Luis de Góngora y el origen del episodio del "Caballero del Verde Gabán" en el Quijote cervantino: del conde de Miranda y el poeta Lorenzo Ramírez de Prado al romance "Ensíllenme el asno rucio" del escritor cordobés

Este artículo parte del interés por conocer estudios recientes a nivel nacional e internacional sobre la literatura y las artes como medios pedagógicos para prevenir el acoso escolar. Para ello, se desarrolló un estado del arte mediante la consulta y análisis de 55 estudios publicados en repositorios institucionales y bases de indexación entre los años 2013-2023. El método utilizado fue la revisión bibliográfica con un análisis bajo el enfoque hermenéutico, lo que permitió interpretar los datos en torno a sus generalidades y especificaciones desde dos categorías de análisis: propósitos investigativos y tendencias en los resultados. Los hallazgos arrojan que, a nivel nacional e internacional, los géneros literarios y los tipos de arte se reconocen como recursos pedagógicos que promueven conductas de sana convivencia y previenen agresiones en el aula. En Europa y Asia, especialmente en países como España e Indonesia, existe un interés por el análisis de la literatura infantil y juvenil (LIJ) debido a su contenido moral, el cual puede disminuir las diferentes formas de violencia social. Por otro lado, en algunos países de América Latina, como Ecuador y Perú, se aplican métodos didácticos basados en la lectura y la escritura para disminuir el acoso escolar en preescolar y primaria. Mientras tanto, en Colombia se prefieren los diseños de investigación-acción para solventar, de manera temporal, las conductas del bullying en las aulas a través de la literatura y el arte. Sin embargo, se hace evidente que existen pocos recursos y mecanismos institucionales para hacer frente a este fenómeno de manera eficiente, lo que hace del acoso escolar una práctica recurrente.

El gato andino (Leopardus jacobita) es un pequeño felino considerado uno de los cinco más amenazados del mundo y considerado una de las especies en mayor peligro de extinción en el continente americano. El área de distribución de su hábitat se encuentra por encima de los 3.500 metros sobre nivel del mar, en los Andes de Bolivia, Chile, Perú y Argentina, donde, por ejemplo, ha sido visto en las provincias de Salta, Jujuy y Mendoza. El objetivo de este trabajo es analizar cómo contribuye el gato andino a la cultura de las comunidades andinas en el noroeste argentino. Para ello se utiliza el proceso jerárquico analítico, donde se relaciona sus cualidades como patrimonio biocultural, parte del paisaje natural y especie carismática. En base a ello se observa que el felino es principalmente parte del patrimonio biocultural que reciben los pobladores locales, y que, en segundo lugar, adquiere relevancia comercial por lo atractivo de su imagen en la naturaleza andina.

