The article is focused on the phenomenon of the early Ukrainian decadent cinema, in particular, in relation to filmings of Volodymyr Vynnychenko’s dramaturgy. One of the brightest examples of ‘film decadence’ in Vynnychenko’s oevre is “The Lie” directed by Vyacheslav Vyskovs’ky in 1918, discovered recently in the film archives. This film displays the principles of ‘ethical symbolism’, ‘dark’ expressionist aesthetics and remains the unique masterpiece of specifically Ukranian film decadence.

У дослідженні проаналізовано теоретичні джерела і політичні наслідки статті московського кінокритика М. Блеймана «Архаїсти чи новатори?» (1970), яку вважають обґрунтуванням заборони школи українського поетичного кіно як «безперспективного» напряму. Статтю М. Блеймана вміщено в контекст дискусії про поетичне і прозаїчне кіно, яку систематизовано щодо двох підходів: нормативного, який вважає лише один із напрямів кіно релевантним його природі (йому відповідає сполучник «чи»), і плюралістичного, який розглядає обидва напрями як актуалізації різних кінематографічних потенцій згідно з тими завданнями, що ставлять режисери (йому відповідає сполучник (...) «і»). (shrink)

Certain principle aspects of the fundamental science state in Ukraine as of 2014 were analyzed. It was shown that no awareness exists in the country that the main although not unique task of the science consists in the creation of new knowledge. The special attention was paid to state academies of science, in particular, to the National academy of science of Ukraine. It was demonstrated that the active law concerning science as well as the project of the new law have (...) substantial shortcomings from the judiciary viewpoint and inhibit a free progress of science in line with general trends of the developed countries. The existing status of the autonomous state academies, being a peculiar symbiosis the non-governmental organization and state institution, was criticized. The concept of a scientific elite was analyzed, which was used to determine its true level. Certain scientometric data on the Ukrainian science were presented. A very unsatisfactory situation with social sciences and humanities was shown. Criteria were discussed for the future audit of the Ukrainian science in order to reform it in the European style. (shrink)

The paper analyzes a book written by Volodymyr Yarymovych, Oleksandr Bilyk, and Mykola Volynskyi, entitled Narys istorii ukrainskoi studentskoi hromady ta Ukrainskykh poselen v Espanii 1946–1996 (An Overview of the History of the Ukrainian Student Community and Ukrainian Settlements in Spain, 1946–1996), which tells about the Ukrainian students who arrived in Madrid in 1946 and formed part of the early Ukrainian Diaspora in Spain. The book proves to be an important source of information, previously unknown to (...) scholars, which describes the dramatic and controversial process of constructing Ukrainian identity in the aftermath of World War II. The authors of the study consider the historical and cultural context of the Ukrainian emigration in the second half of the 20th century, its connection with Francoist ideology, and its integral role in the Spanish-Ukrainian cultural dialogue. (shrink)

The Soviet ideology treated natural science as one of its cornerstones and provided the state support for philosophical studies of science. Their main aims were to prove its intellectual superiority and to demonstrate its scientific character. Do these studies have some positive results and resources for surviving in post-Soviet times? The chapter gives the overview of present situation in Ukrainian analytical studies of science and indicates some perspectives of their developments. Some of these are connected with a careful structure-nominative (...) analysis of real scientific knowledge systems and relations between them. -/- Ideology and philosophical studies of science Complexity of scientific knowledge systems Components and structures of knowledge systems -/- . (shrink)

The Deleuzian studies on cinema highlight the importance of two semiotic regimes (movement-image and time-image) for the understanding of our aesthetical and epistemological relationship with moving images. On the contrary, this article highlights the moments of crisis between the two regimes, pointing out the generic character of uncertainty and ambiguity in the nature of mental images: once the sensorimotor scheme that dominates the cinematographic montage has been weakened, the characters, unable to act, can imagine, desire, dream, hallucinate, and remember. (...) New types of images appear: recollectionimages, dream-images, and world-images. How do these new types of images make us rethink our usual relationship with the world and with reality? With this article on cinema’s virtual and oneiric dimension, I expect to disseminate one of Gilles Deleuze’s greatest contributions to film philosophy: the distinction between the imaginary and reality. (shrink)

