Gotowa bibliografia na temat „Counter-Culture (Long Global Sixties)”

The Italian scholar and political leader Antonio Gramsci (1891-1937) was an active opponent of the dictatorial government ruling his country before the 2nd World War. He was kept in prison for11 years, until his death, by the ruling Fascist Party and during that time he filled over 3,000 pages, writing about Linguistics, History and Philosophy. He was concerned with the duty of Italian progressive intellectuals to create a ‘common literary language’, accessible to the under-privileged Italian people, who until then had been excluded from culture. After the war, during the sixties of last century, a ‘common Italian language’ started developing, through the introduction of the 10-years long compulsory school and the increasing power of mass media: that language was not fit to become the common literary language of the Nation. The writer and movie director Pier Paolo Pasolini (1922-1975), who in his novels gave voice to the sub-urban proletarians of the city of Rome, was highly unsatisfied with the new common language that was in the process of being established in the country. As for China, when the imperial system was abolished by the ‘Xinhai revolution’, in 1911, the belief became increasingly widespread among intellectuals that the rebirth of China had to be based in the global rejection of the Confucian tradition and that the ‘Báihuà’ (people’s language) should be adopted in literature, replacing the ‘Wényán’ (classical language), not accessible to the common people. Lu Xun and his colleagues eventually succeeded in their efforts of establishing the ‘Báihuà’ as the common literary language of China. Purpose of the paper is the comparison between the efforts exerted by these literati in creating a ‘common literary language’ in their respective countries.

The 70th Anniversary provides an opportunity for reflection on the development of the Humanities in Indonesia, the achievements and the disappointments of a remarkable period. Indonesian Humanities scholars, and specifically those at UGM, have much to be proud of. They have built professional critical methods in a completely new language and context, without losing the critical approach to evidence. There have however been some disappointments and losses. Bahasa Indonesia’s gain has been many other languages’ loss. There is a danger that Humanities, in Indonesia as everywhere, may allow themselves to be restricted to a kind of heritage industry, preserving and coding the culture of ‘us’, as opposed to the complex interactions of the planet and beyond. The best way to counter the long-term decline of Humanities in the university may be the opposite, to embrace cultural diversity and interdependence.

English as an international language (EIL) deals with the use of English in wider communication both global and local contexts. In an EIL context, people with different mother tongue (L1) use English to share ideas and culture. That is why intelligible English which should be no longer norm-bound is needed. Teaching pronunciation for EIL, especially should provide variety of English accents. English teachers should be flexible to the modification needed and fully informed of what, why, and how to teach and assess comprehensible English. Unfortunately, teaching English pronunciation has always been challenging for non-native English speaker teachers. In this retrospective essay, I discussed the challenges of teaching English pronunciation: the differences between English and students’ L1 phonological system, teachers’ strong and long-standing belief about unnecessary pronunciation, teachers’ excessive workload and insufficient teaching materials, and teachers’ lack of confidence due to native speaker preference model. Ideas to think about and a simple lesson plan to teach English pronunciation that is suitable for EIL context are provided.

As a counter to climate change, energy crises, and global warming, microalgal biomass has gained a lot of interest as a sustainable and environmentally favorable biofuel feedstock. Microalgal carbohydrate is considered one of the promising feedstocks for biofuel produced via the bioconversion route under a biorefinery system. However, the present culture technique, which uses a commercial medium, has poor biomass and carbohydrate productivity, creating a bottleneck for long-term microalgal-carbohydrate-based biofuel generation. This current investigation aims toward the simultaneous increase in biomass and carbohydrate accumulation of Spirulina platensis by formulating an optimal growth condition under different concentrations of nitrogen and phosphorous in flasks and a bubble photobioreactor. For this purpose, the lack of nitrogen (NaNO3) and phosphorous (K2HPO4) in the culture medium resulted in an enhanced Spirulina platensis biomass and total carbohydrate 0.93 ± 0.00 g/L and 74.44% (w/w), respectively. This research is a significant step in defining culture conditions that might be used to tune the carbohydrate content of Spirulina.