This is a fascinating collection of essays by different authors who, by means of careful examinations of texts, shed light on the nature, status, and practice of power in sixteenth- and early seventeenth-century Spain. Two pieces, one dealing with Juan de Palafox y Mendoza and, especially, one focused on the writings of Inca Garcilaso de la Vega, address Spain's relationships to the territories it had conquered in the New World. Three of the contributions (by Anne J. Cruz, Ignacio López Alemany, and Jason McCloskey, respectively) were first presented as lectures at a 2009 symposium organized in connection with the exhibition Sacred Spain: Art and Belief in the Spanish World at the Indianapolis Museum of Art, curated by Ronda Kasl. I mention the circumstance of this important exhibition as background and source because a striking characteristic of this compilation is that many of its essays make use of visual materials, especially paintings, and, in some cases, this treatment is quite extensive. The title itself, by emphasizing signs, gives notice of the book's participation in what is often now called the visual turn in the humanities. None of the authors are art historians; rather, they are linguists (Spanish and Portuguese) versed in literature and its relation to multiple aspects of human culture. The other key word in the title is “power,” the basic concern of the essays, which are divided into two parts: “Myths of Power” and “Challenges for Power.” The unsigned preface (authored, I suppose, by the volume's two editors, Jason McCloskey and Ignacio López Alemany) offers a good introduction to the contents of the book and the problems it intends to examine.The essays deal mostly with the reigns of Philip II and Philip III. The literary references brought into the analyses include classical authors, of course, as well as Miguel de Cervantes, Luis de Góngora, and Félix Lope de Vega, among others. In part 1, for example, Cervantes's Sansón Carrasco and Don Quixote are the focus of Frederick A. de Armas's essay on myths of power, with suggestive references to sculpture gardens, specifically the one at Bomarzo. In part 2, E. C. Graf examines Cervantes's La Numancia alongside El Greco's paintings for El Escorial, providing a cogent explanation for Philip II's reluctance to further patronize the painter. In connection to this interface between texts and paintings, Titian is, interestingly, the artist most mentioned in the collection, since several of the essays are concerned with the details of the well-known relationship between the Venetian painter and both Charles V and, especially, Philip II. In particular, Anne J. Cruz and Lucia Binotti deal sensitively with Titian's erotic paintings for Philip II, comparing them to classical and contemporary literature and placing them in the context of not only Philip's very personal concerns but also his dynastic and political ones. Titian is also central in McCloskey's essay, the last of part 2, which compares Lope de Vega's La Dragontea to the painter's Religion Succored by Spain. The canvas, to my mind, continues to be a puzzling work, certainly illuminated by literary comparisons but still insufficiently studied in terms of its visual lineage. Other painters mentioned are Giovanni Battista Perolli and Cesare de Bellis (not Cesare Arbasia, as he is identified in the text), who depicted the mythological, classical, and allegorical themes of the frescos at the El Viso estate of Álvaro de Bazán, admiral of the Spanish navy. López Alemany introduces these artists in his discussion of the concepts of power and honor.Other objects are brought to bear on the topic of “challenges for power,” the focus of part 2. Elvira Vilches focuses on coinage during the reign of Philip III in her discussion of trust in power and its potential instability. The ambivalent, personal use of heraldic imagery by Juan de Palafox y Mendoza is the topic of John Slater's essay. Ana María G. Laguna studies another case of contesting power, the openly critical writings of Antonio Pérez, former personal secretary of Philip II turned “traitor.” Finally, José A. Cárdenas Bunsen examines Inca Garcilaso's reasoning about legitimate power and the problems of just war in his Royal Commentaries. In conclusion, the essays in this collection succeed in engaging the reader through their high level of scholarship on varied topics, all focused on the exercise and reception of Spanish Hapsburg power.

The article touches upon the issues of topical methodological problems of modern art history, including domestic, considers the historical background of their emergence, analyzes the concepts of scientists regarding the criteria of artistry, artistic creativity andassessment of works of contemporary art. The newest tendencies and factors influencing the formation of contemporary art are revealed,such as: digitalization, virtualization, commercialization, blurring the boundaries between elite and mass art, loss of integrity, polystylism,liberation from any norms of regulation, departure from the classical understanding of artistry. It was found that when evaluating worksof contemporary art, such non-artistic criteria as fashion, relevance, popularity of the author, investment attractiveness, and commercialsuccess began to play an important role. These criteria lead to the fact that the artistic evaluation of works of art is subjective, contributeto a departure from understanding art as an expression of certain universally significant and valuable meanings. The purpose of the work is to understand the current methodological problems of contemporary Russian art history, which arise bothat the theoretical and practical levels in relation to those artistic processes and practices that exist in contemporary art. The theoretical and methodological basis of the research was such philosophical and general scientific approaches, principles andmethods that allowed us to consider the methodological problems of modern art history from different perspectives: the principle oftransdisciplinary allows us to reveal the essence of modern art as a complex phenomenon; the method of generalization made it possibleto determine the place of contemporary art in the ideological paradigm through the analysis of ambiguous formulations and statementsregarding works of contemporary art, art practices and performative practices that were presented in various sources.

Purpose – The purpose of this paper is to examine challenges facing bibliographic classification at both the practical and theoretical levels. At the practical level, libraries are increasingly dispensing with classifying books. At the theoretical level, many researchers, managers, and users believe that the activity of “classification” is not worth the effort, as search engines can be improved without the heavy cost of providing metadata.Design/methodology/approach – The basic issue in classification is seen as providing criteria for deciding whether A should be classified as X. Such decisions are considered to be dependent on the purpose and values inherent in the specific classification process. These decisions are not independent of theories and values in the document being classified, but are dependent on an interpretation of the discourses within those documents.Findings – At the practical level, there is a need to provide high‐quality control mechanisms. At the theoretical level, there is a need to...

