The article reveals the use of postmodernism as a style of thinking and a special view of contemporaneity as an interpretive basis for understanding present-day university education and understanding the prospects for its development in new conditions. The emphasis is based on three characteristics of the postmodern paradigm: change in the status of knowledge in society; non-structural, non-linear way of organizing integrity, excluding rigid centralization, orderliness and symmetry; a special model of contemporaneity, which does not allow the imposition of life (...) guidelines and values on a person. It is shown that the situation of postmodernism has led to new phenomena in university education, which have changed the traditional status and mission of the university. There was a tendency towards the mass character of university education, which, by expanding accessibility, contributed to a decrease in its quality. The change in the status of knowledge in society has led to the commercialization of education, which puts on threat the academic freedom and autonomy of the university, which becomes dependent on the “order” for educational services. Teaching strategies and educational strategies of students are changing; the level of their interconnection and interdependence is decreasing. It is noted that the modernization of higher education determines the formation of a new university – the university at risk and actualizes the task of predicting systematically emerging risks and dangers and developing measures to level or limit their negative impacts. (shrink)

This article off ers a pioneering ecofeminist study of Viktor Ivchenko’s Lisova pisnia and Yurii Illienko’s Lisova pisnia. Mavka, two Soviet Ukrainian film adaptations of Lesia Ukrainka’s eponymous fairy-drama. It focuses on the interrelated depiction of gender and nature along with the drama’s ideological and material aspects: androcentrism and deforestation. The production of both fi lms coincides with, and arguably refl ects, what Marko Pavlyshyn describes as “the emergence of a conservationist consciousness” in the USSR in the 1960s. The (...) article’s goal is therefore twofold – to bring new ecofeminist insights into Ukrainian fi lm studies and to raise eco-awareness about the Volyn Polissia, which provides the setting for Ukrainka’s drama and its adaptations, and currently faces environmental devastation from illegal amber mining. (shrink)

The total ideology of the revolutionary-political themes of Ukrainian consciousness of the twentieth century, the poetization of the absurdly inverted hierarchy of values, was opposed by the new generation of artists with their philosophical and ethical orientation of their creativity. As I.Franko notes, they "... sought a completely modern European way to portray the peculiarity of the life of the Ukrainian people," revealing the unique collisionality of human existence, the diversity of psychological types, ideological orientations, and the human experience of (...) its existence on the background of this difficult time. However, Ukrainian writersphilosophers who talently laid the foundations of national culture, but are now returning to the generations of the Shattered Renaissance, filling black and bloody spots of troubled history of Ukraine. Among them are V. Pidmogylny, B. Antonovenko-Davidovich, G. Kosinka, D. Falkivsky, M.Ivchenko, T.Osmachka, E.Pluzhnik. This is a non-exhaustive list of the leading figures of the post-revolutionary period who were removed from the creative field, whose works are the golden fund of Ukrainian culture. (shrink)