Abstract Research purpose. Growth of illicit trade has markedly increased and caused damage to a multitude of economic, socio-economic and environmental outcomes. The purpose of this paper is to examine the impact of Hofstede’s country cultural dimensions on the attitudes towards illicit trade and the political will to counter the crime across countries. Design/Methodology/Approach. The 2018 Global Illicit Trade index published by the Economics Intelligence Unit for 62 countries is empirically analysed. Six hypotheses are built and tested across Hofstede’s six cultural dimensions. Findings. The results indicate that countries that are culturally more individualistic, have greater uncertainty avoidance and have a stronger long-term orientation have a stronger structural capacity to protect against illicit trade on average. Originality/Value/Practical implications. In reference to originality, the paper adds to the scarce research on the fight against global illicit trade and empirically explores the role that culture plays in driving the attitudes towards illicit trade and the political will to fight the crime. In reference to practical implications, anti-illicit policy initiatives are likely to be more challenging in collectivist countries with lower uncertainty avoidance and a short-term orientation. Policymakers need to tailor their anti-illicit trade efforts in these countries as these societies will not likely place the same value on countering illicit trade as the countries that are culturally more individualistic, have greater uncertainty avoidance and have a strong long-term orientation.

AbstractResearch purpose. Growth of illicit trade has markedly increased and caused damage to a multitude of economic, socio-economic and environmental outcomes. The purpose of this paper is to examine the impact of Hofstede’s country cultural dimensions on the attitudes towards illicit trade and the political will to counter the crime across countries.Design/Methodology/Approach. The 2018 Global Illicit Trade index published by the Economics Intelligence Unit for 62 countries is empirically analysed. Six hypotheses are built and tested across Hofstede’s six cultural dimensions.Findings. The results indicate that countries that are culturally more individualistic, have greater uncertainty avoidance and have a stronger long-term orientation have a stronger structural capacity to protect against illicit trade on average.Originality/Value/Practical implications. In reference to originality, the paper adds to the scarce research on the fight against global illicit trade and empirically explores the role that culture plays in driving the attitudes towards illicit trade and the political will to fight the crime. In reference to practical implications, anti-illicit policy initiatives are likely to be more challenging in collectivist countries with lower uncertainty avoidance and a short-term orientation. Policymakers need to tailor their anti-illicit trade efforts in these countries as these societies will not likely place the same value on countering illicit trade as the countries that are culturally more individualistic, have greater uncertainty avoidance and have a strong long-term orientation.

The research also analyzes the popularity of specific esports disciplines, identifying key trends such as the rise of team-based strategy games like League of Legends and Dota 2, as well as tactical shooters like Counter-Strike: Global Offensive. A detailed evaluation of quantitative indicators such as the number of active players, tournaments, and viewership on platforms like Twitch provides insights into which esports are most popular and why. For instance, Counter-Strike: Global Offensive continues to dominate in terms of player participation, while League of Legends holds a significant lead in terms of global viewership. These disciplines show strong growth patterns, reinforced by the support of professional tournaments, high-profile sponsorships, and the extensive fanbase these games maintain. The paper highlights genre diversity as a significant driver of esports' growth, showcasing the distinct appeal of multiplayer online battle arena (MOBA) games, first-person shooters (FPS), and card games. This genre variety not only attracts different player types but also enhances the overall viewer experience. Streaming platforms such as Twitch are identified as essential tools for the expansion of esports, offering a means of engaging global audiences through live broadcasts, real-time interactions, and fan-centric content. The study confirms the global reach of esports, underscoring its significant economic impact and its growing cultural influence, particularly among younger generations. Esports is not just a form of entertainment but also a vehicle for technological innovation, social interaction, and professional development, offering opportunities for players, coaches, analysts, and various professionals within the industry. The findings further highlight how esports has become a critical part of digital culture, with countries like South Korea, China, and the United States leading the way in the formalization and institutionalization of competitive gaming. Finally, the research provides recommendations for the sustainable development of esports, emphasizing the need for continued genre diversification, the strengthening of technological infrastructures, and the expansion of viewer engagement through interactive and immersive experiences. This will ensure that the esports ecosystem remains robust, attracting new participants and maintaining the interest of both players and fans in the long term. The paper also proposes strategies for improving the accessibility of esports in emerging markets, where the necessary technological and financial resources are still developing. By addressing these factors, esports can continue to grow and solidify its position as a mainstream, globally recognized form of entertainment.