According to the results of 162 respondents survey, the affective and cognitive components of feelings of guilt in the space of Ukrainians’ collective consciousness were described. This space is complex, but poorly structured, capable of appearing and spreading little understood defensive assessments and attitudes. -/- The content of relevant processes recorded the following trends: undifferentiated feelings of guilt, general self-accusations, accusations of Ukrainians themselves for historical failures, shame for Ukrainians’ violence, readiness to recognize or not to recognize Ukrainians’ guilties, accusations (...) of Ukrainian powers of different periods, denunciation of Soviet power, Ukrainians’ feelings to be innocent victims of Russia, the avoidance of political guilt. -/- In defining of the perpetrators of Ukrainian historical miseries the agents of Russian-Soviet influences and the Ukrainian authorities of various times unconditionally dominate. Psychologically more problematic is the sphere of recognition / non-recognition by Ukrainians of their own faults. One can speak of the presence of a basic affective background – the experience of undifferentiated feelings of guilt. -/- The Ukrainians’ consciousness is characterized by two main emotional-value positions: denialdefensive (we are not guilty of anyone) and avoiding-defensive (we are only guilty of ourselves). The opposite self-accusatory position (we are guilty of others and should ask them for forgiveness) has a relatively small share. -/- The denial-defensive position essentially correlates with the narcissistic Ukrainian identity. The avoiding-defensive position reflects the conciliatory Ukrainian identity. Recognizing the historical blames of Ukrainians and a need to apologize concerns the representatives of humanistic Ukrainian identity. It means understanding the real state of affairs without illusory idealization, the ability to profoundly experience one’s involvement in the Ukrainian world, and the willingness to assume moral responsibility for the sins of the past. (shrink)

Os estudos deleuzianos sobre o cinema destacam a importância dos dois regimes semióticos (imagem-movimento e imagem-tempo) para a compreensão da nossa relação estética e epistemológica com as imagens em movimento. Pelo contrário, este artigo procura destacar os momentos de crise entre os dois regimes assinalando o carácter genérico de incerteza e ambiguidade da natureza das imagens mentais: enfraquecido o esquema sensório-motor que domina na montagem cinematográfica, as personagens, incapazes de agir, podem imaginar, desejar, sonhar, alucinar, e lembrar. Surgem novos (...) tipos de imagem: imagens-recordação, imagens-sonho e imagens-mundo. Como é que esses novos tipos de imagem nos fazem repensar a nossa habitual relação com o mundo e com a realidade? Com este artigo sobre a dimensão virtual e onírica do cinema, procuro contribuir para uma maior disseminação de um dos principais contributos de Gilles Deleuze para a filosofia do cinema: a distinção entre o imaginário e a realidade. (shrink)

The main purpose of the article is to analyze the statements of philosophical Ukrainian Studies about the anthropological specifics of Ukrainian philosophical thought by means of historicalphilosophical cultural-predicative analysis. The research methodology was determined primarily by the concept of cultural attribution and translation in the dialogue of languages of historical cultures of the Poznań Methodological School (J. Topolski, W. Wrzosek, E. Domańska) and the culturological approach in historical-philosophical Ukrainian Studies (V. Horskyi, S. Rudenko). The statements of the (...) language of historical and philosophical Ukrainian studies are analyzed by means of historicalphilosophical cultural-predicative analysis. The latter is a specific humanities research strategy, which we propose as a means of studying the communicative specifics and syntactic correctness of the language of historical-philosophical theory. The study of communicative specifics takes place from the perspective of modernized versions of metaphysical, phenomenological, and dialectical logic. The first is understood as the logic of transcendental metaphysics, the second as the logic of immanent metaphysics, and the third as the logic of procedural metaphysics. Such an approach provides a qualitative and comprehensive understanding of the analyzed statements. The statements of the language of the historical-philosophical theory are generalized in its names, depending on the perspective of one of the three versions of the logic of philosophical reasoning. The offered historical-philosophical cultural-predicative analysis of communicative specifics and the syntactic correctness of the Ukrainian historical-philosophical theory statements opens new dimensions in research of the anthropological specifics of Ukrainian philosophy. (shrink)

A critical analysis of the Ukrainian experience of vocational training of personnel is conducted in the work. The statistics data on the number of employees who participated in vocational training activities during 2016-2018 are presented and analyzed. Based on the analysis, the main reasons for the low interest of Ukrainian business owners in the personnel vocational training were identified. In the work, the author also has highlighted the factors that restrain and activate the development of vocational training of (...) personnel at Ukrainian enterprises. In order to increase the efficiency of professional development of personnel at Ukrainian enterprises, the author proposes to use modern methods for this purpose. Because traditional methods do not produce the desired results. Ukrainian enterprises need to invest in staff training, which is the main reserve for improving their performance. (shrink)

Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser (...) concedes that there exists a phenomenological confluence between the mind-game film and contemporary European cinema. For instance, both produce characters afflicted by productive pathologies, designating new socially useful forms of agency and identity. One only needs to consult the amnesiac protagonist M (Markku Peltola) in Aki Kaurismäki’s The Man Without a Past (Mies vailla menneisyyttä, 2002) or, as regards Lars von Trier’s cinema, Beth (Emily Watson) in Breaking the Waves (1996), Selma (Björk) in Dancer in the Dark (2000), “She” (Charlotte Gainsbourg) in Antichrist (2009) or Joe (Charlotte Gainsbourg) in Nymphomaniac (2013) to evince this overlap. However, this book is more concerned with performative self-contradictions, whereby cinema-as-enunciator is put under erasure, thus aggravating the inherent discrepancies troubling Europe today. Elsaesser, indeed, evaluates a growing general disaffection with politics, the rise of populist nationalism and far-right fringe parties, as well as an increasing population of economic migrants, refugees, and asylum seekers. (shrink)

This paper examines Mykhail Semenko’s Futurist manifestos that developed an opposition between “national” and “international” art, and specifically called “national” art provincial and retrograde. In promoting the international European avant-garde, Semenko’s essays demonstrate how consistently he championed a contemporary and modern Ukrainian culture in the face of home-grown conservatism.

War is almost always conducted with various restrictions in the form of rules, rituals, and taboos. Many of the norms that regulate warfare can be found in the tradition of just war. This tradition seeks to provide a middle ground between an unrealistic (at least for politicians) pacifism that does not even allow war in self-defence and a too realistic realism that claims there is no place for ethics in war. The tradition of just war does not have the force (...) of law; it provides, above all, a vocabulary to discuss war in moral terms. At the same time, the tradition does have an impact: it forms the basis of humanitarian law and the Geneva Conventions. Just like with laws, it is recognised here that imperfect adherence to these principles does not necessarily diminish their validity. Most proponents of the tradition believe that the principles of just war, even though some date back centuries, are sufficiently general to be applicable to contemporary conflicts, such as the Russo-Ukrainian War. If we apply the norms of the just war tradition to the current situation in Ukraine, we see that Russia is waging an unjust war in an unjust manner. (shrink)

The article aims at clarifying the historical status and cognitive potentials of such a genre of contemporary historiography of philosophy as biographical encyclopedia (dictionary). Based on extensive bibliographic material, the author demonstrates that in the late XX – early XXI centuries in the English-speaking countries there was a real outbreak of interest in encyclopedias and dictionaries, compiled from personalized articles about the life and works of philosophers of certain epochs, countries, trends, etc. According to the author, the increasing popularity of (...) this genre can be considered as a logical continuation of the historical and biographical turns that took place in the Anglo-American (analytic) philosophy in the 1980s and 1990s, respectively. The author specifically emphasizes that it caused the appearance of a significant number of encyclopedias and dictionaries, which contain the well-known facts as well as the significant elements of scholar novelty. The article also shows that similar tendencies have taken place in the contemporary Ukrainian historiography of philosophy. It is shown that Ukrainian experts also made their own significant contribution to the development of this genre. They have successfully developed a special approach, which presupposes the focus on life and works of the representatives of a particular academic institution. The intellectual value of this approach is demonstrated by the example of the recently published two-volume encyclopedia “Kyiv Theological Academy in Names: 1819-1924”. It contains a systematic and very informative presentation of the biographies of many representatives of the national philosophy, whose activities were associated with this institution. The author also shows that from the perspective of the historiography of philosophy, the general methodological foundations of this encyclopedic research is a matter of special interest. (shrink)

Os corpos no cinema estão sob a ordem de um olhar soberano que nos diz para onde devemos olhar e como devemos fazer isso. É um olhar poderoso que tudo sabe e tudo pode. Um olhar que nos posiciona não como simples espectadores, mas como sujeitos. É a partir daí que buscamos compreender como se arquitetam o medo, ou seja, qual é a ordem do cinema de horror, tecido com a pena do medo? Nessa arquitetura, os corpos aparecem (...) como lugares para vigiar e punir em espaços utópicos e heterotópicos. Espaços de memórias. Espaços de poder vigiar e punir. Espaço onde se impõe uma posição de sujeito, um poder sobre o sujeito. Portanto, os corpos no cinema de horror são artefatos para uma arqueologia do medo, escrita pelo poder do horror sobre estes corpos. Daí nosso interesse por esses lugares. Para demonstrar essa arqueologia, utilizaremos dois filmes franceses, produzidos em 2007, Frontière(s) e À l’interieur como espaços de horror construídos para o medo pelas vias da utopia e heterotopias pensadas por Michel Foucault, filósofo do presente, do nosso presente para compreender como se arquitetam tal medo por meio de sua história arqueológica, prática de um espaço chamado Labedisco/UESB. (shrink)

Neste capítulo, vamos tratar do discurso-corpo demarcado pelas utopias em justaposição com as heterotopias em duas produções cinematográficas do horror francês contemporâneo. Dessa forma, o corpo que operamos é feito de discurso, ou seja, todo seu tecido, seus órgãos, seus sistemas, seus ossos são discursos sobrepostos pelo visível e pelo dizível, da mesma forma, como demonstrou Foucault na obra O Nascimento da Clínica em 1963.