In order to systematically explore the normative treatment of black slavery by Second Scholastic thinkers, who usually place the problem within the broad discussion of moral conscience and, more narrowly, the nature and justice of trade and contracts, I propose two stations of research that may be helpful for future studies, especially concerning the study of Scholastic ideas in colonial Latin America. Beginning with the analysis of just titles for slavery and slavery trade proposed by Luis de Molina S.J. (1535–1600), I show how his accounts were critically reviewed by Diego de Avendaño S.J. (1594–1688), revealing basic features of Second Scholasticism’s normative thinking in Europe and the Americas. The normative knowledge provided by these two Scholastic intellectuals would be profoundly tested during the last decades of the 17th century, especially by authors who sharpened the systemic analysis and a rigorist moral assessment of every title of slavery and slaveholding, as well as the requirements of an ethics of restitution.

In order to systematically explore the normative treatment of Black slavery by Second Scholastic thinkers, usually placing the problem within the broad discussion of moral conscience and, more narrowly, the nature and justice of trade and contracts, I propose two stations of research that may be helpful for future studies, especially in what concerns the study of Scholastic ideas in colonial Latin America. Beginning with the analysisof just titles for slavery and slavery trade proposed by Luis de Molina S.J. (1535–1600), I show how his accounts were critically reviewed by Diego de Avendaño S.J. (1594–1688), revealing basic features of Second Scholastic normative thinking in Europe and the Americas. Normative knowledge provided by these two Scholastic intellectuals wouldbe deeply tested throughout the last decades of the 17th century, especially by authors who sharpened the systemic analysis and a rigorist moral assessment of every title of slavery and slaveholding, as well as the requirements of an ethics of restitution.

Pablo Luna, Actor, dramaturgo, director y docente. Ha formado parte del grupo de docentes en la Facultad de Artes Escénicas de la UANL durante 6 años y la escuela de teatro de la Facultad de Filosofía y Letras, impartiendo pantomima, Biomecánica y clown dramático.Codirector de la compañía Percha Teatro, que celebra este 2024 su 40 aniversario. Se ha especializado en la labor de Cuentacuentos como apoyo a los programas de fomento a la lectura. En el 2020 la UANL le otorga el “Premio a las Artes U.A.N.L” Como dramaturgo cuenta con más de veinte obras llevadas a escena para niños y niñas, adolescentes y algunas para adultos, Participa en el Festival Internacional Cervantino, con “Los cuentos del Armadillo” obra de su autoría. En el Festival de Teatro Nuevo León con: El tren de la historia, Cuéntame una de luchas, Cuentos negros para niños con preguntas y Balada para un amigo, en varias ediciones en el Festival Internacional Tamaulipas, Festival del Algodón, en Coahuila. Escribe la obra teatral “Los escarabajos enterradores” con la que gana el premio “Dramaturgia en corto” de la UANL además de publicar el texto. Su formación artística fue en CEDART Alfonso Reyes del INBA y durante su carrera de casi 30 años ha tomado numeroso diplomados y talleres de Clown Dramático con el grupo inglés Spymonkey, Clown de Hospital con Asís Gual, Cuenta Cuentos para hospital con Apolonio Mondragón, taller de Dramaturgia con Hernando Garza, Pantomima con Jorge Arturo Vargas, Ricardo Leal, Leticia Parra. escenografía con el maestro Abraham Nava, Producción con Fernando Payan y vestuario