Zeitschriftenartikel zum Thema „System apocalypse“

The presentation of a new scientific ideology based on the system information-hierarchical approach and characterizing the development of States, ethnoses, religions and modern civilization as evolutional socio-natural systems is continued. The incipient destruction of the bi-ethnic Christian-Jewish religious system, known as the Apocalypse, has been scientifically justified. The involution of the USA, USSR-Russia, Ukraine, China, the Jewish ethnos, Catholic and Orthodox superethnoses is consistent year-to-year with the earlier forecasts of their structural "perestroika": USSR-Russia 1991–1999, Ukraine 2014–2022, the Jewish ethnos 2022–2032 and others. The prolongation of the joint existence of the Catholic, Russian and Chinese superethnoses with the Jewish ethnos as components of the Christian-Jewish system for another 1000 years depends on China's acceptance of the Orthodoxy based on the New Testament.

This article focuses on the apocalyptic images of Moscow that not only proliferated in the immediate aftermath of the fall of the Soviet Union but that have also persisted during the 2000s. Mark Griffiths analyzes Tat'iana Tolstaia's Kys' (2000) and Dmitrii Glukhovskii's Metro 2033 (2005), comparing and contrasting the roles of Muscovite space in these narratives. Riddled with misinterpreted ideas and mutated remainders, turned upside down by ideological volte-face, and haunted by uncanny vestiges of preapocalyptic life, these postapocalyptic worlds are not tabulae rasae but pastiches that reflect post-Soviet transformations. In Kys', Moscow's concentric circles are connected to temporal cyclically, disrupting narratives of progress. In Metro 2033, the fragmentation of Moscow's metro system allows Glukhovskii to thematize the splintering of the post-Soviet city. Both novels evoke the long-standing opposition between Moscow's center and periphery but unveil the darkness of the hollow core, raising questions about the city's past, present, and future.

Facing the emergence of more world issues, preparing for the arrival of post-apocalypse becomes necessary. Among various problems people might face, lack of food sources is the most critical one. This paper examines how relatively sensitive and responsive private sector businesses can lead and collaborate with other segments of society to build a sustainable long-term food production and distribution system when the post-apocalypse comes. This 2-period system introduces the role of the Chamber of Commerce, and describes the progress of redistribution of resources and cooperation between companies. The feasibility of the system is assessed from different perspectives with the prediction and analysis of possible problems. The profit motives of companies taking part in the system are also studied.

Science fiction (SF) developed as a self-identified genre in Japan in the 1950s and quickly underwent a boom in the 1960s. Throughout this period, SF literature, film, and television were tightly intertwined industries, sharing production personnel, textual tropes, and audiences. As these industries entered global circulation with the hope of finding recognition and success in the international SF community, however, they encountered the contradictions of the Cold War liberal cultural system under the US nuclear umbrella. Awareness of the discursive marginalization of Japanese SF in the Euro-American dominated global SF scene manifested in Japanese texts in the twin tropes of apocalypse and anxiety surrounding embodiment. Through a close reading of two SF films—The X from Outer Space (Uchū daikaijū Girara, 1967) and Genocide (Konchū daisensō, 1968), both directed by Nihonmatsu Kazui for Shochiku Studios—and Komatsu Sakyō’s 1964 SF disaster novel Virus: The Day of Resurrection (Fukkatsu no hi), I argue that, largely excluded from discursive belonging in the global community of SF producers and consumers, Japanese authors and directors responded with texts that wiped away the contemporary status quo in spectacular apocalypses, eschatological breaks that would allow a utopian global order, as imagined by Japanese SF, to take hold.

This paper aims to deal with post-apocalypse materials that began the apocalyptic selfawareness that the world is an anthropocene, experienced the COVID-19 pandemic, and began to move from genre literature to pure literature. Among them, it will deal with the spatiality of Choi Jin -young's work “Where the Sun Goes,” which has been pointed out as a Korean-style post- apocalypse literature through various studies. Several studies have proven that studying the spatiality of literary works is a meaningful methodology that can reveal how the artist's thoughts are ideated and symbolized in the work, and how the artist's insights are structurally interacted with the characters. Therefore, this paper will analyze Choi Jin-young's “Where the Sun Goes” in this way, analyze how the author reveals his thoughts through spatiality in Korean-style post-apocalypse literature, examine how the metaphor of modern society is structured and used as spatiality, and furthermore, what alternative spaces are presented. This will be a meaningful study to confirm how Korean-style post-apocalypse novels use spatiality to escape from reproductive ethics and satirize the blatance of the violent system in modern society, and further present a new vision.

Abstract Blacks employed myriad means to survive the harrowing and protracted ordeal of American slavery. Arguably, the most important means were ideological, and one idea ubiquitous among Black captives was the catastrophic apocalypse: God physically coming to earth to destroy the planet and “wicked” people, while preserving “righteous” people. This article explores the origin, reception, and conception of this idea among enslaved Blacks in the United States. To do this, I first explore West and Central African cosmology during the era of the transatlantic slave trade to determine if there were philosophical antecedents that may have predisposed Africans to such a belief. I then examine how and why many displaced Africans in America embraced the apocalypse. I argue that Blacks received and conceived of the catastrophic apocalypse in a manner consistent with traditional African ways of knowing and ordering the world in order to survive and combat a novel and brutal system of oppression.

Considered joint political and military-political decisions of Russian and American governments led to massive integration of new technological environments in Russia based on covering material technologies. Showed that for solving of the whole system of integrated tasks there was made a synthesis of results of engineering and system designing of productions with irrational religious myths and symbols of apocalypse.

AbstractIn the Apocalypse of Moses the themes of the protoplasts' death and of God's mercy with Adam are dominant. The anthropological views, however, are ambivalent: man as a unity, or a dichotomy of body and soul. In the literary setting of the document as a whole, traditio-historical solutions are not satisfying. On the background of the use of the key terms σ μα, πνε μα and ψυχ in the Septuagint, the author of the Apocalypse does not provide a clear anthropological system, but articulates the "self," the "life" of man as owed to God. Avoiding the dualistic picture of man common in Greek philosophy, he is guided by the biblical view of man as a unity in order to strengthen the reader's hope in a life after death in the face of negative earthly conditions. This has consequences, for example, for the theological diversity in Early Judaism, or for the dilemma of the empty tomb of Jesus.

This paper explores the intersection of personal responsibility, futility, and faith in visual representations of nuclear apocalypse. In two films produced during the late Cold War, Testament (1983) and When the Wind Blows (1986), the protagonists attempt to follow public guidance, maintain daily routines as their health and communities break down, and make muddled connections to religious faith. In Testament, a mother is left to care for her children in suburban California for months after an unexplained nuclear attack isolates and contaminates the town. In When the Wind Blows, a retired couple living in the British countryside diligently follow government instructions to “protect and survive”, while quickly succumbing to radiation poisoning. In a contrasting post-Cold War visual representation, the speculative artwork of the artists Erich Berger and Mari Keto imagine the storage of nuclear waste as a personal responsibility. In OpenCare (2016), waste is encased in steel pellets mounted on a bronze disc, and a series of artifacts and instructions assist in determining continued toxicity. While Testament and When the Wind Blows project the futility of personal responsibility and faith in nuclear survival, Berger and Keto’s system envisions a deep nuclear future requiring continued personal management and care.

As said by Freud, an important mental need in some neurotic patients is the need for uncertainty in their life, or for doubt, which may prepare the background for drawing the patient away from reality, isolate him from the world, organize the person’s perspective for magical fantasizing, and turn their thoughts to those subjects upon which all mankind is uncertain, like life and its continual after death (1). In this regard, ‘Animism’ (magical thinking) may be considered a system of thought that allows us to grasp the whole universe as a single unity from a single point of view, and myths, as well, are based on animistic premises, which are not devoid of an essential need for controlling humans’ surroundings.

The catastrophic worldview, which has been formalized into various scientific theories (punctuated equilibrium, chaos, tipping points), covets disaster as its aesthetic, with entropy and negentropy as vying principles. At the close of the eighteenth century, science centered around the new findings of Geology, and scientists like Cuvier, Lamarck, and Buffon debated the predominance of gradual change through time versus sudden, widespread calamities or ‘punctuations.’ This essay investigates Gilbert White’s Natural History of Selborne (1789), a non-fiction, late eighteenth century natural history chronicle of a single parish through decades of close environmental observation. Its epistolary form conveys an aesthetic of discrete, close readings of nature through time, and the chronicle breaks off with the catastrophic effects of the Laki volcanic eruption of 1783. I suggest ways in which White’s famous work is unusually precocious in ecological methodology, a particularly fruitful angle because my reading goes against the perennial critical reception of Selborne as a tome of Enlightenment balance and economy. Instead, I argue that White’s work is a distinctly modern vision of catastrophic change in nature that foregrounds the contemporary science of Chaos Ecology.