This article adds to the existing descriptive and generalizing studies of the specifics of Ukrainian philosophy an attempt to analyse it. This study examines in which aspects philosophy can be carried out as a national tradition of philosophizing. It is argued that the national peculiarities of philosophy can manifest themselves in the choice of (1) the topic of philosophizing, (2) the standards of logical rigor of philosophical thinking, and (3) certain philosophical methods and forms of thought development. Linguistic and (...) geographical criteria for determining belonging of a philosopher to a national philosophical tradition are analysed and the heuristic limits of these criteria are shown. It is argued that not only personal, but also national peculiarities of this or that philosophizing may exist. These national peculiarities must be connected with the historically formed cultural traditions of this or that nation, in particular with the existing practices of the functioning of philosophy in the society and in its education system. It is also shown that the formation of national specificity of one or another philosophizing is caused by the challenges a given nation faced during its historical development. The study argues that there are two features, the combined presence of which is the sufficient condition for determining any philosophical thought as a Ukrainian philosophical thought. First, this thought must be created in the context of Ukrainian traditions of philosophizing, which manifests itself in using certain philosophical methods and forms of thought development. Second, this thought must be a response to the historical challenges the Ukrainian people faced. It is suggested that not all manifestations of philosophizing in Ukraine can be called Ukrainian philosophical thought. Those manifestations, which do not suffice both the first and the second of the mentioned features, are suggested to be labelled as "philosophy in Ukraine" and not as "Ukrainian philosophy". The study shows that the national specificity of philosophizing manifests itself most clearly in such philosophical areas as political philosophy, social philosophy, and ethics. This study also determines what unites Ukrainian philosophy with European philosophy. (shrink)

uses Schopenhauer, Lacan, and Buddhism to elucidate the tragic sense of human existence as conveyed by Wong Kar-wai.

The paper deals with visions of Kyiv in the writings of Russian and Ukrainian émigré writers during the interwar period. The city became a focal point of intensive intellectual debate whose participants regarded Kyiv not only as a place of a recent battleground but also as a sacral place and a highly symbolic image. Within the methodological framework of ethnic symbolism, this study attempts to explain how this physical/symbolic dichotomy was used to reinforce continuing claims for historical origin and (...) cultural heritage, thus serving the contemporary purpose of national identity and political legitimacy. It also deploys the concept of displacement as a complex process of negotiation between homeland and hostland within an émigré community — whose sense of loss and identity crisis creates additional impetus, though in different forms, for exploiting historical narratives. (shrink)

Inspired by Farshad Zahedi’s audiovisual essay The Petrified Object and the Poetics of Time in Cinema, this article briefly presents three philosophical approaches to cinema’s ways of expressing time – as articulated by Bergson, Tarkovsky, and Deleuze – and questions how absolute time and chronological time are brought to a state of crisis by this modern form of art.

Cinema is not only a space in which directors act with the aim of making art, but they also reflect their own testimonies and political perspectives; this study, which claims to be related to representation strategies that contain various interests and desires; It is of the opinion that different ideological approaches are reflected on the screen by political and cultural elites in line with the construction, legitimacy and movement of identities and images. In this study, which examines the Türkiye’nin (...) Kalbi Ankara movie, which was shot in the intense socio-political atmosphere of the 1930s and was shot to tell Turkey's nationalization process and modernization experience through the capital Ankara; the manifestation of the Turkish nation-building process in cinema is discussed through the relationship between nationalism and cinema. (shrink)

The 1917 February Revolution led to the reshaping of the war-era image of the German enemy. Focusing on the former imperial borderland province of the Southwestern Krai, this article unveils the national, political, and cultural considerations of the local Ukrainian and Russian-language media that affected their attitude towards the Germans. It argues that the developments of the 1917–1918 Ukrainian Revolution presented a unique case of constructing the image of the Germans due to the ongoing rivalry between the respective (...) Ukrainian and Russian national projects. The study is based on the materials of prominent Kyivan daily newspapers, thus rendering the spectrum of the region’s political thought. Built upon the concept of imagology, the article apprehends the images of “otherness” in conjunction with the actor’s own identity. (shrink)

