Papers by Darya Tsymbalyuk
Konteksty, Feb 28, 2024
Print), 2956-9214 (Online) czasopisma.ispan.pl/index.php/k CC-BY-NC-ND 4.0
Journal of International Relations and Development
In the original publication of the article, the name of bell hooks was spelled incorrectly and th... more In the original publication of the article, the name of bell hooks was spelled incorrectly and the name has been corrected.
Narrative Culture
: This article questions how we can tell stories about/with plants: what are the limitations and ... more : This article questions how we can tell stories about/with plants: what are the limitations and possibilities of making stories inclusive of plants? Focusing on Russia's war on Ukraine, it also questions how stories about/with plants impact our understanding of the invasion of Ukraine, and of the experiences of its more-than-human inhabitants during the war. Finally, the author reflects on her practice of sharing stories through research, drawing, and participatory formats, with the example of a story about Kreidova Flora nature reserve located in Donetsk oblast, Ukraine.
Journal of International Relations and Development
In this piece I examine the relation of Russian colonialism and coloniality to knowledge and know... more In this piece I examine the relation of Russian colonialism and coloniality to knowledge and knowledge-making, and question what it means to be a scholar from Ukraine and a scholar of Ukraine based in a western academic institution at times of Russia's war on Ukraine? Critiquing hierarchies of knowledge production, I call for re-centering 'knowledge that comes from suffering', as theorised by bell hooks (Teaching to Transgress: Education as a Practice of Freedom, Routledge Abingdon, 1994). I turn to knowledge of suffering by engaging in autoethnography and by focusing on ways in which the war has affected my body: from my changing relation to the Russian language to my awareness of mechanisms through which my body is being tokenised by academic institutions. Finally, I argue that my body taught me disengagement as a practice of decolonial resistance and a response to Russian colonialism.
Punctum , 2024
Latvian translation of "A Landmine Detonates in the Woods" by Māra Poļakova
Punctum , 2024
translated by Una Bergmane
Konteksty , 2024
Translated by Katarzyna Bojarska
Ukrainian Pavilion at the 18th Biennale Architettura in Venice, 2023
La mobilité des plantes à travers le récit, eds. Rachel Bouvet and Stéphanie Posthumus, Les Presses de l’Université de Montréal, 2024
Journal of International Relations and Development , 2023
In this piece I examine the relation of Russian colonialism and coloniality to knowledge and know... more In this piece I examine the relation of Russian colonialism and coloniality to knowledge and knowledge-making, and question what it means to be a scholar from Ukraine and a scholar of Ukraine based in a western academic institution at times of Russia's war on Ukraine? Critiquing hierarchies of knowledge production, I call for re-centering 'knowledge that comes from suffering', as theorised by bell hooks (Teaching to Transgress: Education as a Practice of Freedom, Routledge Abingdon, 1994). I turn to knowledge of suffering by engaging in autoethnography and by focusing on ways in which the war has affected my body: from my changing relation to the Russian language to my awareness of mechanisms through which my body is being tokenised by academic institutions. Finally, I argue that my body taught me disengagement as a practice of decolonial resistance and a response to Russian colonialism.
Antennae: The Journal of Nature in Visual Culture , 2023
This artistic research focuses on vegetal histories from and about Donbas, Ukraine, a land which ... more This artistic research focuses on vegetal histories from and about Donbas, Ukraine, a land which once was an exemplary mining region of the Soviet Union and where in 2014 the ongoing war broke out. In order to reexamine dominant representations of the region through the frames of industrialisation and war, the study engages with scholarship in paleobotany and explores the vegetal past of coal, the fossil at the heart of Donbas' history. Through drawing and writing this research brings together plant fossils, recent interviews with internally displaced persons and critique of colonial depictions of the steppe as an empty space.