Since the turn of the millennium, the number of film festivals celebrated annually has exploded, with more than 30 events being celebrated in the Melbourne metropolitan area alone in 2010. The rate of proliferation raises issues of event saturation, bringing into question the future of the film festival format. This article engages with the growing debate over the sustainability of unchecked festival growth. Examining the rise in specialised events that has characterised the film festival phenomenon, it argues that the diverse range and ubiquitous nature of these events collectively forms an exhibition system with the potential to usurp the role of art-house and specialty theatres. As a kind of ‘new cinema’, this article considers how festivals may be reshaping the future of film exhibition.

This article examines the most important documentary film about the Italian ‘victory’ in Ethiopia, Il cammino degli eroi, by Corrado D’Errico (1936), the primary aim being to shed light on its complex iconographic system of representation. The first part examines the representation of the ‘African Mussolini’. In the second part, the article analyses the ‘conqueror’s gaze’ in the visual perspective employed by D’Errico in his account of the new Italian colony. The third part is devoted to arguing the juxtaposition between ‘Italian Creation and Ethiopian apocalypse’. Finally, the last part of the article deals with the reasons for the Ethiopian war.

The main objective of this presentation is to determine the role played by eschatology within the political thought of Thomas Hobbes. In order to determine this role, it is fundamental to give an account of the bibliographic framework used for this presentation. Moreover, there will be an analysis on the relationship of the concepts of "death of State," "history," and "contract," and Hobbes’s main consequences in the post-apocalyptic political landscape. Finally, there will be an interpretation of Hobbes's use of eschatology responding the following question: Is eschatology just a rhetorical device, or is it essential for the entire structure of its political system?.

Abstract Culture is present in texts created in a certain literary system and socio-cultural context on every level and becomes particularly visible in culture-specific items (CSIs). They anchor the texts into a certain culture and as such pose serious translation problems. At the same time culture is embedded in the system of transnational relations where there is always cultural asymmetry that exerts influence on the translation process. The position of the culture and the language in the international system tends to be reflected in translator’s choices. This paper addresses the issue of the cultural asymmetry and culturebound translation problems in the Dutch translations of modern Polish literature. For this purpose the author takes a close look at the translations of Popioł i diament [Ashes and Diamonds], Mała apokalipsa [A minor apocalypse] and Dukla [Dukla].

This article addresses the issue of increasingly outspoken about environmental problems in American Southwest as portrayed in Rudolf Anaya’s Devil Deer. Impact of toxicity in the environment and the health of flora and fauna are some of the serious issues. Likewise, with the establishment of Los Alamos National Laboratory (LANL)-national’s military industrial complex, the radioactive rays and carcinogenic chemicals though LANL which spread toxicity that has contaminated all the beings. The natural healthy, robust beings have become poisonous, and like mutilated devil. To the flora and fauna the traditional autumn hunting “ritual” of Chicanos community has been also disrupted. From the eco-critical perspective, it is injustice to all the living creatures and plants by the acts of humans. Because of the human’s mastery exploitation, environmental apocalypse has taken place. Besides, plants as well as all living creatures are in en-dangerous situation since people are supposed to be the master of environment. Their hegemony, subjugation, exploitation are greatly on the nature so that the direct effect has been seen in the buck as depicted in the text. This article is a contribution to the existing knowledge on the perilous impact of human carelessness on the entire ecological system.

Angelology – the science of angels – exercised a compelling hold on the medieval and early modern mind. The role that angels had in the belief and ritual associated with death was perhaps its most theologically resonant aspect – angels were intimately involved in the system of eschatology and the rites associated with dying, mourning and burial. Their responsibilities at the end of life included participation in the cosmic struggle enacted around the deathbed, where good and evil angels were thought to contend for the custody of the soul of the dying; and stewardship of the soul after death, when angels were believed to carry it to its final resting place, as Lazarus was carried to Abraham’s bosom in Luke 16: 19–31. However, angels also assumed important responsibilities after death; they featured prominently in the narrative of the Last Judgement and the strategies adopted by Christians to conceptualize and prepare for the afterlife and the events of the Apocalypse.

Статья посвящена малоизвестному в России произведению английского композитора Джона Тавенера «Апокалипсис» (1993). На материале этого масштабного сочинения исследуется возникший в наиболее ортодоксальный период творчества данного автора концепт звуковой иконы, прослеживается его генезис. Возможность понимания музыкального произведения как иконы осмысливается в свете учения Православной церкви. При этом сквозь призму религиозной догматики рассматривается соотношение свободы творчества и религиозного канона, допустимая мера присутствия автора в тексте сочинения на столь значимый религиозный сюжет. Анализируются разработанная Тавенером система выразительных средств, укорененная в апостольской традиции, и связь между иконописью, подлинной верой и аскетической практикой. В заключении предпринимается попытка обосновать принципиальную инаковость звуковых икон Тавенера по отношению к сочинениям современных ему отечественных и зарубежных авторов, написанных на тему Апокалипсиса и на другие библейские сюжеты. Напряженный религиозный поиск помогает Тавенеру выйти за пределы музыкальной изобразительности и подвести слушателя к пространству богообщения. Это удается композитору во многом благодаря особому обращению со временем. The article is devoted to “Apocalypse” (1993) by the English composer John Tavener, a work little known in Russia. On the basis of this large-scale oeuvre, the concept of a sound icon, which emerged in the most orthodox period of the author’s work, is studied, and its genesis is traced. The possibility of understanding a musical work as an icon is conceptualized in the light of the teachings of the Orthodox Church. At the same time, through the prism of religious dogmatics, the correlation between freedom of creativity and religious canon is considered, as well as the permissible measure of the author’s presence in the text of a composition on such a significant religious subject. The system of musical expression developed by Tavener, rooted in the apostolic tradition, and the connection between iconography, true faith, and ascetic practice are analyzed. The conclusion attempts to substantiate the fundamental otherness of Tavener’s sound icons in relation to the works of Russian and foreign composers contemporary to him, written on the theme of the Apocalypse and other biblical subjects. The intense religious search helps Tavener go beyond the limits of musical imagery and bring the listener to the space of divine communication. The composer succeeds in this largely due to his special treatment of musical time.

The rollout of 5G technology promised transformative benefits for consumers and the economy. But a protracted dispute between the FCC and FAA relating to 5G interference with airplane safety equipment prevented a smooth 5G rollout. While the FCC was giving wireless companies the green light to roll out 5G service, the FAA was warning of apocalypse if they did. What resulted was a turf war between the FAA and FCC, revealing a dysfunctional process (or lack thereof) for handling spectrum interference concerns. This Comment argues that the United States’ spectrum management system needs an overhaul to prevent similar agency turf wars over spectrum policy. This overhaul can be achieved partly by consolidating some spectrum management authority, currently dispersed between multiple agencies, in a single agency. And it can be achieved by enhancing coordination and cooperation between agencies where authority over spectrum policy remains dispersed.

This article analyses the evolving cultural political economy of climate change by developing the concept of ‘climate imaginaries’. These are shared socio-semiotic systems that structure a field around a set of shared understandings of the climate. Climate imaginaries imply a particular mode of organizing production and consumption, and a prioritization of environmental and cultural values. We use this concept to examine the struggle among NGOs, business and state agencies over four core climate imaginaries. These are ‘fossil fuels forever’, ‘climate apocalypse’, ‘techno-market’ and ‘sustainable lifestyles’. These imaginaries play a key role in contentions over responses to climate change, and we outline three main episodes in the past two decades: the carbon wars of the 1990s, an emergent carbon compromise between 1998–2008 and a climate impasse from 2009 to the present. However, climate imaginaries only become dominant when they connect with wider popular interests and identities and align with economic and technological aspects of the energy system to constitute ‘value regimes’.

Utopia is a universal concept, as manifested by the fact that it has attracted readers of five centuries and has influenced numerous writers. It is obvious that people, recognizing the abundant stupidities, corruptions, and injustice prevalent in their society, should attempt to plan a better system for living together. Whether they can reach such a society or not is the fundamental question found in most Vonnegut’s works. The utopian schemes in Vonnegut’s works such as the settlement of San Lorenzo in Cat’s Cradle, almost always backfire, often bringing about more problems than they promise to solve. Therefore, in this paper, it is aimed to emphasize Vonnegut’s Cat’s Cradle regarding the concepts of utopia and dystopia as well as apocalyptical notions. Apocalypse can be investigated in Cat’s Cradle and it gives a serious quality to Vonnegut’s work. The emptiness of mere survival is painfully described in Cat's Cradle, in which the earth is locked in frozen death.

Culture today is experiencing a state defined by most researchers as “critical”, “threshold”, “moral or spiritual apocalypse”. One of the main problems is the devaluation of spiritual values, which leads to the destruction of the connection between society and academic culture.The multi-channel and all-consuming system of mass communications (media) has begun to play an increasingly decisive role in modern society. As an alternative to spontaneous dissemination of information flows, the concepts of “media culture” and “media art” arise, which makes it possible to combine aesthetic searches with modern media, the best opportunities of which should be used in the field of academic culture dissemination. That is why the issues of artistic enlightenment, professional dissemination of academic culture in the new information space, the focus of spiritual, moral and aesthetic guidelines, as well as the training of potential musical educators within the initial professional stage are so relevant today. The proposed experimental model of children’s musical enlightenment is aimed at teaching the popularization of academic music, disseminating acquired knowledge about music in the context of related arts, on the basis of a unified three-stage educational music enlightening system.The purpose of the presented project is to develop and implement the model on the basis of the existing primary state music education (of preschool, school and post-school professionally-oriented levels) using the achievements of media technologies. The presented model will contribute to the most harmonious development of individual creative abilities of students, the formation of their active life position, and the provision of their primary professional and activity competencies in the field of musical enlightenment, which can help optimize primary art education.