We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can (...) that seeing-in be inflected? Film is a relatively transparent pictorial medium: properties of the representation other than its content have a relatively low profile in our experience of it. This prevents film from exhibiting the sorts of inflection common in other pictorial media. However, film is certainly not completely transparent. Among the Design properties of which we are aware are temporal properties of the film. Is our experience of cinema inflected by these properties? And, if so, is this one source of the feature some take to constitute cinema’s distinctiveness as an artform, the special relation in which it stands to time? I argue that the answer to both these questions is Yes. (shrink)

ArgumentIn 1895 when the Lumière brothers unveiled their cinematographic camera, many scientists were elated. Scientists hoped that the machine would fulfill a desire that had driven research for nearly half a century: that of capturing the world in its own image. But their elation was surprisingly short-lived, and many researchers quickly distanced themselves from the new medium. The cinematographic camera was soon split into two machines, one for recording and one for projecting, enabling it to further escape from the laboratory. (...) The philosopher Henri Bergson joined scientists, such as Etienne-Jules Marey, who found problems with the new cinematographic order. Those who had worked to make the dream come true found that their efforts had been subverted. This essay focuses on the desire to build a cinematographic camera, with the purpose of elucidating how dreams and reality mix in the development of science and technology. It is about desired machines and their often unexpected results. The interplay between what “is” (the technical), what “ought” (the ethical), and what “could” be (the fantastical) drives scientific research. (shrink)

The church-funded CARFO or KARFO (Afrikaans Christian Filmmaking Organisation) was established in 1947, and aimed to ‘[socialise] the newly urbanized Afrikaner into a Christian urban society’ (Tomaselli 1985:25; Paleker 2009:45). This initiative was supported and sustained by the Dutch Reformed Church (DRC), which had itself been part of the sociopolitical and ideological fabric of Afrikaans religious life for a while and would guide Afrikaners through tensions between religious conservatism and liberalism and into apartheid. Given Afrikaans cinema’s ties with Christian (...) religious and political conservatism, we explore the role – even the centrality – of the Afrikaans church in cultural activity before 1994, and then after 1994. Here, Afrikaans church is an inclusive term that brings together various denominations of Afrikaans-speaking churches, but which mainly suggests the domination of the DRC. After establishing the role of the Afrikaans church in the way described above, we move towards the primary focus of our study: exploring the representation of clergy in the contemporary Afrikaans film Faan se Trein in order to describe certain theological implications of this representation. With reference to Faan se Trein, our article notes and comments on the shifts that have occurred in clergy representation in Afrikaans cinema over the past decades. Osmer’s four tasks of practical theology, namely, descriptive, interpretive, normative and strategic are used for theological reflection. With due contextual reference to Afrikaans film dramas such as Broer Matie [Brother Matie], Saak van Geloof [A Matter of Faith], Roepman [Stargazer], Stilte [Silence], Suiderkruis [Southern Cross] and Faan se Trein, we arrive at some preliminary conclusions about the representation of clergy in mainly contemporary Afrikaans cinema. (shrink)

In digital cinema, the ambiguity in the concept of representation asks us: How do moving pictures represent fictional objects? I am more concerned in the veracity of fictional objects than the representational theory of how fictional objects are generated. I claim that John Dilworth’s framework is uncritical, therefore, I will adopt an account of truth in fiction according to David Lewis. The purposes of this paper are: (1) to criticize John Dilworth’s framework, and (2) to provide Lewis’s theory as (...) an alternative solution in understanding the veracity of fictional objects. (shrink)

The focus of the research is to develop recommendations of smart specialization (SS) for Ukrainian policymakers using European approaches. The authors revealed that the main SS projects are presented in such sectors as agri-food, industrial modernization and energy. More than 12 EU countries were the plot for conducted analysis of SS, as a result of which the level of activity of each country was determined. The creation of consortiums, including SMEs, associations, universities and other participants, disclosed the successful way (...) of SS realization. The structure of SME’s innovative potential in Ukraine was identified underlining their main characteristic features like types of innovations and innovative activity, differentiation according to enterprise size, their regional distribution. The authors explored lack of innovations on regional and national level and significant territorial disparities, which could be eliminated through policy implementation of regional SS. The existing legislative norms for possibility of SS implementation in Ukraine were analyzed due to correspondence with the EU ones. The analysis provides the opportunity to consider them only as general framework documents without any action plans and sectoral prioritization at all. The weak points of these law documents are emphasized. As a result of research, the authors developed recommendations presented by direct action plan for Ukrainian policymakers, which include such activities as underlining key priorities (especially ICT applicability in every SS project) and their correspondence with the EU ones; eliminating regional imbalances by focusing on innovation development and reorientation of some regions according to SS priorities; respecting regional existing capacities; providing organizational mechanism for cooperation of stakeholders and financial mechanism for SS support through the EU structural funds. (shrink)

