Suchergebnisse

Virtual media like television or other types of media influence the audience from year to year more and more powerful. The role of social networks as a source of information and its interpretation is growing especially rapidly. Modern pagans (neo-pagans) in Ukraine represent a small part of religiously oriented citizens of Ukraine. However, they are also present in the information virtual space. And not only in their social groups and pagan sites. Quite often, representatives of the pagan movement of Ukraine and their worldview and lifestyle became the objects of news related to conflict situations. Typically, in virtual media, information was conveyed through the prism of "pagans and others". Thus, voluntarily or involuntarily, there is the perception of the pagans in Ukraine and the pagan movement as a whole is somehow exotic, extravagant, sometimes dangerous and even hostile. Although paganism is not widely known in Ukraine, it is also not informationally isolated. For the majority of the population of Ukraine, paganism is more associated with "Ivan Kupala", jumping over a fire and spectacular historical reconstructions. However, the media covers not only holidays and interesting rituals, but also conflict situations related one way or another with the rejection of the pagans and their worldview. I focused only on the most resonant cases, which received quite noticeable and lengthy coverage in the Internet media. Among them: the destruction (burning, logging, dousing) of the shrines of the pagans. Such cases became especially resonant on Khortytsya island in Zaporizhzhia, where one of the centers of the pagan movement of Ukraine, the Ruske Pravoslavne Kolo, was deployed. The acts of vandalism and religious hatred also took place in the other cities of Ukraine. Among the most high-profile cases is the destruction of a wooden statue of Perun and a stone sculpture of Svitovid (a copy of the Zbruchansky idol) in Kyiv. Also publicized was the case of the taking away by social services of children from pagan parents in Buki willage in the Zhytomyr region and their return through the court. Relations between pagans, Ukrainian Greek Catholics, and the local population of the Gusyatinsky district in the Ternopil region were difficult, too. Stormy discussions on social networks caused the burial of the pagan who died in the war, Marian Nayda.

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