The way we talk about complex and abstract ideas is abundant in metaphors. Many research studies have shown that even the most subtle metaphor can have a significant influence on the way people try to tackle various social problems. Thus, the assumption is that metaphors are not just a simple rhetorical tool, but also have a profound effect on how we conceptualize reality and respond to important social issues. In the last two decades, scientists have studied the impact of metaphorical framing on political discourse from different research perspectives. Metaphors are often used for framing political topics, and these metaphorical frames are considered to affect the way people regard these issues, perceive the world, and act, on both the individual and collective level. In accordance with these research studies, in this paper, we will regard the metaphor as a cognitive tool that classifies our conceptual system and enables the understanding of our experiences. The objective of this paper is to examine the use of conceptual metaphors in media discourse on the corona crisis and the earthquake crisis caused by the quake in Petrinja. The research was conducted in three steps, following the methodology of critical metaphor analysis (Charteris-Black, 2004). In the first step, the identification of metaphorical expressions was performed by using a big data corpus of articles published by Croatian web-portals from the beginning of the pandemic (from January 2020 to April 2021) and after the Petrinja earthquake (from 29 December 2020). In the second step, the dominant conceptual metaphors employed in communicating the two crises were interpreted. The results of this interpretation are that war metaphors are ubiquitous in reporting on the COVID-19 disease pandemic, and the apocalypse metaphor is used in reporting on the earthquake. In the third step of the analysis, the reasons and implications of the occurrence of these metaphors are explained.

Multiple sclerosis is a chronic inflammatory demyelinating disease of an infectious and allergic origin, which usually begins at a young age, manifested by signs of a multifocal lesion mainly in the central nervous system, it has a remitting, less progressive nature of the course, often leads to disability. Multiple sclerosis is the most famous and widespread throughout the globe demyelinating diseases of the nervous system. According to the prevalence, it ranks fourth after cerebral stroke, epilepsy and parkinsonism, and is among the so-called "Four riders of the neurological apocalypse", according to their medical consequences and social consequences. The main variants of the development of multiple sclerosis are remitting, secondary and primary-progressive flow. The remitting flow (85-90% of patients in the early stages of the disease) is characterized by pronounced exacerbations followed by complete or partial restoration of impaired functions without signs of progression during remission periods. With secondary progressive scattered sclerosis, the remitting nature changes with a gradual increase in neurological symptoms with or without rare exacerbations, with minor stabilization or remission periods. A similar transformation is observed 10 years after the onset of the disease in almost 50% of patients, and in 25 years - in 80% of patients. At the primary progressive scattered (10-15%) progression is noted from the very beginning with isolated periods of stabilization and temporary minor improvement. Etiology, pathogenesis, clinic, diagnostics, differential diagnosis, treatment of multiple sclerosis are considered.

Although declared an end as a global health emergency, the Coronavirus remains the most prominent international pandemic challenging the world in the 21st century; it exposed the unfortunate politicization of a devastating pandemic, resource weakness, inadequacies of the democratic system of governance, and the failure of the federal administrative system of the US. This paper argues that, unlike many African nations, partisan politics, politicization, and resistance to Covid-19 in America contributed to prolonged containment efforts and untold suffering resulting in over a million deaths from the Coronavirus. Contrary to expectations, the doom and apocalypse from Covid-19 on the continent did not happen as expected because most African governments took immediate and effective preventive containment strategies and applied lessons learned from previous epidemics to battle and contain the virus outbreak. But most significantly, their populations cooperated rather than resisted containment measures, resulting in fewer deaths and economic devastation. In the end, unlike many African governments, and despite America's technological dominance, America's political polarization, partisanship, falsification of scientific information, and cult-like control of the right-wing conservative group resulted in resistance to Covid-19 response measures and untold human catastrophe. It is significant to note that while there is ample research on the United States Covid-19 response and polarization, however, none of these studies were on a comparative analysis of the US and Africa with regards to Leadership, Partisanship, Politicization, Resistance, Cooperation, and Unification.

Abstract Young-ha Kim’s 2013 crime thriller The Mnemonics of a Murderer is a tale of neurocognitive apocalypse, wherein selfhood built upon dissociative violence turns on its own self. In the novel, a retired psychopathic serial killer suffering from Alzheimer’s disease awakens back to action upon detecting his own kind on his trail, only to discover that all was merely an elaborate construct of his deteriorating mind. The outcome is no less deadly, however, for the revelation condemns him to exposure at the hands of his own prized faculties—his memories and deeds as a murderer. Expanding on the first-person narrator’s imploding microcosm, I claim that Mnemonics demonstrates the reflexive mechanism of dissociative violence by superimposing the two-pronged neuropathology of psychopathy and dementia upon the macrocosmic climate of anomy and degeneracy in postmillennial South Korea. The recent plague of spree killings attests to a deep-seated discontent with the growing chasm of socioeconomic inequalities that betray the rosy prospects of abundance and security from the 1990s. Showing how the legacies of compressed modernity have become a reflexive mechanism of self-destruction, Mnemonics offers a chilling psychosomatic allegory of dissociative social violence in its portrayal of a system avenged by its own depravity.

Throughout Earth's history, drought has been a common crisis in terrestrial ecosystems; in human societies, it can cause famine, one of the Four Horsemen of the apocalypse. As the global hydrological cycle intensifies with global warming, deeper droughts and rewetting will alter, and possibly transform, ecosystems. Soil communities, however, seem more tolerant than plants or animals are to water stress—the main effects, in fact, on soil processes appear to be limited diffusion and the limited supply of resources to soil organisms. Thus, the rains that end a drought not only release soil microbes from stress but also create a resource pulse that fuels soil microbial activity. It remains unclear whether the effects of drought on soil processes result from drying or rewetting. It is also unclear whether the flush of activity on rewetting is driven by microbial growth or by the physical/chemical processes that mobilize organic matter. In this review, I discuss how soil water, and the lack of it, regulates microbial life and biogeochemical processes. I first focus on organismal-level responses and then consider how these influence whole-soil organic matter dynamics. A final focus is on how to incorporate these effects into Earth System models that can effectively capture dry–wet cycling.

4A Games’s Metro Redux (2014) plays at the intersection of literature and video games. The suite consists of two games, the first of which ( Metro 2033) was based on the self-published novels of Dmitry Glukhovsky: Mempo 2033 (2005) and Mempo 2034 (2009). The games, like the novels, are set in the metro system of Moscow some 20 years after a nuclear apocalypse. Remnant communities, forced underground, congregate in stations that function as nascent city-states. Some stations are independent and unaligned, while others have formed factions (the mercantile “Hanza,” the communist “Red Line,” and the fascist “Fourth Reich”). A powerful central coalition, “Polis,” through the agency of its “Spartan” field agents, seems alone in its attempts to bring order to the metro and recolonize the ruined city above. But Polis and the Spartans are not the only such elements in Metro Redux, and players are quickly immersed in a landscape of Soviet neoclassicism, itself a polyvalent and highly politicized 20th-century Reception. This article will begin to explore what such receptions of Reception might mean. Does the Classical pulse, transmitted across multiple media, degrade to a point of white noise, meaningless and unintelligible? Or can we still find significance in the variation of reflection and transmission?

Abstract This article situates the early novels of Amos Tutuola—The Palm-Wine Drinkard (1952) and My Life in the Bush of Ghosts (1954)—in relation to literary primitivism. The first part outlines the initial misconstrual of Tutuola in the United Kingdom and United States as a “true primitive,” capable of producing authentically what earlier modernist primitivists attempted to produce by simulation. The article then argues that Tutuola anticipated the reception of his texts and himself as primitive, and it describes how he manipulated a binary division in Yoruba folktales between the realm of the village and the realm of the bush. The third part of the article rehistoricizes Tutuola’s early works on this basis, showing how his primitivism relates both to the work of Chinua Achebe and Wole Soyinka, as well as to global thinking about spaces of primitivity in the 1950s in midcentury modernism and Cold War discourses of apocalypse. In this way, the article claims the importance of The Palm-Wine Drinkard and My Life in the Bush of Ghosts both to African modernism and to the evolving engagement across the twentieth century between eccentric writing and the preservation of an imagined remnant at the edge of the world-system.

