This article examines a monumental structure in the North Pontic Steppe that was repurposed as a burial mound in the late fourth millennium BCE. The authors argue that this repurposing reflects a pattern of Yamna appropriation of ritual spaces, conceptualised as a 'continuity of sacred spaces'.

Abstract The article examines the range of cultural heritage offences, including recognised crimes and examples of unethical behaviour perpetrated by Russian actors against Ukrainian cultural heritage. Leveraging the analytical and monitoring work performed by Ukrainian archaeologists, it endeavours to take a step forward to a more complex understanding of Russian attitudes towards Ukrainian cultural heritage and takes a closer look at the specific types of actors and settings where offences were made. After discussing various types and examples of cultural heritage offences, the article summarises them from the perspective of colonial theory to reveal the Russian colonial attitude towards Ukrainian heritage. It claims that the totality of Russian offences against Ukrainian cultural heritage is brought by a systematic imperialistic strive to erase Ukrainian identity and that such actions are a normalised practice for Russian institutions and individuals.

Games are valuable cultural phenomena — they might indicate social, cultural, and even political trends and agendas. Moreover, they might bare an accurate representation of a common structure of a feeling. Conversely, video games might be studied and understood based on up-to-date cultural trends, one of which is metamodernism. This paper contributes to determining what metamodern games in terms of synopsis and gameplay are. After considering the methodological features of studying video games from a metamodern perspective, it presents a metamodern study case of Hideo Kojima's Death Stranding. Examining oscillation, empathy, constructionism, and object-oriented relations in Kojima's game, the paper proves it to be a shining example of metamodern gaming. Furthermore, analyzing Death Stranding gameplay features from a metamodern perspective determines metamodern-related gameplay elements and strategies.

The paper examines the three most highly ranked periodical publishing bodies dealing with Ukraine's archaeological content — Arheologia, Archaeology and Early History of Ukraine, and EMINAK. Focusing on academic papers as the main way to present research outcomes, it provides a scientometric study of these periodicals to examine processes in Ukrainian archaeology to the extent they are expressed in publications. The paper perceives scientometric research as a reliable way to spot internal and external trends of the journal, and compare them to their analogies in the publishing bodies abroad, tracing the directions for future modification and development. We applied conventional and self-developed tools to perform a coherent study of Ukrainian journals, revealing trends and approaches in authorship, thematic choices, and titling creativity of published papers. These methods showed a coherence and fascination in material-based study and material publication of Ukrainian journals, especially compared to European ones. Moreover, a comparatively low level of titling creativity emphasizes the undertheorization of the data and an established tradition to focus on empirical work instead of the interpretational publication. In contrast to the European writing model, Ukrainian authors follow a fixational approach to presenting material instead of analytical and synthetic. In addition, the metadata are often selected in order to exclude external readers rather than include them, as European scholars aim to do. This paper draws the connection between such state of the art, the low quantity of theoretical and methodological research in Ukraine, and the relatively low topicality of academic papers published by Ukrainian archaeologists in their domestic periodicals. We claim that the absence of consistent and rigorous theoretical work affects the overall level of scholarly publishing in Ukrainian archaeology and leads to an increase in the thematic and methodological gap between Ukrainian and European archaeology. Moreover, in our view, this is a symptom of social unawareness and passivity of Ukrainian archaeology as a discipline, which might lead to severe empiricism and problems for the field shortly. In the paper's final part, we provide some general reflections on the matter and advice on how Ukrainian archaeological academic journals can contribute to overcoming the current crisis. Keywords: scientometric analysis, bibliometrics, peer-reviewed journal, citation, word frequency, science theory, archaeology. Language: Ukrainian

