format, etc. It is known that in order to create a realistic portrait, artists must master the perception of emotions in a person’s environment, as well as master the art of realist painting. Throughout the development of the portrait genre, artists are engaged in research, trying to convey the true image of a person in an objective way. In the portrait genre, the image of the century was clearly visible. In the portraits of Azerbaijani artists, generalized, energetic, strong images are often replaced by psychologically complex characters. There is a growing interest in the spiritual world of images, the tendency to reach the depths of thought and intellect, to create a portrait with a rich spiritual content. Portraits created by Azerbaijani artists in modern times differ in their main features, such as deep spirituality and strict intellect.

Interview with Michael Löwy (CNRS): Russian literature, philosophy and messianism

In the history of the Dostoevsky’s and Tolstoy’s reception in modern philosophical thought, a philosophical tradition of German-Jewish origin has a prominent role. Product of a singular “spiritual synthesis”, as observed by Michael Löwy, the thought of Franz Kafka, George Lukács, Ernst Bloch, and Walter Benjamin has appeared in modern times as the sign of messianic claim for a libertarian, radical, and revolutionary socialism. Bearing in common the experience of not being reconciled with the world and history, this generation of intellectuals from Central Europe had “Jewish messianism” and “German romanticism” as privileged sources of their world-view. The religious concept of redemption and the political notion of libertarian utopia were combined in the trajectory of this German-Jewish intelligentsia that promoted an unprecedented reconfiguration of philosophical thought. It is well-known that the works of Dostoevsky and Tolstoy traverse the messianic and utopian imagery of this generation of revolutionary intellectuals and, as professor Michael Löwy assertively stated, “the utopian Bloch finds in Dostoevsky elements that legitimize The Principle of Hope: Aliocha Karamazov would be a precursor to the ‘religious kingdom of justice’…”. Such an observation is at the heart of a critical fortune accumulated in the works of Löwy and opens paths of analysis that have yet to be made in relation to the reception of Russian literature in modern Jewish philosophy. Michael Löwy is director of research at the Centre national de la recherche scientifique (CNRS-Paris) and is one of the most significant and creative intellectuals of today. The Marxist philosopher’s work offers a rare intertwining of socialism and surrealism, and establishes a meticulous approximation between philosophy and literature. The acuity with which Löwy interprets the German-Jewish messianism and romanticism, the tragic negativity and the ethical and human claims brought to light by such a tradition presents us with a revolutionary and libertarian state of being that only has equivalents in the utopian-messianic glimpses we find in the great Russian novels. The concept of “Romantic anti-capitalism”, which made it possible to read the romantic tradition in a revolutionary way, can be interpreted as the fil rouge that connects the world of Tolstoy and Dostoevsky to the messianic utopianism of modern Judaism. The reception of Russian literature in the philosophical thought of the 20th century was complex and polyphonic, and the example of Dostoevsky, a thinker who, for Löwy, “is clearly situated on the grounds of the romantic world-view”, becomes significantly emblematic. Although a conservative romanticism has found in the author of The Brothers Karamazov elements that could legitimize the nationalist desire for roots arising from a conservative tradition (Moeller van den Bruck, Goebbels, Heidegger), the utopian-revolutionary interpretation of the Russian writer made by “Jews of German culture” is among the most creative pages of modern philosophy. The set of analyses offered by Michael Löwy on the Jewish and neo-romantic tradition represented by authors such as Kafka, Lukács, Bloch, and Benjamin is an essential material for those who seek to better understand the reception and influence of Russian literature, especially Dostoevsky and Tolstoy, in the philosophical constellation of Judaism in the first half of the 20th century. The elective approximation carried out by the Franco-Brazilian philosopher between the “spiritual culture” expressed in the works of Dostoevsky and Tolstoy and the historical condition of Jewish intellectuals in Central Europe appears here as an essential element. An anecdote told by Emmanuel Levinas during an interview with François Poirié reveals that, during the visit of an Israeli from Eastern Europe to his home, the visitor noticed the complete works of Pushkin on the bookshelves and stated: “One immediately sees that we are in a Jewish house”. In the interview we present here and, above all, in the greatness of Michael Löwy’s works, we can find fundamental clues to interpret the spiritual proximity between a Central European Jewish tradition and the great Russian literature. This “attractio electiva”, coming from a neo-romantic Jewish intelligentsia in relation to the theological and utopian residues that are embodied in the works of Dostoevsky and Tolstoy (residues that may be essentially Jewish), can be interpreted as the most explosive element of modern philosophical messianism.