Abstract The intersection of global population aging and technological trends in e-health, robotics, artificial intelligence, and mobile technologies has led to the emergence of “AgeTech” as a way to improve the health and well-being of older people. While this might be seen as an almost deterministic process of technological change, the visioning, development and implementation of technology is essentially a creative and socially-situated process. This requires us to understand AgeTech as a socio-technical imaginary, examining the intersecting spheres of social action and technological development. This idea of technological development as a creative process, runs counter to an idea of technology in purely rational and instrumental terms and brings into play cultural, political and behavioural factors. Our symposium examines the socio-technical imaginary of AgeTech in three papers: Paul Higgs and Chris Gilleard discuss Fourth Ageism and the Technological Imaginary of Long-term care and argue that the problematizing of aging present in current thinking needs to be challenged at the conceptual stage of technological development. Andrew Sixsmith et al will present on A Global AgeTech Agenda, with a particular focus on how AgeTech development and innovation should connect with global initiatives such as the UN’s Strategic Development Goals. Mei Lan Fang et al will take an Ethical Perspective on AgeTech to discuss some of the complex challenges around the creation and use of technologies and argue that culture change is needed within the research and innovation communities to develop ethically grounded AgeTech. This is a Technology and Aging Interest Group Sponsored Symposium.

The aim of the research is the improvement of the concept of the institutional structure of the economy in the conditions of corporatization on the basis of researching the international experience of development of stable basic institutions of the institutional environment. Methodology. The methodological basis of the study is the provisions of the institutional theory using the analysis methodology “institutional matrix”. Historical-logical and dialectical methods were also used to study the contradictions in the processes of formation and development of the international institutional environment. Results. Institutional dynamics is the result of the functioning of a global international and specific national institutional environment, a formed subclass, ideological, economic, nationalhistorical factors, essential values, ethnic characteristics and characteristics of the nation’s mentality that are formed under the influence of long-term cultural influence and as a result of social interaction. Forced creation of new structures and private-property relations, supported by a massive import of market institutions in the absence of adequate national formal institutions and informal corporate culture, has led to non-fulfilment of contracts, a low business culture, opportunistic behaviour and informal contracts. In the process of introducing economic agents to institutional changes, invent quasi-market mechanisms: the predatory use of all types of resources, barter, income concealment, shadow schemes of tax evasion, offshore, “under-the-counter” wages, raiding, corruption at all levels of government, wide scale and versatility opportunism, violation of contracts, and the consumption of fixed assets. These manifestations intensified the structural deformations of the market and the transformational risks of the national economy. It is revealed that the development of the corporate economy on an innovative basis under the influence of globalization and monopolization, changes the individual institutions of the basic Y- and X- matrices. A new concept is proposed for constructing an institutional matrix using two principles of economic distribution: the market economy and the distribution economy; on the corporate and individual sectors of the economy. Two types of institutional matrices – corporate K-matrices and individual I-matrices – function in basic X- and Y-matrices, dividing each of the economies into two unequal parts (in terms of effectiveness, influence and significance of consequences). Corporate transformations turn individual complementary institutions of the market economy into the basic institutions of the corporate part of the Y-economy. Continuing institutional displacement requires finding the optimal balance between basic and complementary institutions in the corporate and unincorporated sectors of the Ukrainian economy, based on the use of specific institutional matrices, which will allow for institutional construction and minimize the social costs of the country’s evolutionary development. The concept of the institutional-matrix structure of the economy has been improved taking into account the modern tendencies of corporatization. The economy is defined as a set of basic institutions of two types of matrices that are unequal in efficiency, influence and significance of consequences: the corporate K-matrix and the individual private ownership of the I-matrix. Practical implications. The distribution of the economy into the corporate and individualprivate ownership sectors was the result of institutional transformations of certain complementary institutions of the market economy into basic ones, reveals the ways and sustainable mechanisms of institutionalization for the effective transformation of local institutional environments. The creation of an effective institutional environment will be ensured through the cultivation of institutional changes. Value/originality. The ongoing institutional displacement due to the intensification of the processes of monopolization and internationalization requires the search for an optimal balance of basic and complementary institutions in the corporate and unincorporated sectors of the Ukrainian economy, based on the use of specific institutional matrices, which will allow for institutional construction and minimize the social costs of the country’s evolutionary development.