Why did human beings throughout the millennia so often think about a doomsday? Could there be a profit to our inner pleasure and pain equilibrium, when believing that doomsday is nearing, an idea suggested by Sigmund Freud? An analogous instinctive dynamics was thought by Nietzsche who wrote that human beings do prefer to want the nothingness rather than not to want anything at all. In this essay, 'Melancholia', a movie by Lars von Trier, is taken as an exquisite masterpiece, a (...) grandiose exposition of Schopenhauer and Nietzsche Philosophies.. (shrink)

In 2003, biophysicist and Nobel Laureate Maurice Wilkins published his autobiography entitled The Third Man. In the preface, he diffidently points out that the title was chosen by his publisher, as a reference to the famous 1949 movie no doubt, featuring Orson Welles in his classical role as penicillin racketeer Harry Lime. In this paper I intend to show that there is much more to this title than merely its familiar ring. If subjected to a comparative analysis, multiple correspondences between (...) movie and memoirs can be brought to the fore. Taken together, these documents shed an intriguing light on the vicissitudes of budding life sciences research during the post-war era. I will focus my comparative analysis on issues still relevant today, such as dual use, the handling of sensitive scientific information and, finally, on the interwovenness of science and warfare. Thus, I will explain how science autobiographies on the one hand and genres of the imagination on the other may deepen our comprehension of tensions and dilemmas of life sciences research then and now. For that reason, science autobiographies can provide valuable input for teaching philosophy and history of science to science students. (shrink)

The objectives of the study are to determine the main trends and characteristics of the provision of services by Ukrainian travel companies over the past 10 years. Ukraine is explored in terms of domestic and international tourism (inbound and outbound). The study uses the data of the World Tourism Organization (UNWTO), the State Statistics Service of Ukraine, the data of the regional statistical offices, as well as the results of the author's calculations. Modern methods of global clustering and marketing (...) segmentation, using statistically significant data of quantitative and qualitative expert assessments, allow us to identify the development trend of the service of Ukrainian travel agencies. Завдання дослідження - визначення основних тенденції і характерних особливостей надання послуг українськими туристичними компаніями за останні 10 років. Досліджується Україна в розрізі внутрішнього та міжнародного туризму (в'їзного та виїзного). У дослідженні використовуються дані Всесвітньої організації туризму, Державної служби статистики України, дані регіональних управлінь статистики, а також результати авторських розрахунків. Сучасні методи глобальної кластеризації і маркетингової сегментації, з використанням статистично значущих даних кількісних і якісних експертних оцінок, дозволяють ідентифікувати тренд розвитку сервісу українських туристичних компаній. (shrink)

This article intends to analyze the performance and the efficiency of companies and to identify the key factors that may explain it. It was selected a sample with 15 enterprises: 7 Portuguese and 8 Ukrainian ones, belonging to several industries. Financial and non-financial data was collected for 6 years, during the period of 2009 to 2014. Research questions that guided this work were: Are the enterprises efficient/profitable? What factors influence enterprises’ efficiency/performance? Is there any difference between Ukrainian and (...) Portuguese enterprises’ efficiency/performance, which factors have more influence? Which industrial sector is represented by more efficient/profitable enterprises? The main results showed that in average enterprises were efficient with low level of profitability. According to gained results several indicators were highlighted so that companies would pay more attention to them. (shrink)

Social activity and public involvement in participatory practices, and the creation of civic spaces on the basis of the museum have become relevant for the formation of the concept of a modern museum. Such practices are especially important in times of crisis when history is being documented online and the Rapid Response Collecting (RRC) method is becoming widespread. Modern war discourse requires the newest forms of archiving and description because the recording of history is complicated by the volatility of the (...) military situation, the movement of large flows of displaced persons, and the departure of citizens abroad. The Ukrainian experience of documenting the war is examined in the article taking the example of the ATO Museum (an acronym for anti-terrorist operation) in Dnipro and the online Museum of Civilian Voices. It is important for us to pay attention to the national peculiarities of the codification of collective memory through individual experience and life stories during the full-scale military aggression against Ukraine, and to show the newest forms of presenting the evidence of war. (shrink)

