Moscow and Kiev’s vision of the interpretation of disputes about the past, the continuity of the historical roots of mutual statehood

The attack on the Russian Federation on February 24, 2022, in Ukraine, which was not the result of the functions of a superpower, treated by a member state. In any other device there is a reference to the historical past. This is in fact common in its origins but interpreted differently by both countries for 31 years. Starting from the vision of Russia promoted since the 16th century as the successor to the Byzantine Empire, Putin’s Russian Federation claims the right to create one empire corresponding to all the former lands of the Russian Empire. Not subject to legal protection and Ukrainian nationality. No official war is available to achieve this goal.

The Russian-Ukrainian conflict as an example of war on the internet

From the beginning of his scientific activities, the author has been devoted to the affairs of Eastern Europe, with particular emphasis on Russia and Ukraine. From his bachelor’s thesis to his doctoral studies, the author’s particular attention was drawn to the issue of possible conflicts in this region of the world. Taking up this geographical area as an interest is related to the geopolitical pragmatism of the author of the text. He devotes all his scientific activity to a didactic approach to understanding the location of the Republic of Poland on the map of Europe and the world, so it seems logical that issues beyond our eastern wall seem more important.

The article examines the main state-building acts adopted by the highest authorities of Ukraine and the Baltic states starting from 1990 (as a result of the first free election of deputies of these republics in the post-war period) and until 2004 (when significant changes took place in the internal political and geopolitical context, in particular – the accession of the Baltic states to NATO and the EU, as well as changes in the form of government in Ukraine in amendments to the Constitution as a result of the so-called «Orange Revolution»). The article reflects not only the legal part of the specified period, but also the institutional part, in particular, in the part of the formation of both legislative and executive power in the specified countries. The interaction of political, regulatory and historical components in this article forms a holistic vision of state-building processes in their synergistic unity. The purpose of the study is to conduct a chronological comparison of the main statebuilding acts of Ukraine and the Baltic countries in the period from 1990 to 2004. The methodological basis is a chronological comparison of the normative framework of countries in the context of the processes of state formation. It was determined that the parliaments of these countries, which were elected in the spring of 1990, immediately began to fight for their sovereignty and set a course for separation from the union center. The August 1991 putsch in Moscow became the «trigger mechanism» in the declaration of independence of the Baltic states and Ukraine. From that time, these countries began to build their states independently, in particular in the political and legal sphere. First, there is a change in the name of the state itself and its parliament (getting rid of the Soviet one) at the legislative level, as well as the complete subordination of power structures and other authorities exclusively to republican structures. Subsequently, the main state symbols (flag, coat of arms and anthem), constitutions are adopted, the course of states towards a market economy through the denationalization of property and privatization is introduced, each has its own currency, property is divided with other republics, international treaties and agreements are adopted, and countries The Baltics (but not Ukraine) manage to completely get rid of Russian troops from their territory through complex diplomatic efforts. The latter also contributed to the fact that the Baltic countries, having immediately taken a course towards the West, later became full members of NATO and the EU. During this period, Ukraine only decided on its geopolitical vector, that it intends to join these international associations in the future.

The research focuses on psycholinguistic analysis of a female cinematic archetype. The characters’ narratives are predominantly defined by the heroines’ archetype and personality; to a lesser extent by the context of the cinematic story. The study is based on Jung’s idea of the archetype as a repetitive image of the collective unconscious, common for different cultures, languages, and societies. Each archetype performs a certain function in the plot, predetermined by a number of constant motivations, defining the characters’ (verbal) behavior. Post-Jungian researchers have developed various typologies of psychological archetypes. Among the proposed repetitive images, one of the most recognized is the Great Mother / Caregiver / Nurturer, which is distinguished by care, protectiveness, devotion, and sacrifice. Maslow’s hierarchy of human needs serves as the basis for delineation of archetypes. Despite numerous changes in the representation of female characters in mass culture cinema, the Nurturer archetype (term by Schmidt, 2007; Cowden, LaFever, & Viders, 2013) stays essential and frequently exploited. This study focuses on the verbal representation of the Nurturer archetype in three top box office cinematic stories recreating the Beauty and the Beast motif, namely Beauty and the Beast (2017), The Twilight Saga (2008-2012), and Fifty Shades trilogy (2015-2018). The paper focuses respectively on the turns of Belle, Bella Swan, and Anastasia Steele, leading female protagonists representing the Nurturer archetype in the examined franchises. The founding idea of the present paper postulates that the verbal representation of the same archetype bears similar narratives, which mediate the heroines’ needs and motivations. The aim of the research is to establish the set of narratives, characteristic of the Nurturer archetype in contemporary cinematic stories. The Nurturer archetype is an altruistic, parental character, distinguished by protectiveness, compassion, and generosity. The Nurturer needs to care for the loved ones, which defines her narratives about providing food, comfort, safety, protection and reassurance, dependence, stability, love, and affection. The ‘virgin-beast trope’ predetermines the heroine’s narrative of a romantic relationship.