The paper focuses on applying Structure-from-Motion photogrammetry as a tool for archaeological research. It dwells on its impact on contemporary archaeological science and discusses the practical experience of 3D modeling. To illustrate the applied solutions, the article focuses on five artefacts from the Golden Horde period from the Ukrainian Steppe. The paper aims to contribute to the set methodological and didactic efforts and thus impact Ukrainian archaeology, improving its competitive potential. Therefore, a large part of the text is devoted to describing the data acquisition setup and process with particular attention to the demands of the process and specific hints to be known. Considerable attention is paid to highlighting specific practical limitations of the method, together with their causes and effects. Moreover, the text expands on what these limitations mean for practicing archaeologists and what needs to be considered when starting to work with photogrammetry. This is provided through a straightforward explanation to ensure the transdisciplinary communication between photogrammetrists and archaeologists. The methodological issues are presented via the 3D models of the five Golden Horde period Ukrainian steppe artefacts. This selection is explained by the lack of coverage of the interaction between the steppe nomads and the Golden Horde in Ukrainian research history. Therefore, the first part of the text also contains a detailed presentation of the artefacts’ archaeological context and suggested attribution. The second part of the paper describes photogrammetric equipment and methods, procedures, and subtleties of photogrammetric study of small objects. The choice of equipment and the essential parameters are discussed and summarized in an overview table as they directly affect the 3D modeling results. The importance of data acquisition scenario development and the coherence of research needs with methodological tools is highlighted. The photogrammetric procedures result in an entirely new level of study and representation of archaeological artefacts in Ukraine's Medieval archaeology. The models are featured with detailed descriptions, including specific observations of their individual features. This characterization level clearly demonstrates the photogrammetric method’s research potential if enriched with archaeological context and multidisciplinary study.

This article examines the use of the "M" sign in the ornamentation of anthropomorphic and zoomorphic sculptures, as well as ceramics and amulets, based on materials from Southeastern Europe attributed back to the 7th-5th millennia BCE. Its goal is to present and analyze how this sign was applied. We analyze those artifacts where the "M"-sign serves as a primary ornamental element rather than a secondary one. The patterns of the symbol's usage, as well as the evolution of these patterns, were studied through social network analysis, nuancing how its features changed across space and time. These changes were interpreted using Peircean semiotic approaches. This made it possible to trace how, over time, the sign acquired its symbolic and conventional meanings. The "M"-sign was widespread in the ornamentation of early ceramics in Anatolia and the Near East but can also be found on stone and bone artifacts from the Northern Black Sea region dating to the 7th-early 6th millennia BCE. Later, it gained popularity in the Balkans and Carpathian regions. Scholars have previously attempted to interpret the "M" symbol in the context of the worldview of the first farmers in the region. However, its earliest manifestations are associated with the Mesolithic hunter-fisher-gatherers sites, where it is linked to the imagery of snakes and water. The presence of this sign is often connected with zigzag patterns and its double variation, consisting of parallel lines.

This reaction to the Paul Newson and Ruth Young paper entitled 'Post-conflict ethics, archaeology and archaeological heritage. A call for discussion' (Archaeological dialogues, 2022) supports the call for a discussion regarding archaeological ethics in post-conflict zones. Following the agreement on the fuzzy border between the state of 'conflict' and 'post-conflict', it reflects on the continuity between these two. Furthermore, the reaction adds an additional issue to the discussion, which is the ethical ground of 'being above the conflict'. Applying a 'holistic ethic' approach, it reflects on the ethical assessment of archaeological practices performed by Russian archaeologists in the zones that were damaged during conflict, escalated due to the actions of the Russian government. A series of examples are shown to consider the complexity of ethical judgements in this particular case. Last but not least, the reaction claims that in some cases ethical judgements are possible and effective due to the convergence of numerous factors.

The study aims to reconstruct the evolution of the cultural landscape of a settlement microregion located south of Eastern Europe, in the foothills of the Podillian upland, close to the North Pontic Steppe. The microregion evidenced at least three events of early agricultural expansion: Linear Pottery culture, Early Trypillia, and Trypillia B1 groups. Each event resulted in a new spatial configuration of sites. The reasons for this evolution are still to be clarified. The selected microregion is typical of similar territories in this climatic zone during the Neolithic and Eneolithic periods. Archaeological evidence, paleoecological and cartographic sources, GIS, and geomagnetic research were used to reconstruct the development and forms of particular elements of the settlement and the economic structure.

Kamyana Mohyla is Ukraine's largest and most prominent rock art complex and is located at least one thousand kilometers from other comparable rock art sites. Situated on the western edge of the Eurasian Steppe belt, the site shows prehistoric imagery from several different contexts-some of its engravings are considered in the frame of European rock art, whilst others introduce local features, or find parallels in distant parts of Central Asia.This book presents the first digital study of the Kamyana Mohyla rock art, including iconic caves and an extensive collection of portable engraved stones. The text also links to a collection of 3D models which further illustrate these artefacts. Radchenko’s work fills a geographical gap in the discussion of Eurasian prehistoric art, placing Ukrainian prehistoric art in its global context. Combining archaeological methodologies with a strong narrative voice, the volume summarizes the research results of the last decade prior to the interruption of site activities at the onset of Russian aggression in Ukraine.

