Przez fantastykę do ekokrytyki. Zwrot ku science fiction

The author puts forward the thesis that the challenges of the current times resulting from environmental change, the destruction of habitats and ecological disasters direct our sensibilities and aesthetics ever more tangibly towards the fantastic or ecofiction: (eco)horror, (eco)science fiction, or (eco)fantasy. However, while ecohorror mainly exposes the negative aftermath of the Anthropocene, culminating in inevitable disaster, science fiction offers leeway for a more speculative approach, enabling one to construct such visions of reality in which multispecies justice will be observed and cultivated. The author follows K.S. Robinson’s line of thinking that “science fiction is a new realism”, A. Ghosh’s analysis of the relationship between literature and ecology, and D. Haraway’s research on new ways of understanding the relationships between people and non-humans using the speculative potential of sci-fi. It is therefore suggested that there is a great need for a science fiction vision, aesthetic and narration that would be capable of guiding us out of the anthropocentric entanglement and the Anthropocene/Capitalocene into the Chthulucene (as conceived by Haraway).

ANALYSIS OF THE STORIES OF U. HAMDAM IN THE CONTEXT OF MODERN UZBEK LITERATURE OF NEOREALISM

The article is devoted to the problem of the evolution of the modern hero and types of heroes in the modern Uzbek literature of neo-realism. The poetics of neo-realism marked by a combination of descriptive concreteness and object precision with expressive and lyrical often-symbolized words; characterized by a weakening of narrative connections by strengthening the lyrical beginning and in-depth psychologism. Neo-realism in Uzbek literature, while possessing national features, in terms of poetic and stylistic orientation, is fundamentally different from neo-realism in Russian and Western literature. The works of A. Yuldashev and U. Khamdam are the bearers of this line in Uzbek prose. Along with the synthetic nature of the texts of these writers, there is a feature that unites them all — the desire of prose writers not to paradox, but to reality. The purpose of this article is to consider the philosophical perception reflecting the state of mind of modern man through the prism of the perception of the literary hero in the Uzbek literature of the XXI century. Ulugbek Hamdam in the stories «Камень», «Река души моей» (“The Stone", “The River of My Soul”) with the help of conventionality and signs-symbols, as well as building the work on the basis of functional relationships, builds his author’s concept on the material of everyday life. Abdukayum Yuldashev in the stories «Пуанкаре», «Близнецы» (“Poincare”, “Twins”) having a rich style arsenal, also works at the interface of realism and neo-realism. The article attempts to analyze the main features in the typology of the hero in the stories of U. Hamdam in the context of the traditions of new realism.

ROJAS, Alejandro (ed.), New Realism in the World Picture Age, Ápeiron Ediciones: Madrid, 2020

Reseña ROJAS, Alejandro (ed.), New Realism in the World Picture Age, Ápeiron Ediciones: Madrid, 2020

The landmark nature of visual art in of Weimar Germany and the principle of visual narrative

The subject of this research is the art practices of Weimar Germany, first and foremost displayed in photomontage works of the Dadaist artists, as well as paintings and photographic compositions of the representatives of “New Objectivity” since the early 1920s until coming to power of the Nazi in 1933. The relevance of this topic is substantiated by the heightened interest of modern researchers in the cultural processes of the early XX century, which had a significant impact upon the establishment of modern visual imagery system. Within the framework of study, the author also touched upon the problem of assimilation of modern art practices associated to the integration of art into all spheres of social life. The interpretation of this trend is one of the most relevant vectors of modern art history. The novelty of this work lies in the use of complex methodology that implies the unity of socio-analytical and philosophical-anthropological approaches, as well as the method of structural-semiotic analysis that leans on both classical theories and works of the contemporary art historians and culturologists of post-structuralism (P. McBride, R. Krauss, B. Buchloh, P. Stettler, and others.). The result of the conducted research lies in determination of interinfluence of photomontage practices of the Dadaists and the art of “New Objectivity”, which clearly demonstrate the “landmark” nature of the works created during the indicated historical period. The acquired conclusions may be valuable for further research of the German art of “New Realism”, reflected in the works of the artists of “New Objectivity” and “Magic Realism”, and as well as the upcoming trends in art of the XX century.

Biden-Moon summit indicates a new realism in Seoul

Significance The first was Japan’s prime minister, Yoshihide Suga, in April. While this priority sends a clear signal to Beijing, in each case there was also a substantial bilateral and regional agenda. Impacts Beijing sees itself as targeted and may react tangibly. Since South Koreans mistrust China even more than Japan, Moon need not fear public opinion if relations with Beijing worsen. Pyongyang could respond with a missile launch. Closer trilateral cooperation with Tokyo, as Biden wants, will meet resistance at home and may have to await Moon’s departure from office.