Yefremov’s personal characteristics exemplify the characteristic features of the Ukrainian revolution. He was an argumentative, pugnacious man, and the revolution was characterized by infighting. He was an institution builder, and that’s a key element of the Ukrainian revolution. He was ideologically an advocate of Ukrainian identity (sooner than social rights or state building) and that too was a feature of the Ukrainian revolution. His diaries and ego writing offer a variety of evidence of these aspects of (...) his personality. (shrink)

In the ancient Greek world, the concept of 'miasma,' which becomes permanent and has the potential to grow over time due to evil acts such as murder committed in the city, is a concept frequently referred to in many classical tragedies. To the extent that miasma has a bad connotation due to its nature and is a situation that occurs due to evil actions, it can be considered together with the philosophical problem of evil. In this study, we aim to (...) examine the concept of miasma by focusing on the characters in La Jauría, one of the most prominent films of recent South American cinema, rather than a purely conceptual analysis of the concept. Filmed in the jungles of Colombia and directed by Colombian director Andrés Ramírez Pulido, the 2022 film La Jauría is a psychological drama that focuses on the lives of young people involved in crime. The tragic story of Eliu, the protagonist of the film, which takes place mainly in a prison specially designed to rehabilitate inmates, seems to us to be a very suitable focal point for examining the concepts of miasma, catharsis, and ecstasy, which are frequently referred to in ancient Greek tragedy. To do so, we will first address the various contexts in which miasma has been used historically, considering the flow of events in the movie La Jauría. Then, we will look at the relationship of the concept of miasma with the problem of evil. Finally, we will discuss the possibilities of the concept of purification, which is seen as a kind of antidote to miasma. (shrink)

The paper provides a new approach to determining the financial standing of Ukrainian banks in the long and short terms. Using the European assessing indices and the national ones, a new ranking system is created. The authors ranked 20 biggest Ukrainian banks by assets and grouped them into corresponding financial groups.

The Ukrainian PFTS stock index volatility reaction as a whole and its constituent economic sectors (“Basic Materials”, “Financials”, “Industrials”, “Oil & Gas”, “Telecommunications”, “Utilities”) to seven non-monetary US information signals (“Consumer price index”, “Personal spending”, “Unemployment rate”, “Gross domestic product”, “Industrial production”, “Consumer confidence”, “Housing starts”) was carried out for the period 2000–2017 on the basis of closing stock quotations in the trading day format. To assess the “surprise” component direct influence nature of the USA selected non-monetary information signals (...) on the PFTS stock index, an AR-GARCH econometric modelling device was used. The results achieved clearly indicate the presence of some PFTS stock index economic sectors heterogeneous reaction to the United States individual non-monetary information signals announcement. For example, such economic sectors as “Basic Materials”, “Financials”, and “Oil & Gas” volatility response to the US non-monetary information signal “Consumer price index” “surprise” components the opposite of the overall PFTS stock index reaction. It can also be concluded that the United States non-monetary information signals influence on the Ukrainian stock market volatility depends not only on the financial cycle phase and data frequency, but also on the PFTS stock index economic sector. (shrink)

Sob o título "Immanent Frames. Postsecular Cinema between Malick and von Trier", o livro editado por John Caruana e Mark Cauchi inclui um conjunto significativo de artigos sobre cinema “pós-secular”, de autores prestigiados, nomeadamente os próprios editores, mas também Robert Sinnerbrink, Catherine Wheatley, Sarah Cooper e William Rotham, entre outros. O livro está estruturado em 13 capítulos, distribuídos por três partes – Parte I: “The Poles of Postsecular Cinema: Malick and Von Trier”; Parte II: “The Spectrum of (...) Postsecular Cinema: Beyond Malick and Von Trier”; e Parte III: “Conversation on Cinema: Luc Dardenne and Jean-Luc Nancy”, esta última constituída por duas entrevistas, respectivamente com o cineasta e o filósofo. (shrink)

The following Introduction briefly traces, albeit in jarring cuts, the evolution of caste question and its relationship with Indian cinema. It also tries to point out some aspects of Indian film theory, its lacunae and hopes that some of the questions raised here may give rise to future works by other (better) theorists. Pre-Independence cinema in India rarely addressed caste question, and if it did, then it was through an abstract global humanist lens. This tendency to address caste (...) through a hollow and empty shell of a theoretical model unfortunately has stuck around even in these times, and only found newer ways to reinvent itself in Neoliberal times. To understand the reason of Indian cinema’s lack of addressing caste more directly and pointedly, it has to be seen as part of a historical process. Only then can we see the history of ideology that is “outside of itself”, that is, in the material conditions that made possible Indian caste-society as well as its cine-culture. It also tries to raise questions about the film form, and its many possibilities of experimentation with the caste question (i.e. both in ideological and experiential possibilities). Lastly, it introduces some of the key works in this issue. Of course, with the hope that the readers will forgive and give respite to the many lacuna of the issue, as well as the Editor himself. (shrink)

A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they can come together.