Over the past 10 years, the Afghanistan Human Rights and Democracy Organization (AHRDO), a Kabul-based civil society organization and arts-activism platform, together with various self-organized, local war victims associations, has fought an uphill battle to challenge Afghanistan’s entrenched culture of impunity and make a contribution to a more just, democratic and peaceful country from the bottom-up. The current article critically describes, theorizes, and poeticizes one particular aspect of this decade-long struggle, the so-called Memory Box-Initiative, inspired by Augusto Boal’s Aesthetics of the Oppressed. Challenging the fact that in many urban centers of Afghanistan, and in particular in the capital Kabul, a great number of public monuments and buildings are dedicated to war criminals, a veritable architecture of impunity, the aim of the initiative is the creation of a counter-hegemonic, victims-centered architecture of remembrance, taking place in a context of a highly contested Transitional Justice process. The main sections of the article address the following three issues: (a) the attempt by Afghanistan’s political, religious, and military elites to undermine the efforts of the country’s war victims to challenge the current culture of impunity by promoting a cityscape in the image of what they consider to be war heroes; (b) the response by the Afghan community of war victims in the form of the Memory Boxes and subsequent advocacy efforts in the public sphere; and (c) the embedding of the Memory Boxes within the larger framework of what is currently being theorized as “nonextractivist methodologies” as part of what is known as the Epistemologies of the South, as proposed by Boaventura de Sousa Santos. The article will conclude with a call for increased epistemological and methodological insubordination and the need for further research and, above all, experimentation in combining the Memory Boxes and the Epistemologies of the South in the global struggle for social and cognitive justice.