Intertextuality became one of the most popular and important terms in the culture of the 20th century. It is usually considered in connection with postmodernism and its ironic nature. Contemporary writing is still intertextual, though far from being postmodern. Moreover, even some medieval texts appear to operate intertextual tools systematically. The article presents examples of intertextuality in different novels from both the pre-postmodern and post-postmodern worlds, and searches for a possible explanation for this phenomenon through methodical solutions that would improve our understanding of intertextuality in the frame of literature analysis. It shows that different features of intertextual writing should be carefully considered in the frame of post-postmodern literature and questions the accuracy of our approach to discussing cultural process.

The layer B is one of the lower layers of the long stratigraphic sequence of the Kamyana Mohyla 1 site. The layer B received eight new AMS radiocarbon dates that clarified its chronology: 7950–7300 calibrated years BC. They are in a reasonable correspondence with the dates for lower and upper layers. The lithic assemblage belongs to Kukrek cultural aspect. It is characterized by pencil-like conical cores, Kukrek inserts, Kukrek burins and Dęby burins, nongeometric microliths (oblique points). The assemblage finds close parallels in the sites of Kukrek, Ihren VIII, Melnychna Krucha SU4 and Domchi-Kaia. They can be united into Kukrek sensu stricto cultural unit. The overlying layer C yielded somewhat different complex that finds parallels in the materials of the so-called “Kukrek cultural tradition.” Due to clear stratigraphic position of these units in the Kamyana Mohyla 1 sequence, we are able to differentiate Kukrek sensu stricto and “Kukrek cultural tradition” and suggest their respective chronological positions.

The complex of Kamyana Mohyla is the westernmost rock art location of the Eurasian Steppe and the largest accumulation of cave art sites in the Eastern Europe. So far it has been believed that the complex contains the Upper Paleolithic cave art images as well as portable art collection that resemble the instances of Upper Paleolithic worldview. Though this belief lacked the support of archaeological context and chronological attribution it remained neither proved nor disputed. However, the application of digital photogrammetric tools allowed to perform the sub-millimeter surface modeling of the rock art objects and to re-examine and reconsider the engravings that were previously attributed to Pleistocene. The modeling results presented in this article revealed the complete absence of figurative images for the collection of portable art specimens and the dubious character of those for the cave art one. Therefore, the whole collection should be reconsidered, studied and attributed according to the state of the art and contemporary archaeological record in the region. This contribution attempts to think over the possible Upper Paleolithic origin of the motifs from Kamyana Mohyla in the light of new data and proposes three hypotheses towards the understanding of the rock art assemblage from one of the caves in the complex.

The unique rock art complex of Kamyana Mohyla in South-Eastern Ukraine is known due to its numerous cave art engraved elements and settlements, which show how important is this site in the general picture of European prehistory as regards the Mesolithic, Neolithic and Bronze Age periods of the region. However, the assemblages from this site include also a collection of portable rock art artifacts called "churingas." Important elements of this assemblage are thought to belong to the Mesolithic. These specimens illustrate different aspects of the artist's worldview and are capable of revealing a lot of additional data on the technological and cultural aspects of their creation. However, their study is complicate because of a very abstract imaging, lack of systematic approach to the artifact classification and absence of a well-defined stratigraphic context from which they have been recovered. Likely, current state of archaeological record and modern technologies introduces the new opportunity to rediscover, reconsider and reshape this collection.

Long-term research of the Linear Pottery Culture easternmost excavated site faced a number of obstacles in the interpretation of stratigraphy and objects shape. It happens mostly because of features of sedimentation and post-deposition processes in Ukraine that are quite different from Central European ones. Newly applied method of 3D-point cloud analysis performed in Kamyane-Zavallia, Ukraine, introduced the opportunity to define the living surface of Neolithic settlement and distinguish stratigraphic units in details using the geoinformational systems and geospatial database as a tools for the object analysis. This raises a number of questions concerning the previous interpretations of Linear Pottery Culture sites in Ukraine and the required accuracy of their archaeological excavation. Moreover, the analysis of stratigraphic units inside the long pit from Kamyane Zavallia had shown the complex and heterogeneous process of its refilling.