teatral con Cristina Sauza.Ha participado en el Programa Nacional de Teatro Escolar, como director con la obra “Bajo tierra” de David Olguín dirigida a primaria y secundaria que dio 80 funciones en la gran sala del Teatro de la Ciudad. Y como actor en cinco puestas en escena con diversos directores.En el ITESM participa como director en danza mimos y de las puestas en escena “Opción Múltiple” y “Democracia en el bar”. Ha dirigido obras de teatro en diversas instituciones como: Museo de Historia Mexicana, Centro Cultural Rosa de los Vientos, TERNIUM, HEB, etc.En el espacio “Niños Conarte en Parque fundidora” participa como Cuenta cuentos desde su arranque de actividades. Forma parte del grupo de artistas convocados por “Alas y Raíces” para visitar hospitales como clown y cuenta cuentos. Es invitado por Niños conarte para integrarse al programa de Alas y Raíces, “Teatro hecho por niños para niños” donde toma un diplomado y monta la obra “Niños con pájaros en la cabeza” con niños regiomontanos para representar a Nuevo León en Zacatecas.Ha participado en diversas ediciones de Ferias de libro; en Monterrey, UANLeer, Zacatecas, Arteaga, Monclova en el Museo Pape entre otras.Ha impartido el taller “Herramientas teatrales para contar cuentos” para mediadores de lectura de Niños Conarte, mediadores del museo del Centro de las Artes, mediadores de la Esfera Cultural de Galeana y el Carmen, a bibliotecarias en las Salas de lectura en San Pedro, Garza García y a público en general en la casa de la Cultura, Nuevo León. Así como al personal de HEB bibliotecas y para maestros de instituciones privadas y públicas de la aplicación de la Educación Disruptiva.Ha impartido talleres de Clown Dramático en la escuela Superior de Música y Danza del INBA, a maestros de la SEPSe ha hecho acreedor a lo largo de su trayectoria a diversos apoyos como Puestas en escena y Financiarte con el proyecto “Del cuento al teatro” y “Festival de teatro de Bolsillo”Ha representado al Estado de Nuevo León en el país del Salvador con la obra Pervertimento de José Sanchis Sinisterra. En el Festival Revueltas en Durango con la obra de su autoría Cuentos Negros para niños con preguntas. En la Muestra Nacional de Teatro en Tijuana con la obra Fray Servando de fugas y prisiones. En Xalapa con la obra Pervertimento. En Aguascalientes con la obra Niño y Bandido. En Mexicali con la obra de su autoría El viaje de los Payasos. En la Cdmx en Mercartes con la obra El patio de Monipodio bajo la dirección de Jorge A. Vargas.En el 2020 con el apoyo de Puestas en Escena de Conarte estreno en línea la obra Caldo Primordial de su autoría y fue seleccionada para el XXX Encuentro Estatal en Nuevo León, también fue elegida en la convocatoria Celebración Escénica en San Pedro Garza García y en el Festival de las artes en San Nicolás de los Garza.La obra de teatro “Las Mujeres en La historia de México” de su autoría, fue seleccionada en la convocatoria Quedarte en casa de la UANL y ha realizado giras con esta obra didáctica por diversos Municipio del Estado y el área metropolitana como Linares y San Nicolás. Nuevamente es seleccionado por “Alas y Raíces” para presentar la obra de su autoría “El navegante de los Sueños” en lugares marginales. Y con la obra de su autoría “Pacto con la muerte” para presentarse en secundarias.En el 2022 y 2023 escribió y actuó en el Espectáculo escénico musical El canto perdido del agua con el que visita 130 planteles escolares dando función. En el 2024 con la obra Las Memorias de Vicente el León, ofrece 100 funciones en escuelas primarias y secundarias, estos dos proyectos para La secretaria de Cultura del Gobierno del Estado de Nuevo León.