Instructions on how to explore ruin and/or derelict sites. Designed to accompany a discussion on ... more Instructions on how to explore ruin and/or derelict sites. Designed to accompany a discussion on the text "From "ruin porn" to zabroshka erotic"
Коридор, 2019
У праці "Інтенсивність архіву" (The Intensity of the Archive), Клер Коулбрук ставить під сумнів а... more У праці "Інтенсивність архіву" (The Intensity of the Archive), Клер Коулбрук ставить під сумнів антропоцентричну природу досліджень пам'яті і розглядає зв'язок між пам'яттю і антропоценом. Коулбрук пише про архів як щось підставове для розуміння людей як "нас", розуміння, завдяки якому можна уявити минуле і помислити майбутнє: "Мати змогу сказати "я" або "ми" означає володіти сукупністю архіву, що своєю чергою витворює обрій майбутнього"[1]. Оскільки записи і їхнє збереження у формі архіву "уможливлюють протікання усвідомленого часу і пам'яті"[2], Коулбрук пропонує думку, що "подія антропоцену є розширенням архіву, за якого до книг і інших текстів, що їх можна читати, додаємо стратифікацію Землі"[3]. Відтак вона натякає, що стратифікації Землі-це певний тип записів, так само як тексти і аудіозаписи усної історії-а отже це пам'ять планети[4]. Для Коулбрук, розширення архіву відкриває можливість інших майбуттів і іншого поняття "нас". Переосмислення архіву у виконанні Коулбрук змушує нас поставити під сумнів власне розуміння пам'яті і пригадування, а також антропоцентричну природу досліджень культурної пам'яті, і їхню стосовність для антропоцену. Коли і як перетинаються людська і геологічна пам'ять-і чи взагалі існує між ними розділення?
Klassiki, 2022
Since 2014, when Russia began its war on Ukraine in Donbas, visual representations of the eastern... more Since 2014, when Russia began its war on Ukraine in Donbas, visual representations of the eastern region have constantly circulated in lm, television, and social media. As Oleksiy Radynski has pointed out, engagement with video documentation through social media is a de nitive feature of the way we experience this war. Many of those consuming these visuals, whether on Twitter, BBC, or in cinemas, have never visited Donbas, and know it only from images and videos made by journalists, documentary-makers, and by witnesses of violent events. While some recently-produced lms attempt to question and subvert power relations between viewer/ lmmaker and the subject of the gaze, as spectators we have to remain conscious of these power imbalances, especially when watching a region that has been invaded and under occupation for the past eight years. Radynskyi states that lming is an act of participation. What kind of participation, then, is the act of watching Donbas on screen? In the context of the ongoing Russian violence against the region, which destroys localities, communities, and environments, watching Donbas on screen is a more political experience than ever. Today we must ask ourselves: what are the politics and ethics of each particular act of lming, each act of screening? What does it mean to watch Donbas on screen now? The Russian occupation of parts of Donbas in 2014 resulted in greater attention being paid to the region both inside Ukraine and globally. Researchers turned to study the history and culture of Donbas in an effort to better understand what was happening in the region, including studying its historic and contemporary representations on screen. Perhaps the most internationally wellknown of these representations is Dziga Vertov's experimental 1930 documentary Enthusiasm. Today, Vertov's lm maintains a canonical status, and for many viewers, especially outside Ukraine, it remains one of the rst visual encounters with Donbas beyond mentions in the news. The lm takes its name from the Soviet concept of "enthusiasm," referring to the state of revolutionary fervour for the communist project. Along with optimism, energy, and rebelliousness, enthusiasm was thought to be one of the qualities necessary for forging a revolutionary society.
NiCHE: Network in Canadian History & Environment, 2022
IWMpost, 2022
Russia’s war in Ukraine does not only kill thousands of people, it also profoundly changes relati... more Russia’s war in Ukraine does not only kill thousands of people, it also profoundly changes relations between people and environments as many places have been turned dangerous and life-threatening for humans and other species.
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Papers by Darya Tsymbalyuk
Featuring contributions by Robert Bean | Caitlin Berrigan | Makeda Best | Callum Bradley | Helen J. Bullard | Andrea Conte | Paul CaraDonna | Hannah Dickinson | Mark Dorf | Manuela Infante | Elizabeth Johnson | Joan Jonas | Jenny Kendler | Gracelynn Chung-yan Lau | Barbara Lounder | Rory O’Dea | Georgia Perkins | Ken Rinaldo | Dorion Sagan | Robert Smithson | Darya Tsymbalyuk | Cynthia Haveson Veloric | Kristoffer Whitney