Metal (copper and bronze) knives is one of the most striking categories of artefacts in the materials of the Black Sea cultures of the Early, Middle and Late Bronze Age. In addition to introducing new archaeological evidences to scientific community, the paper aims to analyze the place of a representative series of knives (8 items) from the vicinity of Kamyana Mohyla (Zaporizhzhya region) in the cultural and chronological coordinate system of the southern part of Eastern Europe Bronze Age. Three knives came from the Yamna culture burials. The one with an oval blade of the Zarechnoe type (kurgan 1, burial 8) is similar to those used on the vast area from the North-Western Black Sea region to the North Caucasus. Knives from Novopilipovka (kurgan 6, burial 5) and Semenovka (kurgan 2, burial 1) introduce some local features and were probably produced by the local metalworking center. Four other knives are related to the Catacomb culture. The one with a sub-triangular blade and an accented handle from Zarechnoe (kurgan 7, burial 1) belongs to the artefacts that occure rarely during the Catacomb time, but was common for the Yamnaya culture in Crimea and in the Dnieper region. Other types of artefacts do not meet the analogies in Yamnaya culture burials. Knives with a leaf-shaped short blade and maximum widening in their upper part (Zarechnoe, kurgan 17, burial 4) are usually attributed to the Catacomb culture of the Seversky Donets basin and to the east of the Don river. Knives of the Kamyana Mohyla 5 type with a leaf-shaped blade and a long handle are also usually found at the Catacomb sites of the Seversky Donets basin. Knives of the Sekiz 3 type with a long handle and a short sub-rhombic blade originated in the Catacomb culture and the final Novotitorovka group. They are localized in the eastern regions (the Don basin, the Lower Volga, and the North Caucasus). A knife from the Terpinnya site is associated with the monuments of the second period of the Berezhno-Mayevskaya Srubnaya culture and is similar to the finds coming from the archaeological sites in the steppe Dnieper region and Azov Sea region in the second half of the second millennium BC. The large number of metal knives found in the studied area during the Bronze Age, which originate both from burials and settlements was probably related to the use of Kamyana Mohyla Hill as a ritual place.

Германия АннотацияЦель.Краткое изложение результатов исследования памятника ямной культуры на Нижнем Днепре

Для археологічних пам’яток гончарна колекція є одним із основних джерел інформації не лише про культуру та світогляд давніх людей, але й загалом про їх існування. Одним із найбільш інформативних параметрів, що характеризують застосування посуду на пам’ятці, є його об’єм. Особливо це актуально для пам’яток з незначним розмаїттям типів посуду, таких як Генералка-2 — поселення доби ранньої бронзи на острові Хортиця. Для розуміння особливостей господарювання об’єми посудин мають вирішальне значення, однак нечасто стають об’єктом наукового вивчення. Частково це пов’язано з проблемами їх визначення за умови фрагментарності виробів. Однак цей ключовий параметр природно пов’язаний з іншими метричними характеристиками горщиків. За умови значної фрагментарності посудин важливою видається перспектива приблизного визначення об’єму за набором інших метричних ознак, які можна обрахувати, наприклад, навіть за невеликим фрагментом вінець. Таку приблизну оцінку уможливлює те, що кераміка Генералки-2 добре поділяється на окремі кластери (великі, середні та малі горщики) саме за об’ємом посудин. Крім об’ємних кластерів, колекція пам’ятки дозволяє чітко виокремити техніко-типологічні групи, пов’язані з орнаментацією артефактів, адже однаковий орнамент та композиція повторюються там на серіях подібних горщиків. Таким чином утворюється щонайменше три окремі групи. Величина кореляції між цими непов’язаними таксонами віддзеркалює рівень зв’язку техніки виконання посудини та її майбутньої функції (беззаперечно пов’язаної з об’ємом). Утім, для ретельного й точного дослідження такої кореляції вибірку має бути збільшено, що можливо лише за визначення об’ємних кластерів низки неповних посудин.

Among numerous ways to describe the culture and literature after postmodernism metamodern is becoming more and more popular. Its main features – oscillation, affect, desire for structure and (re)construction etc. – appear in many products of contemporary culture. This article reflects the endeavour to apply metamodernism and its trends to the literary analysis of cybertext. Crucial trends of metamodernism are briefly described and implemented in the analysis of a video game. The features of cybertext that influence the analysis are considered. All these instruments were used to show the metamodern nature of the game by Naughty Dog, The Last of Us (2013). The article attempts to analyze a cybertext through the methods of literary analysis and reveal metamodern ideas in The Last of Us using main metamodern categories as a tool for text study.