Ещё раз о пророческой миссии русского писателя (на материале романа Ю.В. Бондарева «Берег»)

We conduct continuous poetical and philosophical research on the work of Y.V. Bondarev (1924–2020), the greatest Russian Soviet prose writer and a participant in the Great Patriotic War. Based on the study of the novel “The Shore” (1975) and the writer’s journalistic statements of the mid-1970s of the 20th century, within the framework of cultural-axiological paradigm, we attempt to comprehend one of the central dialogues between representatives of the creative intellectuals of Russia and West. The conversation between Russian Soviet writer Nikitin, a former front-line soldier who visited the German city of Hamburg 26 years after the war, and the German journalist and publisher Dietzman is read as a kind of philosophical quintessence of both this novel and, possibly, the writer’s work as a whole. The conflict between Russia and West is seen by Y.V. Bondarev in the most complex metaphysical paradigm of the struggle of largely opposite cultural foundations, despite the common Christian basis. We state the complexity, multidimensionality, polyphonism of the Bondarev type of artistic expression, its ascent to the traditions of Russian literary classics and, above all, in this case to the work of F.M. Dostoevsky. We note the key, culminating significance of this dialogue-reflection undertaken in the chapter of the second chapter of the third part “Nostalgia” by Dietzman and Nikitin, which has some obvious similarities with the author both for the further development of latter’s character in the poetical and philosophical space of novel, and for its artistic “completion” in work finale. We comprehend the relevance of Bondarev’s metaphysical constants in the first quarter of the 21st century, prophetically written out about half a century ago.

Еко-націоналізм, Асоціація «Зелений Світ» і шлях до незалежності України наприкінці 1980-х – на початку 1990-х рр.

Introduction. The problem of social activism in the Ukrainian SSR after the Chernobyl disaster is widely studied by researchers. American researcher J. Dawson developed the theory of eco-nationalism in the late 1990s, according to which a specific movement emerged in the “nuclear” Soviet republics – eco-nationalism that combined ecological and national movements. She contends, however, that the two movements existed in parallel and their degree of convergence depended on the local context. Novelty. Although there are a number of studies on specific aspects of this theory, they are fragmented and the situation in the Ukrainian USSR has not been the subject of deep research. The purpose of the article is to investigate the social activism in Ukraine in the late 1980s - early 1990s taking the example of the Ukrainian environmental association «Green World». Methods. The study is based on an analysis of the original documents of the KGB and the Central Committee of the Communist Party of Ukraine and the memoirs of members of the association. Results. The Chernobyl accident was a catalyst for the general public’s dissatisfaction with the Soviet government’s policies in many areas. First of all, it led to the emergence of the anti-nuclear movement, which we identify with the environmental one. Important role in the emergence of environmental movement in Ukraine played creative intellectuals - writers who at the same time represented the ideas of cultural nationalism. The accident radically changed their views on nuclear energy and sparked a public debate on its prospects in the republic. At the initiative of the Union of Writers of Ukraine, the “Green World” Association was established. During 1987-1989, it started activities, hold many protests, adopted the program and strategy. “Green World” has become a leader of the environmental movement and an umbrella to unite disparate environmental informal groups. Conclusions. Although the association’s official documents do not contain slogans of obvious nationalist orientation and it has chosen an ecological niche for its activities, we have found a number of facts that allow us to claim that it supported many nationalist actions and demanded expansion of the Ukrainian ethnic group’s sovereignty in the USSR. Thus, it contributed to the spread of the eco-nationalism ideology and the shaking of the foundations of the USSR, which led to Ukraine’s independence in 1991.

