Problems of culture of the countries of the East and Central Europe (II) - Ukraine 3224-D4PKU

Knowledge (the student knows and understands):
● At an advanced level the specificity of various anthropological models of culture (traditional, noble, bourgeois, mass), evaluates the processes of their transformation and interrelationships, and interprets their manifestations in the symbolic and semiotic domains, including culture, art, literature, and the historical contexts of Central and Eastern European societies [K_W03].
● At an advanced understanding of the broadly understood intercultural context; has knowledge of humans as entities constructing social structures and cultural products, and is aware of the principles of their functioning [K_W07].

Skills (upon completing the course, the student is able to):
● search for, select, analyse and use necessary information from various sources [K_U01].
● develop their research skills, independently acquire knowledge with the support of a research supervisor; skillfully formulate thoughts, and present research results in the form of oral or written statements (of various types) [K_U03].
● conduct a critical analysis of cultural products specific to a given era in the development of Russia; recognize different types of cultural products of Central and Eastern European countries, analyze them, distinguish different perspectives on the development of culture, being aware of the existence of differences in cultural identities and context [K_U05].

Social Competences (the student is prepared to):
● critical assessment of existing knowledge, continuous learning and supplementing acquired knowledge and skills [K_K01].
● participating in cultural life, enjoying its various forms, as well as initiating activities in society and presenting tasks in an accessible form, including using information technology [K_U05]

I. The organization of classes:
According to the detailed rules of studies at the Faculty of Applied Linguistics (The Resolution No. 114 by the Faculty of Applied Linguistics Board of 19 December, 2017):

1) Attendance at all classes, covered by the plan, shall be compulsory (§ 9 (2).
2) It is not possible to have a resit if the reason of failing the credit was noncompliance with the requirement to participate in them. In such a case a student can be conditionally registered in an successive stage of study and can repeat the failed course.
3) In case of 30 hours in semester, 2 absences without justifying are acceptable. Missed classes must be made up in accordance with the requirements of the lecturer. The requirements are provided by the lecturer during the first class.

II. Assessment Criteria:
Final assessment depends on:
Factual participation in discussion during course (40%).
Presentation about topic delimited by tutor (20%).
Oral examination (40%).

Assessment range:
0%-49% - 2
50%-60% - 3
61%-70% - 3+
71%-80% - 4
81%-90% - 4+
91%-100% - 5
Additional knowledge - 5+

02. Hladun O., Charkowska Szkoła Projektowania Graficznego (lata 20.-80,) [w:] Kolektyw U,N,A, Znak. Ukraińskie znaki graficzne, Wydawnictwo Karakter, Kraków 2022, s. 007-043.
03. Osadcha O., Kovalchuk N., The Strategies of visual representation of „Homo Sovieticus”, „Sztuka Europy Wschodniej”, 2019, t. 7, s. 199-205.
04. Cherepanyn V., Ukrainian body: interaction of art, knowledge and politics [w:] Klymko S., Kulchynska L., Cherepanyn V., Ukrainian body, Visual Culture Research Cente Kyiv 2012, s. 68-83.
05. Zambrzycka M., Grupa REP – energia młodych w ukraińskiej sztuce współczesnej [w:] Waligórska-Olejniczak B., Królikiewicz N., Kropaczewski K. (red.), Zjawisko energii w nauce, sztuce i kulturze. Tom poświęcony prof. dr. hab. Halinie Chałacińskiej, Wydawnictwo UAM, Poznań 2016, s. 227-232.
06. Martsenyuk T., Ukrainian Societal Attitudes towards the Lesbian, Gay, Bisexual, and Transgender Communities [w:] Hankivsky O., Salnykova A. (red.), Gender, Politics, and Society in Ukraine, University of Toronto Press, Toronto Buffalo London 2012, s. 385-410.
07. Kotowska M., Zambrzycka M., Przeszłość i teraźniejszość w ukraińskim filmie doby transformacji [w:] Brzezińska-Pająk M. (red.), Kino – postkomunizm – polityka. Film w krajach Europy Środkowo-Wschodniej wobec procesów transformacji politycznej i konsekwencji roku 1989, Kraków 2018, s. 165-190.
08. Zambrzycka M., Autobiografia w świecie cyfrowym. Projekt autobiograficzny Ja, Nina Janiny Sokołowej, „Українська біографістика”, 2020, nr 20, s. 135-148.
09. Babulewicz K., O traktorze pędzącym w rytm Kalinki. Kalinki. Folklor w filmach animowanych Europy Środkowo-Wschodniej powstałych w latach 1949–1984, „Prace Akademii im. Jana Długosza w Częstochowie. Edukacja Muzyczna”, 2016, z. XI, s. 61-80.
10. Demel G., Matka-Ojczyzna wzywa! Muzeum Historii Ukrainy podczas Drugiej Wojny Światowej - Kompleks Memorialny w Kijowie: ukraińska narracja o wojnie, „Kultura i Społeczeństwo”, 2019, t. 63, nr 2, s. 191-226.
11. Zabirko O., The Affective Landscapes of S.T.A.L.K.E.R. Domesticating Nuclear Disaster in a Video Game, [w:] Schwartz M., Weller N., (red.), Appropriating History. The Soviet Past in Belarusian, Russian and Ukrainian Popular Culture, transcript Verlag, Bielefeld 2024, s. 241-263.
12. Zinovieva T., The art of war: examining the visual narratives of Ukrainian video games, „Eastern Journal of European Studies”, t. 15 (SI), s. 317-339.
13. Pidoprygora S., Drawn History. Ukrainian Graphic Fiction about National History [w:] Schwartz M., Weller N., (red.), Appropriating History. The Soviet Past in Belarusian, Russian and Ukrainian Popular Culture, transcript Verlag, Bielefeld 2024, s. 45-68.
14. Szulich-Kałuża J., Współczesne konflikty wojenne w cyfrowej rzeczywistości na przykładzie memów o wojnie na wschodniej Ukrainie, „Roczniki Kulturoznawcze”, 2018, t. 9, nr 1, s. 5-25.

Source texts and studies will be verified on an ongoing basis by the lecturer.