L'art du Mithila désigne des formes rituelles et artistiques pratiquées au Bihar (Inde) et au Teraï (Népal). Issue de fresques réalisées par les femmes, aux marges de valeurs brahmaniques androcentrées, l'artification marchande globalisée des peintures conduit à des reconfigurations créatives, discursives, sociales, déplaçant vers le centre les peintres du Mithila.Le montage de plus de 500 expositions dans 36 pays (1935-2019) montre une accélération des circulations des œuvres artifiées et de leurs créatrices du Sud global, jouissant de formes de reconnaissance dans un monde de l'art dominant dont elles sont souvent exclues, en raison de subalternisations multiples (genre, caste, classe, clivages Nord/Sud et urbain/rural). L'histoire connectée de la réception transnationale de leur art s'étend du moment colonial tardif et de la postindépendance au moment postmoderne, en lien avec le tournant global, catalysé par le kairos indophile et contreculturel des Long Global Sixties. Une pensée critique prônant l'empowerment, basée sur le lien entre féminismes et indophilie contreculturelle favorise l'engagement sur le terrain de l'artification de médiateurs transculturels.Le moment colonial tardif et de la postindépendance est représenté par M. et W. Archer et des artistes-médiateurs gouvernementaux indiens comme U. Maharathi, fondateur de l'institut de design de Patna. Les Archer interprètent des pratiques à l'aune d'une vision organique de l'art et d'une esthétique universelle liées au freudisme et aux avant-gardes. Leader indépendantiste, Maharathi expose et commercialise l'art du Mithila. Ses ambitions de patrimonialisation résonnent avec l'affirmation d'une indianité liée à la construction de l'identité nationale. L'artification marchande se construit vers les années 1930, avant qu'une crise agricole, alimentaire et politique (1966-67) n'agisse comme catalyseur des circulations globales et de la légitimation des peintres. Avec l'entrée dans la première phase de mondialisation de la réception, celle de l'indophilie contreculturelle, des médiateurs transculturels (Y. Véquaud, E. Moser Schmitt, R. et N. Owens, T. Hasegawa) se situent dans un champ culturel transnational postbourdieusien traversé par des tensions, des convergences idéelles (féminisme, justice sociale) et des dissonances: bohème artistique et littéraire vs anthropologie appliquée au développement; intensification des flux marchands globaux vs idéalisme critique contreculturel et utopie communautaire villageoise. L'éphémère convergence de passeurs de (contre)culture et de médiateurs indiens autour d'un modèle alternatif fait advenir un kairos et un monde de l'art transculturel, décloisonné. Ce nexus entre médiateurs construit des figures féministes de peintres autour d'un art des marges et de la résistance créative. Le moment postmoderne de la globalisation tardive introduit pluralité discursive et déconstruction de visions du Nord-global réifiées, androcentrées et primitivistes et de la triangulation féminisme libéral-développement-tourisme. Les peintures sont réinterprétées à l'aune d'une « contemporanéité multiple » axée sur le flux ou d'identités imbriquées translocales, subversives au prisme des tournants postcolonial et de genre.Le kairos contreculturel est unique dans l'histoire de la réception de l'art maïthil, dont l'éphémère convergence des artificateurs est souvent occultée. Il ouvre la voie aux circulations globales, à la construction d'un champ transnational, à la déconstruction de la valeur d'«authenticité». L'art des femmes peintres entre sur la scène contemporaine globalisée, réapprécié à l'aune de canons transnationaux. En résultent transferts et hybridations entre contreculture et féminismes, en Inde et dans le Nord global. S'y forge une pépinière artistique et un catalyseur du mouvement des femmes, ouverts au féminisme inclusif et à une effervescence créative, leviers d'un changement de paradigme dans les renouvellements des artistes du Mithila
Mithila art refers to ritual and artistic forms practised in Bihar (India) and the Terai (Nepal). Originating in frescoes painted by women on the margins of androcentric Brahmanic values, the globalised commercial artification of paintings has led to creative, discursive and social reconfigurations, moving the Mithila painters from the periphery to the centre.The setup of more than 500 exhibitions in 36 countries (1935-2019) illustrates an acceleration in the circulation of artified artworks and their creators from the global South, who are enjoying forms of recognition in a dominant art world from which they are frequently excluded, due to multiple oppressions (gender, caste, class, North/South and urban/rural divides). The connected history of the transnational reception of their art can be traced from the late colonial and post-independence moment to the postmodern moment, in connection with the global turn that was catalysed by the indophile and countercultural kairos of the Long Global Sixties. Critical thinking that advocates empowerment, based on the nexus between feminisms and countercultural indophilia, fosters a commitment to the artification of transcultural mediators.The late colonial and post-independence moment is represented by M. and W. Archer and Indian government artist-mediators such as U. Maharathi, the founder of the Patna Design Institute. The Archers employ practices an organic conception of art and a universal aesthetics, which is linked to Freudism and the avant-garde, to interpret practices. Maharathi, an independence leader, exhibits and commercialises Mithila art. His ambitions for heritagisation resonates with the assertion of an Indianness linked to the construction of national identity. Commercial artification began to develop in the 1930s, preceding an agrarian, food and political crisis (1966-67) that acted as a catalyst for global circulation and the legitimisation of painters. With the entry into the first phase of globalisation of the reception, that of the countercultural indophilia, transcultural mediators (Y. Véquaud, E. Moser Schmitt, R. and N. Owens, T. Hasegawa) are situated within a post-Bourdieusian transnational cultural field characterised by an array of tensions, ideological convergences (feminism, social justice) and dissonances: artistic and literary bohemia vs. anthropology applied to development; intensification of global trade flows vs. critical countercultural idealism and village community utopia. The ephemeral convergence of (counter)cultural brokers and Indian mediators around an alternative model has given rise to a kairos and a transcultural, decompartmentalised art world. This nexus between mediators constructs feminist figures of painters around an art of the margins and creative resistance.The postmodern moment of late globalisation introduces a discursive plurality and the deconstruction of reified, androcentric and primitivist visions of the Global North, as well as the ‘liberal feminism-development-tourism' triangulation. The paintings are reinterpreted in terms of a ‘multiple contemporaneity' centred on flux, or of overlapping translocal and subversive identities, in the prism of postcolonial and gender shifts.The countercultural kairos is unique in the history of the reception of Maithil art, whose ephemeral convergence of artificators is often overshadowed. This paves the way for global circulation, the construction of a transnational field, and the deconstruction of the value of ‘authenticity'. The art of women painters enters the globalised contemporary scene, reappraised in the terms of transnational canons. This has resulted in transfers and hybridisations between counterculture and feminism, in India and in the Global North. An artistic incubator and a catalyst for the women's movement is being forged, open to inclusive feminism and creative effervescence, which serve as levers for a paradigm shift in the renewal of Mithila artists