ИНТЕЛЛЕКТОЛОГИЯ КАК СКРЫТЫЙ РЕЗЕРВ ПОЛУЧЕНИЯ ПРЕИМУЩЕСТВ В КОНКУРЕНТНОЙ БОРЬБЕ

The paper substantiates relevance of teaching a new discipline "Intellectology" in Russian universities and presents approaches to that by the example of Russian State University for the Humanities. The goal is to educate creative intellectuals with a systemic mindset, able to solve the problems of reviving the Russian economy and ensuring its competitiveness. The article reveals the essence of intellectology, its theoretical foundations, provides definitions of the intellectual nature, intelligence, intellectual potential and intellectual capital, as well as outlines some historical examples and technologies for the effective development and use of intelligence at different levels to gain competitive advantages.

Феодосия Константина Богаевского

Статья посвящена интерпретации образов города Феодосии в творчестве Константина Федоровича Богаевского – представителя «Киммерийской школы живописи». Приводятся итоги исследования вех творческой биографии художника, выстроенные в хронологическом порядке, учитывая особенности изменений стилистической манеры и решаемые им эстетические задачи. Охарактеризованы параметры и круг мастеров «Киммерийской школы живописи». Выбрав главной темой своего творчества в самом начале пути загадочную страну Киммерию, художник претворял ее в больших панорамных живописных произведениях и малоформатных рисунках и акварелях, отмеченных высоким мастерством и глубокой мифопоэтикой. Рассказывается о мастерской живописца, ставшей местом притяжения для многих гостей, представлявших творческую интеллигенцию Москвы и Ленинграда. Освещается вклад уроженца Феодосии и почитателя творчества К.Ф. Богаевского – И.М. Саркизова-Серазини в просвещение родного города среди модных курортов начала ХХ века, а также судьба его необычайной коллекции. The article is devoted to the interpretation of images of the city of Feodosia in the creativity of Konstanin F. Bogaevsky – the representative of the “Cimmerian painting school”. The results of the study of the milestones of the artist’s creative biography are presented, arranged in chronological order, taking into account the peculiarities of changes in the stylistic manner and the aesthetic tasks that he solves. The parameters and circle of masters of the “Cimmerian painting school” are described. Having chosen the mysterious country of Cimmeria as the main theme of his work at the very beginning of his work, he embodied it in large panoramic paintings and small-format drawings and watercolors, marked by high skill and deep mythology. The article tells about the artist’s workshop, which has become a place of attraction for many guests representing the creative intellectuals of Moscow and Leningrad. The contribution of the native of Feodosia and admirer of the work of Konstantin F. Bogaevsky – Ivan M.Sarkizov-Serazini to the enlightenment of his native city among the fashionable resorts of the early 20th century and the fate of his extraordinary collection is highlighted.