COVID-19 infects cities, here grasped as quasi-living functioning systems, and the changes inflicted can poetically open us to certain things. Drawing on ecological psychology, we maintain that this brings people into contact with different realities depending on their overall wellbeing, arguing that the aesthetic experience of cities accordingly varies. We then consider iterations of these ideas in dystopian cinema, which portrays global threats altering human relations with technology, art, and the world.

Despite the closure of virtually all original grindhouse cinemas, ‘grindhouse’ lives on as a conceptual term. This article contends that the prevailing conceptualization of ‘grindhouse’ is problematized by a widening gap between the original grindhouse context (‘past’) and the DVD/home-viewing context (present). Despite fans’ and filmmakers’ desire to preserve this part of exploitation cinema history, the world of the grindhouse is now little more than a blurry set of tall-tales and faded phenomenal experiences, which are subject to present-bias. The (...) continuing usefulness of grindhouse-qua-concept requires that one should pay heed to the contemporary contexts in which ‘grindhouse’ is evoked. (shrink)

Une mise en lumière de la spécificité du cinéma en trois parties : le cinéma et l'image, le cinéma et le langage, le cinéma et le montage. Deux textes de G. Deleuze et N. Burch complètent l'ensemble.

The stronger the level of economic integration between countries, the greater the need to study the formation patterns of the stock market reaction to the financial information signals. This concerns the Ukrainian stock market, which is now in its infancy, and which reaction to financial information signals is sometimes ambiguous. The research aims to identify the formation patterns of return and volatility indicators of the Ukrainian stock market reaction to the US financial information signals. To assess the direct (...) nature of US financial information signals effect on the PFTS stock index, the GARCH econometric modeling toolkit was applied. The research information base is the PFTS stock index and the Federal Reserve System financial information signals at the discount rate for 2000–2019. The fetch is divided into intervals corresponded to the ascent and decline phases of the financial cycle. It was found that an unforeseen increase in the discount rate at the financial cycle decline phase by 25 basis points decreases the PFTS stock index return, on average by 2.9%. Besides, the hypothesis about the general change stabilizing effect in the discount rate on the Ukrainian stock market volatility at the financial cycle growth phase was confirmed. Nevertheless, for investors, the most essential is the regulator’s monetary signals in the discount rate at the financial cycle decline phases rather than at the ascent phases because there is a more significant increase in the volatility level. (shrink)

The article focuses on the cartographic enactment of the topos of Ukraine as a lost homeland in contemporary German literary discourse on migration, and in particular in the body of work that conveys the voices of the “second generation” — children of the German (post-)war migration. The article analyses by way of an illustrative example Hans-Ulrich Treichel’s poem “Flight into Kyiv,” in which we find reflected the autobiographical theme of the (re)construction of the lost homeland of his father, a Volyn (...) German who fled to Germany during the Second World War to escape reprisals of the Soviet army. The main object of research are the mental maps of Ukrainian space, which largely define the way Ukraine is represented both in contemporary German social discourse and in modern German literature. A textual analysis of the poem allows us to discern how the resource of the Western European construct of Eastern Europe is instrumentalized and aesthetically arranged by German (post)migration perception to institutionalize the image of Ukraine as a “lost homeland.”. (shrink)

This article aims to enhance understanding of the changing nature of the pre-colonial, (neo)colonial and postcolonial imagination of space and time in Africa and of its organising principle in African cinema. It will focus on the cartographic and time reckoning techniques and traditions of Africans in precolonial times in contrast to the space-time imagination expressed in colonial film in Africa, such as in the instruction documentary Daybreak in Udi (1949). This documentary, which promotes British colonial self-help development projects in (...) Africa, tells the story of the building of a maternity home in an Igbo village in Nigeria. Furthermore, the article will enhance understanding of the cinematic turn to a counterhegemonic film tradition as a stepping stone to the newly emerging field of African intercultural philosophical cinema. The time-space imagination in Common Threads (2018), shortlisted by the Zanzibar International Film Festival (ZIFF) for the best documentary will be analysed as a case in point. This documentary concentrates on the nineteenth-century and current Afro-Indian textile trade, the associated oral narratives and their visual impact on the so-called Kanga and Vitenge textiles. (shrink)