El presente artículo expone las claves de la obra artística de Toshima Yasumasa, que gira en torno a dos principales detonantes: la profundidad del pintor español Diego de Velázquez y el humanismo trascendente del pensador Miguel de Unamuno. En ellos encontró el sentido de eternidad, su vocación por el arte, y pudo forjar en su larga estancia en España aquella conexión que fue establecida entre su arte y la pintura de Velázquez, así como entre su obra y el pensamiento unamuniano, invadido del paisaje y lo existencial. En la pintura de Yasumasa se incluyen las mismas realidades que había tratado Unamuno: el simbolismo y la estela histórica de las ciudades, el apego hacia la tierra, los vínculos con las personas, el amor por la naturaleza, el sentimiento religioso, la búsqueda de lo profundo y de lo sagrado. Constantes que, de forma gradual, serán recordadas en estas páginas.

Book Reviews¦%£> St. Francis in Italian Painting. By George Kaftal. (London: George Allen and Unwin Ltd., Ruskin House.) TWs volume is a part of a series of publications the avowed purpose of which is "to place the cWef ethical and religious masterpieces of the world, both Christian and non-Christian, within easy reach of the intelligent reader who is not an expert— the undergraduate, the ex-service man, the adult student, the intelligent public generally ." It consists of two parts: An introduction which undertakes to give a short description of St. Francis' life and personality, a somewhat sketchy retrospect of medieval Italian art connected with the Saint and his legend, and, finally, an abridged survey of early Italian literature concerned with Ws biography; the second part consists of 39 reproductions of works of art representing St. Francis and stories from his life, each of them accompanied by a quotation from one of the literary sources. Some mistake happened in "scene" 4, where the editors inserted the wrong picture, a reproduction of the first instead of the second fresco of the series in the Upper Church of Assisi as obviously intended by the author. To this a bibliography and a topographical list of the most important cycles of scenes from the life of St. Francis in early Italian painting are added, both of which do not pretend to be in any way complete or comprehensive. The choice of the illustrations aims "to illustrate the wealth and importance of the Franciscan cycles in Italian painting from the thirteenth to the fifteenth century." Attempting this the editors bring a group of illustrations from only one artistic monument of the thirteenth century, the well-known Berlinghieri altarpiece from Pescia; a larger group standing for the fourteenth century shows examples from Giotto's fresco series in Sta. Croce and from the series of Assisi; a few examples from the fifteenth century were chosen from the series by Gozzoli, GWrlandaio, and Sassetta. As the great cycles by Giotto and his school in Santa Croce and Assisi are, or at least should be, generally and intimately known not only by "experts" but by every educated person, inasmuch as reproductions of all these frescoes are easily available in numerous well-known publications, and since there are also many serious and conscientiously written works dealing with the phenomenon of St. Francis in practically every European language; and since, furthermore, at least one of the literary sources, the Fioretti, belongs to the treasures of world literature, educated people will profit little from a booklet like this. For one or the other person belonging rather to the "undergraduates" of school and life it might provide a glimpse into another and nobler orbit than his busy world of material success and failure. Harrv B. Gutman New Yor\, N. Y. Modo de predicar y Modus concionandi. Estudio doctrinal y edición crítica. By Pío Sagüés Azcona, O.F.M. (Madrid: Instituto Miguel de Cervantes, 1951. 2 Vols. Pp. xxxvi, 294; i, 480. 85 pesetas.) In her account of the dedication of St. Teresa's second foundation at Salamanca, Venerable Ana de Jesus describes Fray Diego de Estella—preacher on the occasion at the request of the great Carmelite Reformer—as "one of the most famous preachers we have." As she reports, since he was preaching, the greater part of the city attended . Philip II also paid tribute to Fray Diego's greatness as a sacred orator by appointing him predicador de corte, and this at a time when such men as St. Thomas 236Book Reviews of Villanova, Juan de Avila, St. Francis Borgia, Luis de León, St. John of the Cross and Luis de Grenada were preaching from the pulpits of Spain. Modern critics too have been generous in their praise of Padre Estella as a preacher and have highly recommended the Modus concionandi, his little book on the art of preaching. Professor Peers describes this work as "one of the most important works on sacred oratory published during the Golden Age in Spain." Menéndez y Pelayo likewise gives it his commendation. Nevertheless, Diego de Estella is usually thought of as a literary figure or as an ascetical...

The purpose of this paper is to examine challenges facing bibliographic classification at both the practical and theoretical levels. At the practical level, libraries are increasingly dispensing with classifying books. At the theoretical level, many researchers, managers, and users believe that the activity of “classification” is not worth the effort, as search engines can be improved without the heavy cost of providing metadata.

Apologists for physician-assisted suicide maintain that democracy's commitment to life, liberty, and the pursuit of happiness entitles any rational adult to decide when to end one's life. Yet the procedure nullifies freedom and the right to life, and is thus anti-democratic. Both on the practical and theoretical levels, assisted suicide leads to involuntary euthanasia. On the theoretical level, the distinction between voluntary and involuntary euthanasia is clear, but on the practical level it becomes blurry. Both pre-Nazi Germany and contemporary Holland offer ample evidence for the slippery slope that leads from voluntary to involuntary euthanasia. While advocates of assisted suicide regard the transition to the involuntary as an "abuse," that transition is, however, necessarily implied, and hence justified by assisted suicide. For the putative "right" to kill oneself implies that one has rights of disposal over one's life. But what is in principle disposable may be disposed of by others. Any argument for voluntary euthanasia implies the justification of involuntary eutharuisia. Therefore, physician-assisted suicide nullifies the right to life and with it the democratic charter.