КРИЗА МОРАЛЬНИХ ЦІННОСТЕЙ В РЕЗУЛЬТАТІ ГЛОБАЛІЗАЦІЇ КУЛЬТУРНОГО ПРОСТОРУ

Метою даної роботи є спроба визначити систему координат для з’ясування глибини кризи духовних і моральних цінностей, масштабу впливу глобалізації на майбутнє суспільства. Аналізуються різноманітні підходи щодо оцінки впливу глобалізації в сфері морально-культурної складової суспільства. Як це не дивно ХХІ століття повернуло людство до класичного питання обґрунтування духовних цінностей. Але жоден з існуючих підходів не відповідає на це фундаментальне питання.Виходячи з результатів дослідження провідних вчених, глобалізація в економічній, політичній, інформаційній, науково-технічній та інших сферах є реальністю сьогодення її поширення буде неминуче в майбутньому. Але в культурній площині насадження єдиної системи цінностей небезпечно, та й по факту не можливо «..бо культура, душевно-духовний лад народів не можуть бути стандартизовані на манер того, як стандартизована техносфера» (Гусейнов А.А.). Спроби створити щось об’єднуюче призводять, з одного боку, до розмивання стійкої системи цінностей, культурного коду представників різних національних культур, а, з іншого, до посилення локальності різного роду. Тому ця проблема заслуговує подальшого глибокого вивчення. Дослідження теми потребує участі відомих вчених, представників творчої інтелігенції, релігійних діячів та політиків для розробки покрокової стратегії захисту моральних та культурних цінностей нашої цивілізації.

ІНТЕЛІГЕНЦІЯ МІСТА ТА СЕЛА УКРАЇНСЬКИХ ГУБЕРНІЙ РОСІЙСЬКОЇ ІМПЕРІЇ: МАТЕРІАЛЬНО-ПОБУТОВІ АСПЕКТИ ПОВСЯКДЕННЯ

У статті висвітлено спробу розглянути та узагальнити питання матеріального забезпечення інтелігенції. У статті подається загальна характеристика матеріально-побутового забезпечення інтелігенції у другій половині ХІХ ст. З’ясовано, що рівень матеріального забезпечення інтелігенції залежав від роду діяльності та фаху. Розглянуто основні та додаткові витрати представників інтелігенції. Встановлено, що разом зі становленням ринкової моделі економіки та її модернізації в умовах доби “Великих реформ” матеріальний добробут представників інтелігенції українських губерній Російської імперії значно поліпшився, що виявлялося у зростанні оплати праці представників розумових професій, у розширенні раціону харчування, більшій доступності якісного та дорогого одягу, взуття.

Political Persecutions and Ideological Pressure on the Creative Intellectuals of Uzbekistan in Post-War Decades

In the article the questions of political persecutions and ideological pressure on the creative intellectuals of Uzbekistan, impact of policy of repressions of the Soviet power on cultural life of society are considered. Problems of conceptual and ideological interdependence of the repressive nature of the Soviet power and antinational orientation of the Soviet "cultural policy", the destroying impact of repressive policy on the spiritual life of people are analyzed and also the tragic fate of the representatives of the national creative intellectuals, scientists, literary figures, artists who suffered from persecutions and repressions is considered.

Lviv magazine cover between two world wars – collective image of national artistic modernism

Now that we have the opportunity to view Ukrainian art in all its manifestations without ideological reservations and political boundaries, it is important to highlight magazine graphics. If the magazine graphic of the Ukrainian artists of the Russian and Soviet empires of the first half of the XX century is more or less investigated, then the Galician-Ukrainian cultural renaissance of the interwar twenty years in Lviv still requires its in-depth study. 1920s-30s of the XX century – time of productive ideas in the art of Ukrainian book and magazine graphics. A wave of emigration of creative intellectuals from eastern Ukraine comes to Lviv, which, combined with prominent local masters who received brilliant education in the West, raised the development of artistic culture, in particular book and magazine graphics, at an unprecedented level. Lviv was at the crossroads of diverse aesthetic ideas. All the contemporary art currents that reflected in the high artistic phenomenon – "Lviv's formalism" – were reflected here. An important factor in the history of the Galician artistic movement of the 1920s–1930s was the founding of the Association of Independent Ukrainian Artists. Its main purpose was popularization and development of Ukrainian art, education of creative youth, assistance to Ukrainian artists. The Lviv Magazine graph between the two world wars demonstrated the diversity of artistic currents and was of great importance for the holistic development of Ukrainian culture. She demonstrated the high professionalism of the artists and organically fit into the pan-European art. Given the dispersal of Ukrainians and the danger of assimilation, the publishing business with its book and magazine covers encouraged and supported the cultural life of the Ukrainian diaspora. The artists who worked on preserving the Ukrainian national culture adapted the diversity of artistic currents and influences to national characteristics.