Shanghai, long known as mainland China’s most cosmopolitan metropolis, has recently re-emerged as a global capital. Above sea: Contemporary art, urban culture, and the fashioning of global Shanghai offers the first in-depth examination of turn of the twenty-first century Shanghai-based art and design – from state-sponsored exhibitions to fashionable cultural complexes to cutting edge films and installations. This book offers a counter-touristic view of one of the world’s fastest developing megacities that penetrates the contradictions and buried layers of specific locales and artifacts of visual culture. Informed by years of in-situ research including interviews with artists and designers, the book looks beyond contemporary art’s global hype to reveal persistent socio-political tensions accompanying Shanghai’s explosive transitions from semi-colonial capitalism to Maoist socialism to Communist Party-sponsored capitalism. Analyses of exemplary design projects such as Xintiandi and Shanghai Tang, and artworks by Liu Jianhua, Yang Fudong, Gu Wenda and more reveal how Shanghai’s global aesthetics construct glamorizing artifices that mask historically-rooted cross-cultural conflicts between vying notions of foreign-influenced modernity versus anti-colonialist nationalism, and the city’s repressed socialist past versus consumerist present. The book focuses on Shanghai-based art and design from the 1990s-2000s, the decades of the city’s most rapid post-socialist development, while also attending to pivotal Republican and Mao Era examples. Challenging the “East-meets-West” clichés that characterize discussions of urban Shanghai and contemporary Chinese art, this book illuminates critical issues facing today’s artists, architects, and designers, and provides an essential field guide for students of art, design, art history, urban studies, and Chinese culture.

Charisma is a central category within popular music, and Max Weber offers a classic theory of charismatic authority that has direct relevance for the Dead. While the Dead also employed different strategies for avoiding the assumption of authority, commercial success made this impossible in the long run. But charisma in this case is not the characteristic of an individual as much as an effect produced by the machinery of the culture industry – and the Dead were ultimately bound up in that machinery. Still, the band generated one of the longest running forms of resistance and opposition, of counter-conduct, beginning in the mid-sixties, and the example of the Grateful Dead makes it possible to see how different forms of resistance, outside of conventional political forms, emerge, live on, and die.

Abstract The question of Coetzee as public figure has long been of interest, since he shrinks from but also embraces the role. How far may its terms have shifted since it was last substantially addressed by a group of critics (2006)? The world has changed, and so have Coetzee’s circumstances. He is no longer primarily a South African novelist, but a global figure in a global world. How might his move to Australia, the financial crisis of 2008–2009, the defensive fetishization of contemporary forms of democracy and ‘egalitarianism’ and the exponential growth of critiques of neoliberalism affect how we read him? Following Joseph North, Simon During, and Jean-Jacques Lecercle, the chapter argues for a direct mode of critical intervention which will ‘go public’ for Coetzee whilst respecting his subtlety, bringing out how far his work, from its narrative and discursive modes to its tones, runs counter to the global, neoliberal monolith.

The assumption that September 11, 2001 constituted a historical rupture enabled the advent of the War on Terror and disabled its critical apprehension. Beginning to counter the trope of rupture, this Introduction locates the paradigms of security and terror—the core conceptual tropes of contemporary and American and global culture—within the long history of a specifically colonial modernity. After outlining this history—its rationalities of accumulation and governance—this Introduction poses the problem of representation, the question of how the colonial present is historicized and theorized in works of contemporary fiction and theory.

