Tkachuk B. The Phenomenon of Ukrainian Cultural Memory as a Subject of Philosophical and Cultural Analysis.

The thesis presents an original approach to the study of the phenomenon of Ukrainian cultural memory, with a specific focus on the mechanisms of its preservation and transmission. One such process is the ritualisation of the key constructs (national identity and national myth), which culminates in the transformation of the cultural landscape into a landscape of memory. A methodology for studying cultural memory is proposed, which includes the analysis of the interaction of collective memories, their representation, and ritualisation within the cultural landscape, as well as their influence on the formation of the memory landscape and their role in preserving and transmitting identity. In line with this approach, the dissertation examines Ukrainian cultural memory through the lens of national and colonial myths as components of the memory landscape. The Holodomor-genocides and the construction of the Dnipro and Kakhovka Hydroelectric Stations are regarded as "poisoned landscapes" (in the terminology of M. Pollack), representing a series of traumas caused by the Soviet Union's policy of erasing memory. The Kharkiv House "Slovo" is regarded as a representation of the poisoned landscape, symbolising the repression of Ukrainian intelligentsia in the 1930s. The civil resistance of the Ukrainian nation is described as a meta-narrative of cultural memory, explored within the memory landscape through the mnemonic space of "Maidan." An interdisciplinary approach to studying cultural memory is enhanced by introducing concepts that were previously unused in philosophical and cultural studies but have been applied in related fields such as personality psychology. The concept of "sequential trauma" is explored in the context of trauma theory, with a view to enhancing understanding of the processes by which long-lasting collective colonial traumas are transmitted. The term "fragmented memory" is employed not only in the context of individual memory but also in the analysis of the collective memory of communities that have been or are being influenced by external manipulation. The concept of a "memory trigger" refers to events or circumstances that evoke unresolved sequential traumas, thereby indicating a potential threat to the community. The key terms have been discussed and defined in accordance with the relevant literature. Cultural memory can be defined as the collective memory of shared values and a common worldview, which is formed through the integration of individual, social, and collective memories within the context of cultural and national identity. The colonial myth represents an ideological construct that advocates for the colonisers' narrative and serves to reinforce a sense of dependence on them. In contrast, the national myth represents a value-based system that is formed by collective memories and cultural memory figures, with the intention of establishing a political nation. The Ukrainian national myth represents a set of memory figures that are connected to the formation of Ukrainian national identity and the desire for independence. The concept of cultural memory deprivation is introduced to explain the consequences of sequential traumas that have led to the fragmentation of cultural memory. The main causes of cultural memory deprivation are long-term limitations on the expression of national identity in the cultural space, associated with the loss of historical and cultural narratives. A community experiencing cultural memory deprivation faces a crisis of national identity each time it encounters a "memory trigger." This concept is applied to the study of Ukrainian cultural memory. This study explores the interaction between J. Assmann's communicative and cultural memory as a potential means of temporarily overcoming cultural memory deprivation. It examines the postcolonial process of deconstructing and reconstructing the socio-cultural space and national identity through an analysis of the internal and external stages of cultural transformation. The deconstruction of the Cossack myth demonstrates the presence of both colonial and national components, which allows it to be studied as a sequential cultural trauma.