This paper raises the truth question to explore the possibility of constructing a system of systematic theology in the contemporary context. By using Schleiermacher's thought as a constructive resource, two dimensions of truth are discussed in dialogue with Kathryn Tanner's book Jesus, Humanity and the Trinity: A Brief Systematic Theology: coherence and correspondence. Addressed in the first section is coherence, along with its auxiliary, comprehensiveness, as a requirement for system. The whole of the Christian world view is grasped by a principle of coherence that reflects both a subjective component of authorial individuality and an objective component of an individual grasp of the ‘spirit of the age’. Furthermore, consensus regarding systematic coherence in Western Christian thought agrees on a metanarrative structuring doctrines from creation to apocalypse. In Tanner's work, the principle of coherence is gift-giving that is traced from an inner-trinitarian narrative to its outer-trinitarian expressions in creation, the incarnation, eschatology, as well as in ethical response. Thematized in the second section is the tricky issue of theological correspondence between claims of redemption on the one hand and the sin, evil, and tragedy of the world on the other. Tanner's book offers one solution to this problem: analogical correspondence that situates doctrinal patterns of gift-giving (such as the incarnation, creation) as concentric circles in varying degrees of correspondence to their inner-trinitarian center. In view of this solution, this paper questions the relation between systematic coherence and the reality of both life's brokenness and the depths of divine self-giving pathos.