This chapter provides an overview of the international concrete poetry movement of the 1950s-70s, which frames the development of concrete poetry in England and Scotland. Concrete poetry first emerged in West Germany and Brazil in the early-to-mid 1950s, largely through the endeavours of Eugen Gomringer and the Noigandres poetry group. The earliest concrete poetry, defined in this text as ‘classical concrete’, was rooted in the aesthetics of constructivism, concrete art, modernist architecture, and literary modernism, as well as an interest in simplifying and clarifying language systems which was often connected to semiotics, especially information theory. A key impulse was the desire to develop transnational systems of linguistic communication, as the basis for post-war international dialogue. By the close of the 1960s, however, a different definition of concrete poetry, more connected to Dada, Futurism, and intermedia art, had taken hold worldwide. This variant of concrete was associated with the sixties counter-culture, and with a desire to tear down existing social institutions, expressed through non-linguistic or anti-linguistic impulses. To some extent this global narrative mirrors the story of concrete poetry’s development in England and Scotland, and can be traced by assessing the work of Finlay, Morgan, Houédard and Cobbing in turn.

The information war against Ukraine launched by the Russian Federation in 2014, which intensified significantly after Russia's full-scale military invasion on 24 February 2022, requires the search for effective means of countering information invasion, taking into account the specifics of modern international public communications that use digital technologies and take place within the global cyberspace. The purpose of this paper is to describe the main directions, tools and prospects of Ukraine's counteraction to Russia's information aggression against it in the dimension of international public communications in the context of digitalization of global information and communication processes. The research methodology consists of a set of general scientific methods (logic, induction, deduction, analysis, synthesis) and a number of special methods: structural and functional analysis, typology, narrative, and generalization. Results. Under the influence of revolutionary technological changes in information and communication, within the framework of the global cyberspace, which has created a qualitatively new space for interaction between governments, countries, and peoples, along with the formation of the “digital world” and “digital human,” radical changes have taken place in international public communications. Socio-cultural dynamics have become more complex. The specific worldview of the information society supports pluralism, which is the acceptance of the simultaneous coexistence of different points of view. The media and mass media in general (television, the Internet, mobile communication networks) significantly influence the opinions, beliefs, and worldview of the population, cause the digitalization of the individual, change the format of social relations, and determine the models of constructing individual and collective identities. There is a negative information impact on people associated with information violence. One of its manifestations is aggressive propaganda, which aims to change people's attitudes toward certain phenomena in a direction favorable to the generator of propaganda content. In the context of Ukraine's confrontation with Russian information aggression, which has targeted everything Ukrainian since 2014 – the government, state, society, culture and identity of Ukrainians – researchers state that long before the military invasion of Ukraine, Russian propagandists were processing the world community in order to present the picture in a light favorable to the aggressor country, to form a negative image of the Ukrainian state and to prevent allies from helping it. The Kremlin is trying to “pollute” the image of Ukraine in the West and generally make the information field in which Ukraine appears dirty. Among the effective measures to counter anti-Ukrainian propaganda, in addition to the relevant legislative and instrumental measures within the framework of government agencies, is public diplomacy in terms of cyber diplomacy aimed at establishing ties with the public of the world and disseminating truthful information about the socio-cultural situation, political and public life of Ukraine. For this purpose, the necessary legal framework is in place and relevant changes are being made to Ukrainian legislation. Citizen/civil diplomacy is seen as an effective tool of cyber diplomacy in countering Russia's information aggression against Ukraine. Within its framework, Ukrainian scientists, politicians, journalists, students and the public in general will contribute to the promotion of Ukrainian interests in the world by preparing and publishing content on media platforms and social networks that debunks anti-Ukrainian propaganda narratives and thus influence the positive image of the Ukrainian state. Practical implications of the work lies in the possibility of using its results in the context of developing a strategy for Ukraine's resistance to hostile information influences in cyberspace. Value/originality. For the first time in the scientific literature, the author actualizes the need to develop a strategy for Ukraine's counteraction to hostile information influences in the dimension of international public communications and presents the author's vision of the main directions, tools and prospects of Ukrainian resistance to destructive Russian anti-Ukrainian propaganda as information violence.