El 58% del personal investigador en España desarrolla actividades artísticas, las cuales son frecuentemente utilizadas para transferir y divulgar su labor científica, obtener ideas para futura investigación o generar ingresos para sus organizaciones. Sin embargo, a pesar de la relevancia de estas actividades, carecemos de políticas o medidas específicas al respecto. Esta nota presenta motivaciones y propuestas exploratorias para abordar esta realidad, concebidas por un grupo de personas expertas en arte, transferencia de conocimiento, comunicación científica, políticas e igualdad en ciencia, tecnología e innovación. A pesar del impacto del arte en la ciencia, la tecnología y la innovación, se mantiene una división entre las actividades artísticas y científicas. En muchos contextos, la práctica artística es considerada poco valiosa e incluso inapropiada. No obstante, para el personal investigador, las actividades artísticas y científicas son parte integral de su identidad y de su enfoque sobre la contribución de la ciencia. Además, se observa una concentración de la producción artística y su uso entre la élite investigadora y el personal masculino, lo que plantea una necesaria discusión sobre las barreras que impiden su desarrollo. El arte podría ser un poderoso instrumento para la cocreación y el intercambio de conocimiento entre comunidades científicas, empresariales y sociales, generando un modelo de transferencia con un impacto más significativo que el actual. Asimismo, el arte puede contribuir a transmitir una "cultura universitaria", una "cultura científica" y una "sostenibilidad cultural", que son formas de entender e integrar el conocimiento mediante la creación de redes y alianzas sociales, y la promoción de valores y culturas innovadoras y participativas. El documento destaca elementos clave para integrar y valorar el arte del personal investigador en futuras políticas de ciencia, tecnología e innovación, fomentando la reflexión sobre los roles del personal investigador, la dinámica temporal de los impactos, la prevención de sesgos de género, las expectativas de rendimiento y otros aspectos relevantes. Además, es fundamental continuar investigando, ya que apenas comenzamos a comprender el fenómeno y quedan importantes preguntas por responder: ¿Por qué la mayoría del personal investigador dedica tiempo al arte? ¿Qué otros impactos permanecen invisibles?

The subject of the scientific article is the main innovations in the Russian language that appeared during the Covid-19 pandemic. The purpose of the article is to identify and analyze innovations in the Russian language during the pandemic, as well as their classification. The following methods were used in the work: text analysis, comparative analysis, frequency analysis, categorization, deduction method. The results of the work showed that many innovations were formed in the Russian language during the pandemic: new words translated from another language or undergone lexical development; homonymy; dissemination of slang vocabulary; going beyond specialized circles of highly specialized vocabulary; non-usual changes in the scope of semantics; the prevalence of one main discourse in speech and language. The article allows us to understand how social transformations affect language and the linguistic picture of the world. In this regard, the results of the work can be used to create effective communication strategies and understand the various processes unfolding in society. The research can also help improve the procedure for translating various texts, as well as improve intercultural interaction during a pandemic and similar situations. The novelty of the research can be seen both at the theoretical and practical levels. At the theoretical level, the approaches of various authors to recording changes in the field of the Russian language during the Covid-19 pandemic were collected, analyzed and structured. At a practical level, these changes are supported by specific examples that can be useful to philologists, linguists, journalists and any other interested parties who operate with the terminology of the pandemic period and use it in their work. The pandemic has significantly affected the Russian language and led to many changes in it. These innovations were reflected in the works of modern Russian linguists and philologists, as well as in various journalistic materials on the Internet, which became the empirical basis for the study.

The purpose of the article is to define prospects and limitations of artificial intelligence as a core of in the new industrial revolution. The definition of the concept of AI in the scientific community remains the subject of heated debate. At the same time, in the regulatory and legal plane, a trend is being formed towards unification of the concept of AI. Based on the analysis conducted and literary sources, the following prospects for AI can be identified on theoretical and practical levels. On theoretical level: (1) alienation of tacit knowledge from the individual (employee and entrepreneur); (2) optimization of the planning system; (3) revision of the socialist-calculation debate; (4) decreasing information asymmetry. On practical level: (1) formation of new products and markets; (2) increasing labor and capital productivity; (3) massive creation of new jobs; (4) optimization of business processes; (5) opportunity for rapid growth for small businesses and startups. Limitations: (1) long-term structural unemployment; (2) inflated expectations from AI and, as a consequence, the possible formation of a speculative bubble in the global stock market; (3) energy consumption of AI; (4) outdated pre-AI corporate culture and regulatory environment. Further improvement of AI (including the transition from AI to AGI) and the expansion of its use can make a significant contribution to solving problems related to economic calculation and minimizing information asymmetry, and therefore optimizing transaction costs in the economy. AI, certainly acting as a locally useful tool at the level of individual enterprises and organizations, causes the acceleration of attracting funds to the stock market, which can lead to the formation of a bubble on global level. If this bubble bursts, expectations about the economic efficiency of AI will be revised, and some AI-related companies will experience significant margin reductions (perhaps losses and bankruptcies). But this, in turn, will initiate the next stage of AI development, will accelerate its transition from the current narrow specialization to the creation of full-fledged general artificial intelligence (artificial general intelligence), which has a greater potential to change the economy at all levels. As a result, AI will become established as the core of the new industrial revolution.