Lars von Trier’s Antichrist (2009) has often been described as a ‘gothic’, if not straightforwardly ‘horror’ movie. While this claim could easily be challenged with regard to strict genre definitions, it is doubtless the case that the film deals very explicitly with fear, first and foremost the female protagonist’s fear of herself, which is placed at the top of the so-called ‘pyramid of fear’ drawn by her therapist/wanna-be-Saviour partner. My opinion is that Antichrist perfectly displays the horrific effects of the (...) direct embodiment, following a true love encounter, of the symbolic positions which Lacan associated with male and female sexuation. If human sexuality relies on the logic for which there is only one mythical man who is truly whole while every real woman is not wholly whole, what happens when He and She (the nameless protagonists of the movie) fully identify with such irreducible asymmetry between the sexes, its fundamental derailment from nature? They short-circuit the material singularity of a specific human animal with the abstract universality of gender. With the same move, they cannot overcome (or sublimate) the realisation that, in the female protagonist’s own words, woman is ‘evil’ – as long as she feels guilty of what man accuses her – and man is a ‘bastard’ – haunted by the phantasm of unifying purity which woman disrupts. Gynocide as male totalizing extermination of universal difference and genital self-mutilation as female reflexive hatred for the supposedly exceptional man mark the sadomasochistic extremes of the scene of the not-two, the frightening ob-scenity ( o-skené ), or off-representation, of human sexuality. (shrink)

In the article the art originality of G. Swift’s novel "Waterland" is considered through the neomythologism traditions in the 20th century culture. The analysis shows that ironic representation of archetype images and plot models is determined by ideologems forming the European civilization and causing its present crisis. At the same time the art world of the work is organized by myth thinking laws and treated as myth novels of such authors as G. Marquez, Th. Mann, J. Updike. "Waterland" is a (...) new myth where the salvation of the European civilization is possible due to human aspiration for life, progress, order and ideal. (shrink)

The article is devoted to the four principle realization in the creative work of two poets, namely the English literature classic T.S. Eliot (1888-1965) and a representative of the Russian poetry Elena Swarz (1948-2010). Number four is a structural principle in their works composition and crucifix of Christ. On the example of the two poets the author shows that on the one hand, the symbol of four is a cosmic transversalism of being and the cross image, on the other. Thus, (...) two contradictory meanings are combined here: harmony and drama as truly Christian forms of dialectics. (shrink)

The article dwells on human problems in the English postmodernism prose. A non-classical character of the 20th century literature is discussed. Postmodernism prose is described as a modern modification of the classical psychological novel. The author considers that the main theme in this prose is revealing a dramatic man'€™s position in front of a spiritless and senseless practice of modern society. The major components of the psychological novel poetics as a hero, plot, composition and psychologism are determined. The author analyzes (...) J. Barnes'€™ "€œTaking it over"€, "€œEngland, England"€, "€œLove, etc"€ and J. McEwan'€™s "€œOn Chesil Beach"€. (shrink)

As Hegel once said, in Byzantium, between homoousis and homoiousis, the difference of one letter could decide the life and death of thousands. As this article seeks to argue, Byzantine thinking was not only attentive to conceptual differences, but also to iconic ones. The iconoclastic controversy (726-842 AD) arose from two different interpretations of the nature of images: whereas iconoclastic philosophy is based on the assumption of a :fundamental 'iconic identity', iconophile philosophy defends the idea of'iconic difference'. And while the (...) reception in the Latin West of the controversies over the image as a mere problem of referentiality of the letter explains why its originality has remained underestimated for centuries, reexamining Byzantine visual thinking in the light of today's 'pictorial turn' reveals its striking modernity. (shrink)

Come tutti gli ambiti teorici e pratici della civiltà occidentale anche la riflessione pedagogica viene investtita dalla potenza ideologica del neoliberismo, che intende trasformare e rivoluzionare a partire dagli anni '80 del Novecento tutte le forme in senso lato culturali sviluppatesi a partire dagli anni '60 e '70 del medesimo secolo. L'applicazione del principio della post-modernità frantuma e dissolve progressivamente le prospettive di cambiamento precedenti, assegnando alla civiltà capitalistica un'esistenza assoluta ed immodificabile. Tutti gli intenti che hanno di volta in (...) volta dimostrato di voler moderare e limitare (o condizionare) queste pretese non sono riuscite a raggiungere i propri scopi, favorendo al contrario la rincorsa regressiva operata dal sistema ideologico dominante. Solo la ripresa di una concezione di nuovo rivoluzionaria può invece, proprio a partire da una rinnovata pedagogia radicale e democratica, risolvere i problemi di mera sopravvivenza della civiltà umana e del suo contesto naturale, scatenati dalla illimitata volontà di potenza del neoliberismo economico e finanziario. (shrink)

Attraverso una breve e veloce premessa storico-critica e storico-filosofica il testo proposto fa emergere il tema del rapporto problematico sussistente fra l'attuale ideologia che sorregge il fenomeno economico, sociale e politico della globalizzazione internazionale dei capitali (soprattutto finanziari) ed i riflessi di ordine umano e naturale che ne sono l'effettiva conseguenza. Da un punto di vista psicologico, sociale ed educativo l'impianto ideologico neoliberista viene allora contrastato dalla ripresa di un pensiero critico, radicale e rivoluzionario, che riutilizza il principio dell'infinito creativo (...) e doppiamente dialettico, di lontana matrice presocratica e bruniana. Il testo analizza la progressione di avvicinamento a tale principio preparata dalle riflessioni di H. Marcuse, W. Reich, G. Deleuze, C. Castoriadis e A. Badiou. (shrink)