This paper is meant to study the apocalyptic scenario of the at the perspectives of the Great Acceleration. the apocalyptic scenario is not a pure imagination of the literature works. Instead, scientific evidences are in favour of dramatic change in the climatic conditions related to the climax of Man actions. the modelling of the future climate leads to horrible situations including intolerable temperatures, dryness, tornadoes, and noticeable sear level rise evading coastal regions. Going far from these scientific claims, Homo Sapiens Sapiens extended his imagination through the Climate-Fiction (cli-fi) to propose a dramatic end. Climate Fiction is developed into a recording machine containing every kind of fictions that depict environmental condition events and has consequently lost its true significance. Introduction The Great Acceleration may be considered as the Late Anthropocene in which Man actions reached their climax to lead to dramatic climatic changes paving the way for a possible apocalyptic scenario threatening the existence of the humanity. So, the apocalyptic scenario is not a pure imagination of the literature works. Instead, many scientific arguments especially related to climate change are in favour of the apocalypse1. As a matter of fact, the modelling of the future climate leads to horrible situations including intolerable temperatures (In 06/07/2021, Kuwait recorded the highest temperature of 53.2 °C), dryness, tornadoes, and noticeable sear level rise evading coastal regions. These conditions taking place during the Great Acceleration would have direct repercussions on the human species. Considering that the apocalyptic extinction had really caused the disappearance of many stronger species including dinosaurs, Homo Sapiens Sapiens extended his imagination though the Climate-Fiction (cli-fi) to propose a dramatic end due to severe climate conditions intolerable by the humankind. The mass extinction of animal species has occurred several times over the geological ages. Researchers have a poor understanding of the causes and processes of these major crises1. Nonetheless, whatever the cause of extinction, the apocalyptic scenario has always been present in the geological history. For example, dinosaurs extinction either by asteroids impact or climate changes could by no means denies the apocalyptic aspect2.At the same time as them, many animal and plant species became extinct, from marine or flying reptiles to marine plankton. This biological crisis of sixty-five million years ago is not the only one that the biosphere has suffered. It was preceded and followed by other crises which caused the extinction or the rarefaction of animal species. So, it is undeniable that many animal groups have disappeared. It is even on the changes of fauna that the geologists of the last century have based themselves to establish the scale of geological times, scale which is still used. But it is no less certain that the extinction processes, extremely complex, are far from being understood. We must first agree on the meaning of the word "extinction", namely on the apocalyptic aspect of the concept. It is quite understood that, without disappearances, the evolution of species could not have followed its course. Being aware that the apocalyptic extinction had massacred stronger species that had dominated the planet, Homo Sapiens Sapiens has been aware that the possibility of apocalyptic end at the perspective of the Anthropocene (i.e., Great Acceleration) could not be excluded. This conviction is motivated by the progressive defaunation in some regions3and the appearance of alien species in others related to change of mineralogy and geochemistry4 leading to a climate change during the Anthropocene. These scientific claims fed the vast imagination about climate change to set the so-called cli-fi. The concept of the Anthropocene is the new geological era which begins when the Man actions have reached a sufficient power to modify the geological processes and climatic cycles of the planet5. The Anthropocene by no means excludes the possibility of an apocalyptic horizon, namely in the perspectives of the Great Acceleration. On the contrary, two scenarios do indeed seem to dispute the future of the Anthropocene, with a dramatic cross-charge. The stories of the end of the world are as old as it is, as the world is the origin of these stories. However, these stories of the apocalypse have evolved over time and, since the beginning of the 19th century, they have been nourished particularly by science and its advances. These fictions have sometimes tried to pass themselves off as science. This is the current vogue, called collapsology6. This end is more than likely cli-fi driven7and it may cause the extinction of the many species including the Homo Sapiens Sapiens. In this vein, Anthropocene defaunation has become an ultimate reality8. More than one in eight birds, more than one in five mammals, more than one in four coniferous species, one in three amphibians are threatened. The hypothesis of a hierarchy within the living is induced by the error of believing that evolution goes from the simplest to the most sophisticated, from the inevitably stupid inferior to the superior endowed with an intelligence giving prerogative to all powers. Evolution goes in all directions and pursues no goal except the extension of life on Earth. Evolution certainly does not lead from bacteria to humans, preferably male and white. Our species is only a carrier of the DNA that precedes us and that will survive us. Until we show a deep respect for the biosphere particularly, and our planet in general, we will not become much, we will remain a predator among other predators, the fiercest of predators, the almighty craftsman of the Anthropocene. To be in the depths of our humanity, somehow giving back to the biosphere what we have taken from it seems obvious. To stop the sixth extinction of species, we must condemn our anthropocentrism and the anthropization of the territories that goes with it. The other forms of life also need to keep their ecological niches. According to the first, humanity seems at first to withdraw from the limits of the planet and ultimately succumb to them, with a loss of dramatic meaning. According to the second, from collapse to collapse, it is perhaps another humanity, having overcome its demons, that could come. Climate fiction is a literary sub-genre dealing with the theme of climate change, including global warming. The term appears to have been first used in 2008 by blogger and writer Dan Bloom. In October 2013, Angela Evancie, in a review of the novel Odds against Tomorrow, by Nathaniel Rich, wonders if climate change has created a new literary genre. Scientific basis of the apocalyptic scenario in the perspective of the Anthropocene Global warming All temperature indices are in favour of a global warming (Fig.1). According to the different scenarios of the IPCC9, the temperatures of the globe could increase by 2 °C to 5 °C by 2100. But some scientists warn about a possible runaway of the warming which can reach more than 3 °C. Thus, the average temperature on the surface of the globe has already increased by more than 1.1 °C since the pre-industrial era. The rise in average temperatures at the surface of the globe is the first expected and observed consequence of massive greenhouse gas emissions. However, meteorological surveys record positive temperature anomalies which are confirmed from year to year compared to the temperatures recorded since the middle of the 19th century. Climatologists point out that the past 30 years have seen the highest temperatures in the Northern Hemisphere for over 1,400 years. Several climatic centres around the world record, synthesize and follow the evolution of temperatures on Earth. Since the beginning of the 20th century (1906-2005), the average temperature at the surface of the globe has increased by 0.74 °C, but this progression has not been continuous since 1976, the increase has clearly accelerated, reaching 0.19 °C per decade according to model predictions. Despite the decline in solar activity, the period 1997-2006 is marked by an average positive anomaly of 0.53 °C in the northern hemisphere and 0.27 °C in the southern hemisphere, still compared to the normal calculated for 1961-1990. The ten hottest years on record are all after 1997. Worse, 14 of the 15 hottest years are in the 21st century, which has barely started. Thus, 2016 is the hottest year, followed closely by 2015, 2014 and 2010. The temperature of tropical waters increased by 1.2 °C during the 20th century (compared to 0.5 °C on average for the oceans), causing coral reefs to bleach in 1997. In 1998, the period of Fort El Niño, the prolonged warming of the water has destroyed half of the coral reefs of the Indian Ocean. In addition, the temperature in the tropics of the five ocean basins, where cyclones form, increased by 0.5 °C from 1970 to 2004, and powerful cyclones appeared in the North Atlantic in 2005, while they were more numerous in other parts of the world. Recently, mountains of studies focused on the possible scenario of climate change and the potential worldwide repercussions including hell temperatures and apocalyptic extreme events10 , 11, 12. Melting of continental glaciers As a direct result of the global warming, melting of continental glaciers has been recently noticed13. There are approximately 198,000 mountain glaciers in the world; they cover an area of approximately 726,000 km2. If they all melted, the sea level would rise by about 40 cm. Since the late 1960s, global snow cover has declined by around 10 to 15%. Winter cold spells in much of the northern half of the northern hemisphere are two weeks shorter than 100 years ago. Glaciers of mountains have been declining all over the world by an average of 50 m per decade for 150 years. However, they are also subject to strong multi-temporal variations which make forecasts on this point difficult according to some specialists. In the Alps, glaciers have been losing 1 meter per year for 30 years. Polar glaciers like those of Spitsbergen (about a hundred km from the North Pole) have been retreating since 1880, releasing large quantities of water. The Arctic has lost about 10% of its permanent ice cover every ten years since 1980. In this region, average temperatures have increased at twice the rate of elsewhere in the world in recent decades. The melting of the Arctic Sea ice has resulted in a loss of 15% of its surface area and 40% of its thickness since 1979. The record for melting arctic sea ice was set in 2017. All models predict the disappearance of the Arctic Sea ice in summer within a few decades, which will not be without consequences for the climate in Europe. The summer melting of arctic sea ice accelerated far beyond climate model predictions. Added to its direct repercussions of coastal regions flooding, melting of continental ice leads to radical climatic modifications in favour of the apocalyptic scenario. Fig.1 Evolution of temperature anomaly from 1880 to 2020: the apocalyptic scenario Sea level rise As a direct result of the melting of continental glaciers, sea level rise has been worldwide recorded14 ,15. The average level of the oceans has risen by 22 cm since 1880 and 2 cm since the year 2000 because of the melting of the glaciers but also with the thermal expansion of the water. In the 20th century, the sea level rose by around 2 mm per year. From 1990 to 2017, it reached the relatively constant rate of just over 3mm per year. Several sources contributed to sea level increase including thermal expansion of water (42%), melting of continental glaciers (21%), melting Greenland glaciers (15%) and melting Antarctic glaciers (8%). Since 2003, there has always been a rapid rise (around 3.3 mm / year) in sea level, but the contribution of thermal expansion has decreased (0.4 mm / year) while the melting of the polar caps and continental glaciers accelerates. Since most of the world’s population is living on coastal regions, sea level rise represents a real threat for the humanity, not excluding the apocalyptic scenario. Multiplication of extreme phenomena and climatic anomalies On a human scale, an average of 200 million people is affected by natural disasters each year and approximately 70,000 perish from them. Indeed, as evidenced by the annual reviews of disasters and climatic anomalies, we are witnessing significant warning signs. It is worth noting that these observations are dependent on meteorological survey systems that exist only in a limited number of countries with statistics that rarely go back beyond a century or a century and a half. In addition, scientists are struggling to represent the climatic variations of the last two thousand years which could serve as a reference in the projections. Therefore, the exceptional nature of this information must be qualified a little. Indeed, it is still difficult to know the return periods of climatic disasters in each region. But over the last century, the climate system has gone wild. Indeed, everything suggests that the climate is racing. Indeed, extreme events and disasters have become more frequent. For instance, less than 50 significant events were recorded per year over the period 1970-1985, while there have been around 120 events recorded since 1995. Drought has long been one of the most worrying environmental issues. But while African countries have been the main affected so far, the whole world is now facing increasingly frequent and prolonged droughts. Chile, India, Australia, United States, France and even Russia are all regions of the world suffering from the acceleration of the global drought. Droughts are slowly evolving natural hazards that can last from a few months to several decades and affect larger or smaller areas, whether they are small watersheds or areas of hundreds of thousands of square kilometres. In addition to their direct effects on water resources, agriculture and ecosystems, droughts can cause fires or heat waves. They also promote the proliferation of invasive species, creating environments with multiple risks, worsening the consequences on ecosystems and societies, and increasing their vulnerability. Although these are natural phenomena, there is a growing understanding of how humans have amplified the severity and impacts of droughts, both on the environment and on people. We influence meteorological droughts through our action on climate change, and we influence hydrological droughts through our management of water circulation and water processes at the local scale, for example by diverting rivers or modifying land use. During the Anthropocene (the present period when humans exert a dominant influence on climate and environment), droughts are closely linked to human activities, cultures, and responses. From this scientific overview, it may be concluded apocalyptic scenario is not only a literature genre inspired from the pure imagination. Instead, many scientific arguments are in favour of this dramatic destiny of Homo Sapiens Sapiens. Fig.2. Sea level rise from 1880 to 2020: a possible apocalyptic scenario (www.globalchange.gov, 2021) Apocalyptic genre in recent writing As the original landmark of apocalyptic writing, we must place the destruction of the Temple of Jerusalem in 587 BC and the Exile in Babylon. Occasion of a religious and cultural crossing with imprescriptible effects, the Exile brought about a true rebirth, characterized by the maintenance of the essential ethical, even cultural, of a national religion, that of Moses, kept as pure as possible on a foreign land and by the reinterpretation of this fundamental heritage by the archaic return of what was very old, both national traditions and neighbouring cultures. More precisely, it was the place and time for the rehabilitation of cultures and the melting pot for recasting ancient myths. This vast infatuation with Antiquity, remarkable even in the vocabulary used, was not limited to Israel: it even largely reflected a general trend. The long period that preceded throughout the 7th century BC and until 587, like that prior to the edict of Cyrus in 538 BC, was that of restorations and rebirths, of returns to distant sources and cultural crossings. In the biblical literature of this period, one is struck by the almost systematic link between, on the one hand, a very sustained mythical reinvestment even in form and, on the other, the frequent use of biblical archaisms. The example of Shadday, a word firmly rooted in the Semites of the Northwest and epithet of El in the oldest layers of the books of Genesis and Exodus, is most eloquent. This term reappears precisely at the time of the Exile as a designation of the divinity of the Patriarchs and of the God of Israel; Daily, ecological catastrophes now describe the normal state of societies exposed to "risks", in the sense that Ulrich Beck gives to this term: "the risk society is a society of catastrophe. The state of emergency threatens to become a normal state there1”. Now, the "threat" has become clearer, and catastrophic "exceptions" are proliferating as quickly as species are disappearing and climate change is accelerating. The relationship that we have with this worrying reality, to say the least, is twofold: on the one hand, we know very well what is happening to us; on the other hand, we fail to draw the appropriate theoretical and political consequences. This ecological duplicity is at the heart of what has come to be called the “Anthropocene”, a term coined at the dawn of the 21st century by Eugene Stoermer (an environmentalist) and Paul Crutzen (a specialist in the chemistry of the atmosphere) in order to describe an age when humanity would have become a "major geological force" capable of disrupting the climate and changing the terrestrial landscape from top to bottom. If the term “Anthropocene” takes note of human responsibility for climate change, this responsibility is immediately attributed to overpowering: strong as we are, we have “involuntarily” changed the climate for at least two hundred and fifty years. Therefore, let us deliberately change the face of the Earth, if necessary, install a solar shield in space. Recognition and denial fuel the signifying machine of the Anthropocene. And it is precisely what structures eco-apocalyptic cinema that this article aims to study. By "eco-apocalyptic cinema", we first mean a cinematographic sub-genre: eco-apocalyptic and post-eco-apocalyptic films base the possibility (or reality) of the end of the world on environmental grounds and not, for example, on damage caused by the possible collision of planet Earth with a comet. Post-apocalyptic science fiction (sometimes abbreviated as "post-apo" or "post-nuke") is a sub-genre of science fiction that depicts life after a disaster that destroyed civilization: nuclear war, collision with a meteorite, epidemic, economic or energy crisis, pandemic, alien invasion. Conclusion Climate and politics have been linked together since Aristotle. With Montesquieu, Ibn Khaldûn or Watsuji, a certain climatic determinism is attributed to the character of a nation. The break with modernity made the climate an object of scientific knowledge which, in the twentieth century, made it possible to document, despite the controversies, the climatic changes linked to industrialization. Both endanger the survival of human beings and ecosystems. Climate ethics are therefore looking for a new relationship with the biosphere or Gaia. For some, with the absence of political agreements, it is the beginning of inevitable catastrophes. For others, the Anthropocene, which henceforth merges human history with natural history, opens onto technical action. The debate between climate determinism and human freedom is revived. The reference to the biblical Apocalypse was present in the thinking of thinkers like Günther Anders, Karl Jaspers or Hans Jonas: the era of the atomic bomb would mark an entry into the time of the end, a time marked by the unprecedented human possibility of 'total war and annihilation of mankind. The Apocalypse will be very relevant in describing the chaos to come if our societies continue their mad race described as extra-activist, productivist and consumerist. In dialogue with different theologians and philosophers (such as Jacques Ellul), it is possible to unveil some spiritual, ethical, and political resources that the Apocalypse offers for thinking about History and human engagement in the Anthropocene. What can a theology of collapse mean at a time when negative signs and dead ends in the human situation multiply? What then is the place of man and of the cosmos in the Apocalypse according to Saint John? Could the end of history be a collapse? How can we live in the time we have left before the disaster? Answers to such questions remain unknown and no scientist can predict the trajectory of this Great Acceleration taking place at the Late Anthropocene. When science cannot give answers, Man tries to infer his destiny for the legend, religion and the fiction. Climate Fiction is developed into a recording machine containing every kind of fictions that depict environmental condition events and has consequently lost its true significance. Aware of the prospect of ecological collapse additionally as our apparent inability to avert it, we tend to face geology changes of forceful proportions that severely challenge our ability to imagine the implications. Climate fiction ought to be considered an important supplement to climate science, as a result, climate fiction makes visible and conceivable future modes of existence inside worlds not solely deemed seemingly by science, however that area unit scientifically anticipated. 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In the following article, we identify the Christian motifs in the novel Plakha (The Scaffold) by Ch. T. Aitmatov, describe them and offer our interpretations. The novelty of our analysis stems from the fact that Ch. T. Aitmatov’s body of work is still underresearched, particularly the religious components of this novel. Within our study, we employ the historical-literary, comparative, and motif analysis. We summarize the worldview of Avdii Kallistratov as a system and show that his image and life journey as someone who experiences choice, solitude, fate, recognition of his predestination and mission resemble the image and earthly life of Jesus Christ. His Old Testament name, his origins, the course of his life, and the crucifixion as the ultimate outcome are all important. According to the author, the mankind has reached the critical mark; the end of the world, the Apocalypse is advancing. We conclude that The Scaffold is a literary warning about the coming end of times, which is being drawn closer by the evils of modern humans. Only the tragic and heroic feats of people like Avdii can possibly slow this process down. At the same time the Christian doctrine is not the only correct one: the second half of the novel is based on pantheistic views, demonstrating the syncretism of the author’s worldview.