The article analyzes the artistic processes that emerged in the world in the second half of the twentieth century, after the Second World War. One of the most striking phenomena of that period was the transavant-garde, and the reasons for its emergence in many European countries and the United States are determined - Arte Cifra or la transavanguardia in Italy, Figuration Libre in France, New Image Painting in the United States, Neue Wilde in Germany, Nowa Expression in Poland. This diversity of transavant-garde manifestations in the context of national artistic systems is explained by the peculiarities of ethnomentalities that were formed on the basis of certain archetypes and universals. An important feature of the world transavant-garde is the artists’ appeal to expressionism. There is a rethinking and renewed interpretation of expressionism, which actually gave it the name «neo-expressionism». Considering the reasons why artists from different countries turned to expressionism, it is concluded that it was the analysis of inner experiences and the desire to express them as vividly as possible that caused such a «global» commitment. Closely related to this is the process of creating individual mythologies, which, through certain images (the use of linearism, dissonant color juxtapositions, deviations from the true image, the use of different techniques and materials in one art object), encouraged the viewer to experience certain affects. At the same time, the Ukrainian and Polish artistic systems of the time, as well as social and political life, were closely controlled by the Soviet system. The situation was especially difficult in Ukraine, where alternative views on art could be paid for with imprisonment or even life. However, in both Poland and Ukraine, there were artists who were engaged in aesthetic resistance and belonged to opposition movements such as counterculture and non-conformism. It is under these conditions that neo-expressionism gets its unique forms of development in both Polish and Ukrainian art. The New Expression movement has been developing in Poland since the early 1980s. Artists, turning away from official cultural institutions, spontaneously created alternative structures. The Polish New Expression, which officially declared itself and kept in touch with foreign colleagues, was a legitimate part of the global movement, and martial law did not allow Polish artists to enter the international scene. Using the creative methods of neoexpressionism, the artists fought for political freedom with inspiration. The artists, ridiculing the absurd world around them with the help of grotesque, used simplified composition and strong contrasting colors. Aesthetic resistance in Ukraine was deeply underground. Nonconformist artists could not organize exhibitions or communicate with their foreign colleagues. Therefore, the names of Ukrainian artists were not known to the world, as well as to most of their fellow citizens. Tight control by the authorities influenced the maximum reflection of opposition artists and determined the symbolic and metaphorical language of their works. After all, expressionism was despised and not supported within Soviet art.

In the scientific article, the author explores the influence of Bauhaus aesthetics and ideology on the formation of contemporary artistic and design culture. It is noted that Bauhaus, which operated during the interwar period in Germany, became a key moment in world culture, promoting innovative approaches and the synthesis of art and design. The article discusses key aspects of Bauhaus, its influence, and relevance to contemporary art, architecture, and design. The progressive ideas of this school, such as the synthesis of art and design, experimental approach, functionalism, and visual communication, are considered in the context of their impact on the development of the artistic and design sphere. The school advocated for the combination of different art forms, the creation of functional and simple forms, and the use of new materials and technologies. Artists inspired by these ideas use the synthesis of art and design to create innovative works. They experiment with forms, materials, and concepts to create unique visual impressions. Contemporary artistic culture reflects the diversity of Bauhaus, adapting its principles to the challenges and opportunities of the 21st century. In addition to art, the author also examines the influence of Bauhaus on contemporary design. The ideas of functionalism and industrial design, emphasizing simplicity and purity of forms, have become the basis for present-day designers. Creating objects that meet the needs of modern life is an essential part of contemporary design trends. The article also investigates how Bauhaus influences architecture. Bauhaus representatives believed that architecture should be functional while embodying aesthetic principles. This concept is reflected in contemporary architectural trends, where simplicity of form and the use of new materials and technologies combine with the desire to create a functional and aesthetic environment. In the conclusions, the author emphasizes the importance of Bauhaus in shaping contemporary artistic and design culture. The influence of Bauhaus is manifested in an open, experimental approach to creativity, the use of new materials and technologies, and a focus on the functionality and simplicity of forms. Bauhaus ideas continue to inspire artists, architects, and designers, contributing to the development of contemporary art and design. All of this highlights the relevance and significance of Bauhaus in the modern world, where the traditions of the past and the innovations of the present come together to create a new dimension of art and design.

Review. Leksykon Bezpieczeństwa Pomorza Zachodniego, Red. Jarosław Piątek, Renata Podgórzańska, Dorota Kowalewska, Robert Bartłomiejski, Wydawnictwo Adam Marszałek, Toruń 2022, Ss. 525