The Image of Ukraine in the World as an Identifying Factor of Incoming Tourism Growth

The definitions of the country’s tourism image and the national tourism brand are defined. The main determinants, which distinguish between tourism brand, tourist image and tourist reputation, are presented. A model for creating the concept for a national brand has been constructed. The image of Ukraine is determined on the basis of the authoritative world reports and ratings analysis.English-language analytical Ukrainian Internet portals are explored. The most popular among them are Kyivpost, Unian, News, Euromaidan Press, 112 International, En.Censor, and Interfax-Ukraine. The US citizens (20-30% of all visits) mostly visit each of these sites. The total number of visits during six months for each of these sites has not exceeded 1 million people.Analysis of the most popular world Internet publications for the purpose of news coverage about Ukraine is conducted. The BBC, the New York Times, The Guardian recall Ukraine mostly in the context of Russia’s aggression and the war in the East.The main stakeholders of the formation and promotion of the national tourism brand are defined: state institutions; citizens, residents of the country; media; creative intellectuals, athletes, other world-famous Ukrainians; diaspora; business; public environment;political forces.Recommendations for forming the brand of Ukraine in the world are presented as a means of improving the outbound tourism and the economy of the country as a whole.Keywords: national branding, national tourist brand, tourist image, tourism industry,tourist reputationJEL: Z30

Феномен малоросійства в інтерпретації Уласа Самчука (на матеріалі трилогії "Ост")

Malorosiystvo is a social and political, spiritual, ethnic and psychological phenomenon. The long colonial status of the Ukrainian nation, the humiliation of culture and language, the avoiding from anything national, and kowtowing to the imperial are its main features. “Maloros” feels its inferiority, avoids communication in the native language, shows the identity by dressing in national clothes on holidays. Especially detrimental effect of Malorosiystvo is on the creativity of a person. In the article, the author analyzed the views of Ulas Samchuk on the phenomenon of Malorosiystvo. The author examined the artistic interpretation of this destructive phenomenon in the trilogy «Ost», individual thoughts of the writer in the publicistics and documentary. In the trilogy «Ost», U. Samchuk considered Malorosiystvo as a problem of Ukrainian national character, which was formed under the destructive influence of Bolsheviks ideology. At an artistic level, a prose writer explored the spiritual emasculation of Ukrainian creative intellectuals. U. Samchuk analysed the problem of the artist captivity in the Soviet empire. Unification of the creative process, complete control over it, dictates in the choice of themes, plots, characters, arrangement of «correct» ideological accents – all these elements made the creative person completely dependent of the prevailing doctrine. Gradually, the Ukrainian intellectual was either reborn as a representative of collaborative culture, or turned into a spiritual and physical ruin. The author of the trilogy saw the path to national revival in the awakening of the psychological and spiritual forces of every Ukrainian. Such a national aspiration grows out of a deep awareness of their national otherness and belief in their own fullness. The efforts of some individuals lead the nation to consolidation of internal forces, awaken the will and direct actions. U. Samchuk solved the problem of overcoming the disintegration of the Ukrainian soul in fiction by creating of positive characters.

Publicism of the Volga Region about the Problems of Culture and Art During the Times of the First Russian Revolution

The relevance of the studied problem is defined by that role which the theater and the press of the Volga region province of the beginning of the XX century played in formation of a social and political position of the population of the region. The article reveals the place and a role of the creative intellectuals in society and its relation to revolutionary events in the country through newspaper journalism, on the example of M. Gorky's creativity. The research is purposed to show change of public consciousness in the province and the theater during revolution under the influence of various social and political forces this found the reflection in periodicals; and thus to promote formation of fuller picture of historical and cultural life of the country. Materials of article can be used in educational process, during creation of the generalizing works on history and cultural history of Russia, special courses, in educational work with children and youth, at adoption of administrative decisions in the welfare sphere.