The paper explores the structure of Mykhailo Orest’s poetry, delving into its main elements such as concepts of time, forest, silence, and word, as well as the motives of eschatologism and reincarnation. It focuses on the ideological and aesthetic originality of Orest’s poetry, examining his views on the nature of language and the essence of art. The distinctive feature of Orest’s poetry is a metaphor of time that comprises various philosophical meanings, including the eschatological understanding of time as “the world of the night,” the era of “the departure of God,” and “the end of things” as opposed to the concept of “the eternal day.” Orest’s eschatological poetics is rooted in medieval imagery and biblical metaphors. His poetic vision of the Apocalypse combines motives and images of diverse meanings and origins. Orest’s pantheism is seen as growing from romantic aesthetics, primarily the works of German romantics. The poet’s pantheistic ideas find expressive reflection through the cult of the forest, the symbolism of trees, particularly the archetype of the world tree. They are also related to the myth of birth and death, interpreted in Orest’s poetry, and the motive of metamorphosis. Medieval mythology takes a special place in Orest’s poetic world. In particular, the poet reinterprets the myths of Grail, Parsifal, Lohengrin, and Tannhäuser. The creative thought of Mykhailo Orest was constantly in search — a romantic inclination towards the irrational to a conscious interest in the world of things and the establishment of a complex system of relationship with it.

The paper deals with the parodic procedure in the novel "The Epic of Water" by Enes Halilović. Considering the significant share of mythical and folklore, the nature of these silts in the work was illuminated and the parodic relationship to tradition was observed. In addition to the above-mentioned elements, the share of the historical can also be seen as significant, which was observed through the prism of the postmodernist text, which results in a specific relationship with the past. The socio-historical context, the system of social and moral values and the influence of the social component, appears as a basis for parodic and satirical effects, but with the final aim of raising it to the level of the universal. Part of the historical elements appear as an inseparable creative element of the parody complex in "The Epic of Water", because it is a particular event from modern history (the emigration of the population and the submergence of fertile land due to the construction of the artificial Lake Gazivode, which Halilović clearly mentions as one of the localities in the index of terms at the end of the book) that is the undisguised inspiration for the creation of the mythological guide to the flood and after it, as the author himself defines his narrative in the subtitle. However, Halilović's historicism is seen in the work as specific, because in his critical consideration of the value of the past, he elevates the local to the level of the universal. The author's attitude that history is subordinate to fiction can be interpreted as a view of history characteristic of postmodernist art, where history figures as a kind of intertext. The postmodernist attitude towards tradition, interpreted on the basis of the material the author takes from folklore and myth, is reflected in an ambivalent attitude towards tradition, where its conventions are established only to be destabilized in a parodic way. The ending of the novel is interpreted in the key of the eschatological vision of the created world, in the form of an aquatic apocalypse. Such an unraveling of narratives is seen as an example of the myth of doom, but also as a necessary stage of purification. Halilović's Paljevo is condemned to complete disappearance. The rapid moral degeneration of Muriz's lineage begins with Zahit's marriage to a mute and weak-minded foreign woman of unknown origin. From such a marriage is born Zaim, the first Paljevac who collects coffins for his closest relatives and who marries a woman who practices black magic, which leads to the culminating degradation of all virtues. It is interesting that in the same generation, Char's lineage visibly deteriorates - Charovac, whom Aljo goes to in order to free himself from the magical effects of Zaim's wife, himself performs black magic rituals. Therefore, in the end, the multiplied sins of the hero of the novel are symbolically dissolved by the water, disappearing in the purifying flood. In addition to the mythic layer that can be read at the end, a satirical moment related to modern society that boldly and brazenly manages human destinies, assuming the role of a higher power that decides on the justification of the flood for the sake of representing apparently general, but actually its own interests, is also pointed out. The motif of the flood was also analyzed at a metanarrative level, as a punishment from the author himself as the creator of his personal cosmogony, but at the same time with the hope of a new beginning, a new order, the emergence of which, in truth, is not even announced yet, but which exists as a logical continuation cyclical understanding of the cosmos and history, according to which the world catastrophe marks the end of one period and the beginning of a new one. In the claim that maybe no one needs the story, but that the author needs it, the irony of the poststructuralist position that the author is not a person in the psychological sense and that the work continues to live after the author, thanks to the readers is made clear. However, the statement from the novel that the story is indestructible ultimately reveals the exact opposite - despite the aquatic apocalypse of the world it narrates, the narrative itself is indestructible, which is why "The Epic of Water" still essentially appears as a masterful apology of both story and telling. This is exactly how we saw the apocalypse of a world built from universal motifs, translated into a special postmodernist fantastic prose with an emphasized parodic relationship to myth and folklore heritage.

The subject of this article is a phrase from the text distinguished in the initial part of the Galician-Volhynian Chronicle and described, conditionally, with the title “Eulogy to Prince Roman Mstislavich Galitsky.” In this text Prince Vladimir Monomakh is designated as the “grandfather” of Prince Roman. It is well known that Prince Roman was a fifth-generation descendant of Prince Vladimir Monomakh, which in no way corresponds to the understanding of the term “grandfather” in the sense of a genealogical relationship. The inviolability of the established place of each of the representatives of the Old Russian ruling dynasty in the genus scheme was the fundamental principle of the functioning of the power system. The author of the article establishes that in this case, the definition of Prince Roman as the “grandson” of his great-grandfather was a literary image, based on a stable historiosophical tradition. Its meaning was revealed through the identification of Prince Roman as the legendary “Greek king,” the grandson of Alexander the Great and the vanquisher of the “Ishmaelites” imprisoned behind the Iron Gate by his “grandfather.” The source of the appearance of this eschatological allusion in the text of Praise is the development of the idea of “the forefather of Abraham” as the “grandfather” of Job-Jobab in the articles upon 1178 and 1199 from the Kiev Chronicle and the Apocalypse of Pseudo-Methodius of Olympus. The reason for writing the “Eulogy” and the inclusion of textually related fragments in the annals was the desire to glorify the dynasty of Volhynia princes in the context of eschatological ideas, the interest in which was exacerbated after the invasion of Batu Khan.

The Anthropocene has created a new cartography. It moves between the rejection of scientific disciplines, overcoming dualism and a change of coordinates with which to interpret the world. The Anthropocene unites two fields of knowledge: geology and anthropology. The “Axial Age” divides daily practices (the World of life) and the objective view of nature (the World of science). The Anthropocene” by Paul J. Crutzen and Eugene Stoermer has two distinct parts; the first establishes “a period of time”, and the second establishes an “epistemic tool”. This paper is intended to illustrate the epistemological dimension of the Anthropocene. Eduard Suess, Antonio Stopani, Pierre Teilhard de Chardin, Vladimir Vernadsky, etc., anticipated the concept of the Anthropocene a century ago. The hypothesis of the earth as a “living organism” is inspired by the Goethean Science or Naturwissenschaft of Johann Wolfgang von Goethe. It reinforces the character of “rupture” that the Anthropocene has. The Gaia Hypothesis, which is built from elements of Earth science systems, sees the pressing need for a global system and to overcome the barriers between disciplines. The Anthropocene allows both ancient quarrels and the roots of philosophical thought to be reviewed. The metamorphosis linked to the Anthropocene represents the interplay between “collapse” and “awakening”. Focus on the objectivity of the “primary effects”—the “public bads”—leads to the imminent ecological apocalypse. If we focus on “secondary effects”, we observe the metamorphosis of “public bads” into “public goods”. The “good” hides behind the “evil”. We are not at the end of Civilization; we are before new beginnings, new rules, new structures. The Anthropocene could save the world thanks to the metamorphosis of our consciousness of the world.

Digital trust and, simultaneously, global distrust became a topical issue in the context of modern trends in the socioeconomic systems development: informatization, internetization, networkization, digitalization. A. Guterres asserts global distrust as one of the four “horsemen of the apocalypse” that threaten all of humanity at the present time. Vulnerability of Russia's positions in the global information and digital space, represented in the predominance of foreign (primarily Western) software and Chinese hardware, cyber-attacks on strategic infrastructure facilities, leaks and the actual vulnerability of personal data of the population (often almost unhindered access for fraudsters to the personal data of residents and non-residents), actualizes the need to strengthen national information security and, therefore, the perspective of the article. A research of digital trust, coupled with artificial intelligence and cyber, information and digital economic security, is conducted based on the methods of institutional-economic, interdisciplinary, empirical generalization, interpretation of new economic institutions and concepts, hypothesizing and scientific approach to the analysis of a new digital socio-economic reality. The research results are, firstly, a confirmed relationship between digital trust and digital economic security; second, digital trust and artificial intelligence; third, digital distrust and institutional traps in the context of artificial intelligence; fourth, the institutional aspects of AI on the example of China. The authorial hypothesis is formulated as the following: are destructive institutions and institutional-economic thinking formed in the context of the economy and society digitalization, the development of a Russian digital economy model with conflicting institutions? The novelty of the study involves clarifying the definitions of the institution of trust, digital global distrust, as well as digital institutional traps, the level of digital trust (for business, the abovementioned is reflected in building a trust system in supply chains, measured in terms of user confidence in information and digital goods, in the protection of personal data, their confidentiality).

Y. Voznesenskaya’s novel “The Star Chernobyl” is analyzed through the prism of the folklore code. The novel, built as a synthesis of fiction and non-fiction and telling about the first weeks after the Chernobyl disaster, connects the biblical context and the story of a small family, unfolding in real historical conditions according to the scheme of a fairy tale narrative. We establish that the epigraph to the novel does not just “rhyme” with the plot deployment, but, firstly, sets the key theme of the narrative (Chernobyl disaster), and secondly, it makes it possible to discover the commonality of the ongoing processes in biblical times and in modern times, forcing the reader invariably correlate what is happening in the present and in the distant past at each new round of phantasmagoric action. It expands the theme of novel to a global, universal scale, immerses it in the context of biblical imagery (Chernobyl accident as the beginning of the Apocalypse, a universal catastrophe) and acquires the functions of a contextual link that connects not just epochs, but modernity with eternity, everyday life with existence. The Orthodox context of novel is embodied in the motifs of forgiveness, catholicity, sacrificial love, as well as in the figurative system, where two types of righteous hero are presented: if the main character is a “doubted righteous man” who follows the faith through trials, personal disappointments and losses, then her Sister Anna is comparable to righteous wanderers (she is not ideal, she has worldly vices, but she devoutly believes in God, does not deviate from her own convictions, and in the finale is ready for a truly sacrificial act, refusing personal happiness for the sake of saving orphans).

The multidimensional study of women's poetry is one of the promising strategies of modern Russian literary criticism, which allows us to reveal not only the tools of women's writing, but also the female mentality, feminine identity, and the peculiarities of reflection by a female author of the natural and social world. Among the female authors, a special place is occupied by the Erzya poet Alina Podgornova, whose works trace postmodern trends. The subject of the research in the article is the means of representing the lyrical "I" in the poet's poems. The purpose of the work is to analyze a number of the author's works, to determine the system of images through which the lyrical "I" is represented, to trace their conditioning by the postmodern worldview of the poetess. The material was composed of poems from the collections "Except rhymes", "Stranded" ("Thought"). The methodological basis of the work is determined by the structural and semantic analysis of the lyrical text, through which the structural components of the poetic image, its semantic organization, and symbolic semantics are described. The scientific novelty of the study is determined by the fact that, in the stated aspect, A. Podgornova's lyrics are for the first time considered and introduced into the context of Russian literary criticism. The article argues that the emotional and psychological state of the lyrical heroine A. Podgornova is due to the author's worldview and axiological concept, his perception of the world as chaos, moral apocalypse. The poetess's worldview is filled with negative social manifestations that destroy the spiritual and moral essence of a person, leveling universal values. The conclusions and provisions presented in the article expand the understanding of the state and development of modern Mordovian literature.

The author of the article investigates original artistic heritage – experimental art strategies which are repre- sented in short stories by Sigizmund Krzhizhanovskiy. The article gives short biographical information about Krzhizhanovs- kiy as his popularity is growing. The author of short stories is famous for his omniscience talent. Researcher distinguishes such experimental artistic traits as creation of heroes, model of creation individual author’s myth about the world, synthesis of literature kind and sort. These traits are specificity of transitional type of thinking Krzhizhanovs- kiy’s. According to investigations of following scientists M.Epstein, M.Khrenov, Y.Lotman, V.Silantieva Krzhizhanovskiy was identified as prominent representative of transitional cultural period of XX-th century. Researcher demonstrates series of artistic traits which are similar for transitional cultural period of XX-th century and short stories by Krzhizhanovskiy: disintegration of holistic systems; variable and dynamic presentation about existence, world, beauty, true; model of chaosmos; active production new conceptions artistic model of existence and world, human and system of their relationship; eschatological tempers; plurality and multiplicity of worlds; actualization of mythopoetic art; intensification of playing experimental type. Experimental strategies of creating heroes are the next: reconsideration traditional cultural discourse, different meta- morphosis and transformations, using artistic principal of alienation (by V. Shklovsky), active functioning of body’s code, and artistic model of substitution for lifelike heroes. Krzhizhanovskiy experiments also with artistic coordinates of world: space and time (chronotope). Artistic world in short stories by Krzhizhanovskiy disintegrates, splits up and such situations are used for creating plurality and multiplicity of worlds and interworld, quasiworld after apocalypse. Synthesis of literature kind and sort is a bright trait of transitional type of thinking. Short stories by Krzhizhanovskiy show original variants of metric prose. Krzhizhanovskiy uses diversity of principals for rhythmization through all the levels of artistic text. Beside, the principals of musical rhythmization are widely used in short stories. Krzhizhanovskiy coded 23-d Appassionata by Beethoven in one of his short story. The author creates complicated superstructure of the text that confirms diversity of searches artistic synthesis and experimental poetic.

"Today, like never before, humanity is developing a fear of self-destruction. After the development of atomic weapons, the current nuclear weapon, although considered a weapon of deterrence, threatens the world with an apocalypse from which it could not recover. Faced with this situation, after the second war, the ultimate question nagging people's minds is the following: what weapon would be used in the next war? As a result, saving humanity from the catastrophe that is looming on the horizon requires recourse to the founding values of good governance and the culture of peace. Despite the old European democracy and the emerging African democracies, we still wonder about the trajectories to take to combine peace in a world which, more and more, is heading towards its extinction. With the current Russian-Ukrainian conflicts, introducing a war at the doorstep of Europe, as well as the putsches recorded in Africa, with the establishment of military juntas, the case of Mali in 2020 and 2021, of Guinea in 2021, of Niger and Burkina Faso in 2022, of Gabon in 2023, also the increase in the authoritarian regime in the Democratic Republic of Congo, in Rwanda, without forgetting the establishment of the ghost state in the Central African Republic, etc. there is reason to question the idealistic and realistic aims of democratic values. History has made democracy not only a system of management of public affairs par excellence, but also a way of living and a way of being. Founded on the values of freedom and tolerance, democratization requires our appropriate resolution to expose a systematic method that can lead to the construction of a culture dedicated to dialogue and the peaceful management of conflicts. Democratization, through the combination of good governance and the culture of peace, constitutes a process which requires a method bringing together both a part linked to the form, relating to the political and institutional organization, and a part linked to the substance, relating to the behavior of political actors. Keywords : Democracy, liberalism, socialism, conflict management, good governance"

В статье анализируется рецепция апостольского текста в поэме в. а. Жуковского «Агасфер». основные методы исследования: интертекстуальный, рецептивный, историко-литературный. средневековая легенда об Агасфере осмысляется Жуковским в религиозно-философском аспекте: как сюжет о грехопадении и духовном воскресении. ключевой момент в сюжете духовного перерождения героя связан с темой покаяния, которая осмысляется в контексте священного предания как внутренний переворот, как духовное изменение. тема покаяния в поэме аллюзивно соотносится с образом апостола Павла и его посланиями. восстановление ценностно-смысловых ориентиров героя осуществляется в контексте откровения Иоанна Богослова. Значение апокалипсиса открывается герою во сне, что указывает на то, что вместе с духовным исцелением он также получил пророческий дар. Библейский текст играет важную роль в моделировании образной системы поэмы. один из центральных символических её образов - образ дверей, формируется на пересечении евангельских и апостольских аллюзий. отсылки к апостольскому тексту позволяют конкретизировать сюжетную, мотивную, хронотопическую организацию поэмы. в то же время включение прецедентного текста в структуру поэмы сообщает ей дополнительную символическую кодировку. Семиосфера апостольского текста в поэме «Агасфер» объёмна и пластична; она пересекается с евангельским и ветхозаветным контекстом, включает не только канонические книги Нового Завета - Деяния святых апостолов, их послания и апокалипсис, но также сочинения мужей апостольских, например, послание к Римлянам священномученика Игнатия Антиохийского. к особенностям функционирования прецедентного текста в поэме можно отнести, во-первых, перекодировку чужого (апостольского) слова в слово героя: апостольские цитаты вводятся в поэму как слово героя, как фрагменты его исповеди; во-вторых, отсутствие границ между разными книгами священного писания (библейские книги как богодухновенные произведения дополняют друг друга, составляя единое целое). The article analyzes the reception of the Apostolic text in V. A. Zhukovsky’s poem «Ahasuerus». The medieval legend of Ahasuerus is interpreted by Zhukovsky in a religious and philosophical aspect: as a plot about the fall and spiritual resurrection. The key moment in the plot of the spiritual rebirth of the hero is connected with the theme of repentance, which is understood in the context of sacred Tradition as an internal revolution, as a spiritual change. The theme of repentance in the poem allusively correlates with the image of the Apostle Paul and his Epistles. Restoration of value-semantic orientations of the hero is carried out in the context of the Revelation of John the theologian. The significance of the Apocalypse is revealed to the hero in a dream, indicating that along with spiritual healing, he also received a prophetic gift. The biblical text plays an important role in modeling the figurative system of the poem. One of its Central symbolic images - the image of doors, is formed at the intersection of Evangelical and Apostolic allusions. References to the Apostolic text allow to concretize the plot, motive, chronotopic organization of the poem. At the same time, the inclusion of the precedent text in the structure of the poem gives it an additional symbolic encoding. The semiosphere of the Apostolic text in the poem «Ahasuerus» is voluminous and plastic; it intersects with the Evangelical and old Testament context, includes not only the canonical books of the New Testament-the Acts of the Holy apostles, their Epistles and the Apocalypse, but also the writings of the Apostolic men, for example, the Epistle to the Romans of the Holy Martyr Ignatius of Antioch. The peculiarities of the functioning of the precedent text in the poem include, firstly, the recoding of someone else’s (Apostolic) word into the word of the hero: Apostolic quotes are introduced into the poem as the word of the hero, as fragments of his confession; secondly, the absence of boundaries between different books of Scripture (biblical books as inspired works complement each other, forming a single whole). Main research methods: intertextual, receptive, historical and literary.

Аннотация. Статья пoсвящeнa выявлению симвoлoв и дeтaлeй, a тaкжe исследованию их рoли в рaсскaзе И.А.Бунинa «Гoспoдин из Сaн-Фрaнциско». В свoих художественных текстах Бунин часто гoвoрит o мире, где нет смысла и мeчтaх присущих чeловeку, oб иллюзoрнoсти и обмaнчивости цeлeй, к которым чeлoвeк стрeмится. Бунин с грустью показывает, чтo между жизнью oт смeртью тонкая и ненадежная нить. Образы-символы в рассказе «Господин из Сан-Франциско» используются для того, чтобф показать авторский взгляд. Важную роль в тексте также играют детали. Идейный смысл рaсскaза «Гoспoдин из Сaн-Фрaнцискo» характерен для твoрчeствa И.А.Бунинa. Рассказ содержит иронию, философский смысл, а также в ней имеются признаки притчи. Рaсскaз «Гoспoдин из Сан-Францискo» насыщен художественными дeтaлями и симвoлами. Ключевые слова: И.Бунин, деталь, символ, апокалипсис, философская притча. Аннотация. Макала И.Буниндин «Господин из Сан-Франциско» аттуу аңгемесиндеги деталдар менен символдорду изилдөөгө жана алардын тексттеги ролу тууралуу баяндайт. Иван Бунин өзүнүн чыгармасында маанисиз жашоону, адамдын кыялдануусу иллюзиялык максатка айлангандыгы тууралуу көрсөткөн. Жазуучу өмүр менен өлүмдүн ортосундагы тосмо бекемсиз экендигин баяндайт. И.Буниндин “Господин из Сан-Франциско” аңгемесиндеги деталдар менен символдордун өзгөчүлүктөрү чыгарманын негизин түзгөн. “Господин из Сан-Франциско” Буниндин чыгармачылыгындагы типтүү аңгеме. Ал жөнөкөйлүгү менен айырмаланса дагы, ошол эле учурда автордун чыгармачылыгындагы негизги өзгөчүлүктөрүн камтыган. Чыгарманын терең мааниси, жашырылган ирониясы жана үлгүлүүлүгү көрсөтүгөн. Аңгемедеги символдор автордун позициясын көрсөтүү үчүн атайын ыкма экени анализдин негизинде далилденет. Түйүндүү сөздөр: И.Бунин, деталь, символ, акыр заман, философиялык үлгү-насыят аңгеме. Abstract: This article is devoted to the study of parts and symbols, as well as con- sideration of their role in the text on the story of I.Bunin is «The Gentleman from San Francisco». Marked and characteristic peculiarities of parts and symbols in the system and the depicted world works I.Bunin. In his works I.Bunin often speaks with cold contempt about the meaninglessness of the world and human dreams, about the illusory and deceptive goals to which a person aspires and to which he dedicates his evistence. The writer bitterly observes that life is separated from death by too flimsy a partition. Through the analisis of the story, it is proved that the symbols in the text are artistic means of revealing the authors position. The characteristic features of details and symbols in the system of the depicted world of Bunin is work are also noted. The story «The Gentleman from San Francisco» is typical of Bunin is work. Despite the seeming outward simplicity of the story includes the author is principal features: a deeper meaning, a hidden irony, even some parable. In the creation of the story, the writer used a lot of small details, symbols, invisible at first reading. Keywords: Bunin, detail, symbol, apocalypse, a philosophical parable.

The article focuses on the novel “Pompeii” by Robert Dennis Harris which has been little studied in Russia and presents a new material for further research. The purpose of the research is to identify the originality of spatial images in the novel of the British writer. Basing on the comparative historical and analytical methods, the authors of the article explore the main principles of creating historical narration and the specifics of R.D. Harris’s work with historiographical sources while creating a historical epoch; they identify the features of W. Scott and E.G. Bulver-Lytton. Within the context of the study of the originality of spatial topoi in “Pompeii” the authors use extensively the concept of “topoekphrasis”, introduced by O.A. Kling. It distinguishes the place setting as a protagonist who influences greatly the course of events. While analyzing, the authors make the following conclusions about the national condition of the scene given by using ekphrasis and the correlation of the myth with the actual realities in the modern cultural system which indicate the stereotypical thinking of a person in the postmodern society: the myth of Adam and Eve who found themselves in Paradise, associated in the mind of a European with Capri which represents “unearthly” life; the expansion of the semantic fields after reading the myth of Sodom and Gomorrah which describes the destruction of two biblical cities and is brought closer in the novel to the events associated with the real tragedy in Pompeii, undoubtedly show the similarity of its plot resolution with the modern eschatological myth of the Apocalypse, which tells us about the inevitable death of civilization. The analysis of the mythological paradigm of R.D. Harris’s novel "Pompeii", organized by combination of ekphrasis and topoi, discloses the transformation of the postmodernist writer’s worldview, creating a new metaphysical reality in the historical novel. In addition to the real spatial topoi of the ancient world (forum, aqueduct, temple), the postmodern novel reveals mythological images: a labyrinth associated with the ancient Greek story of Theseus; the underground world of the dead, linked to the myth of Charon. The artistic understanding of the historical process by R.D. Harris allows us to identify the originality of the writer’s historical concept in the context of postmodern literature.

Como una reunión simbólica de conciencia, toda gran obra de arte es un apocalipsis silencioso que, con sus significativas impresiones o interacciones, puede llegar a transformar la estructura social. Transfigurando el mundo mediante sus espacios de representación, es capaz de adquirir una capacidad profética que denuncia situaciones a fin de, como en el caso específico aquí ofrecido, reestablecer el equilibrio de los ecosistemas degradados por la huella que el ser humano ha impreso sobre ellos. Esta misma impronta antropocénica, auspiciada por la idea de progreso que confiere la utopía del crecimiento ilimitado propuesta por el sistema capitalista, paradójicamente podría llevar al ser humano a asistir al fin de su propia especie. Por esta razón, parte del arte contemporáneo lleva tiempo sumamente preocupado en concienciar a la sociedad y, así, frenar la llegada de un catastrófico escenario futuro. Debido a la urgencia de esta acuciante situación, se abordan diversas denuncias establecidas en las prácticas artísticas para cambiar la actitud de sus espectadores. Para ello, se proponen aquí dos vertientes: la de obras que muestran escenarios distópicos y la de otras más activistas que tratan de atajar la situación desde entornos concretos. As a symbolic gathering of conscience, every great artwork is a silent apocalypse that, with its significant impressions or interactions, can transform the social structure. Transfiguring the world through its spaces of representation, it is capable of acquiring a prophetic capacity that denounces situations in order to, as in the specific case offered here; restore the balance of ecosystems degraded by the footprint that human beings have printed on them. This same anthropocenic imprint, sponsored by the idea of progress that confers the utopia of unlimited growth proposed by the capitalist system, paradoxically could lead the human being to attend the end of his own species. For this reason, part of contemporary art has been extremely concerned about raising awareness in society and, thus, curbing the arrival of a catastrophic future scenario. Due to the urgency of this pressing situation, we complaints various complaints established in artistic practices to change the attitude of its spectators. To do this, we proposed two aspects here: that of works that show dystopian scenarios and that of other more activists which try to tackle the situation from specific environments.