The Dies irae is a pervasive trope in film music, yet few composers have subjected it to transformations as intricate and imaginative as those found in the work of John Williams. This article examines the syntactic and semantic features of seven distinct Dies irae variants that appear in a number of Williams scores. These variants operate as complex signifiers that evoke a constellation of overlapping ideas—apocalypse, guilt, and punishment—all of which resonate with the original source: Thomas of Celano’s medieval hymn “Day of Wrath,” a vision of divine judgment at the end of time. Williams’ sophisticated deployment of the Dies irae exemplifies his multidimensional engagement with deeply embedded cultural codes in the service of musicodramatic narrative.

Background. This paper analyzes Yuri Kosach's novella "Khmelnytsky's Rubicon" (1941–1942; 1943) and the dilogy "The Day of Wrath" (1947) as examples of modernist historical prose. Particular attention is paid to the ways in which the author's interpretation of traditional models of historical narrative – intertwined with modernist principles of composition, imagery, and character construction – produces a multidimensional artistic structure open to diverse and even conflicting interpretation. Methods. The research is grounded in a comprehensive methodological approach that integrates the principles of historical-typological analysis (which presupposes the generalization of observations on the oeuvre of a particular writer within a specific stage of his creative evolution), biographical analysis (which allows for the interpretation of the ideological and aesthetic foundations of a work through the prism of the author's worldview orientations and personal life circumstances), structural-semantic analysis (which makes it possible to identify the generic nature of the studied texts, to outline their stylistic features – primarily Baroque, Romantic, and Expressionists – and to elucidate the peculiarities of their compositional organization), intertextual analysis (the study of the text's dialogue with other texts), and intermedial analysis (which allows one to trace the dialogue of the work with other art forms, particularly visual arts). Results. It has been established that "Khmelnytsky's Rubicon" exemplifies a complex interplay between historiographical discourse and literary-artistic reminiscences, incorporating Baroque and Romantic aesthetic devices that shape the symbolic and psycho-emotional dimensions of the narrative imagery. In contrast, "The Day of Wrath" employs a polyphonic model of historical reality, which presupposes the simultaneous coexistence, intersection, and interaction of multiple narrative levels. As a result, the structure of the novel is marked by mosaic-like fragmentation, where the chronological sequence of events and their causal relationship are subordinated to the logic of the characters' fluid, associative consciousness – primarily that of Bohdan Khmelnytsky himself. His extensive inner monologues function as semantic nodes that integrate temporally and spatially disjointed episodes into a unified whole. Conclusions. It has been demonstrated that the novella "Khmelnytsky's Rubicon" and the novel "The Day of Wrath" represent multilayered aesthetic phenomena that mark different yet interrelated stages in the genre and stylistic evolution of Yuri Kosach's historical prose across the 1940s. The genre transformation in both works is inseparable from aesthetic transformation itself (particularly the shift from baroque-romantic visionary poetics to expressionist-psychological fragmentariness), since it is precisely the change of style that determines the mode of the author's individual interpretation of historical material. Accordingly, the function of the historical epic genre undergoes a fundamental reorientation: from a representative-chronicle mode, in which the primary aim was to reconstruct events in their sequence and causal logic, to a reflexive-experimental mode that interprets the past through subjective experience, inner crisis, and symbolic form – thus defining the modernist character of Kosach's prose. At the same time, a number of questions remain unresolved: whether this stylistic evolution was driven solely by the author's aesthetic experimentation, or by a deeper worldview crisis tied to the collapse of grand epic and ideological narratives in the postwar era; and whether such radical subjectivization of the past, most evident in "The Day of Wrath", privileges psychological authenticity over factual accuracy. The relevance of the proposed approach lies in its potential applicability to the prose of other representatives of the Ukrainian exile – both Kosach's modernist contemporaries and realists alike – in order to determine whether his literary evolution was an individual authorial experiment or part of a broader trend that shaped the aesthetic explorations of Ukrainian émigré literature.

Purpose. The article deals with the novels by Yuriy Kosach in the context of historiosophical and anthropocentric issues of the European and national existentialism. The study is based on the little-known historical novels ​“The Rubicon of Khmelnytskyi” ​and ​“The Day of Wrath​”. Theoretical basis. Yuriy Kosach’s prose oeuvre is an impressive and original phenomenon of the Ukrainian creative writing. It greatly regenerated the Ukrainian fiction in worldview, problematic and thematic, genre and stylistic aspects, showing the concordance with the need to modernize national and European literary-aesthetic consciousness of the 20th c. The historical and adventure novels “The Rubicon of Khmelnytskyi” and “The Day of Wrath”, which present a person against the historical background, are particularly conspicuous in the aspect of artistic portrayal of historical events and figures. Kosach managed to integrally render the concept of a person, to apprehend the depth of its nature and multiplicity of senses of its existence, to reconsider the complexity of psychological filling of a person’s inner world, to present a broad view of the problem of relations between people, to originally substantiate his anthropological concept which is the embodiment of the “national code”. Originality. It traces the evolution of the word picture of B. Khmelnytskyi, which unfolds against the background of sociohistorical events and moral challenges. For the first time it has been proved that in his historical and adventure novels with the elements of philosophism (existential antejizm) and psychologism, the prose writer showed the specificity of forming the historic figure of Hetman as a wise European helmsman, a state-minded person, and a leader of the Ukrainians. Conclusions. It has been emphasized that Yuriy Kosach raised important psychological, historiosophic and ontological problems such as a human being and its existence, life and death, psychological splitting, fate and a person’s destiny, morality, national identity, struggle for own rights and freedoms, feeling of responsibility for others etc.

The article presents a comparative and typological study of A Song of Ice and Fire by G. Martin and Hard to Be a God by the Strugatsky brothers. These works are analyzed together with their screen versions. The purpose of the study is to reveal the typological (genre, plot, ideological, philosophical, and narrative) similarities of both works. The conducted research is relevant as the comparative and typological approaches help to understand the ideological and philosophical messages related to the role of an individual in history and the temptations for heroes endowed with supernatural power. This analysis is performed based on a combination of typological and comparative approaches: the comparative approach helps reveal deep similarities between these two works, and the typological approach helps comprehend their role in a wide cultural context. The conclusion is made that A Song of Ice and Fire and Hard to Be a God have several typologically close features. They belong to the genre of hybrid fantasy, they do not have a direct assessment of events, and there is no “all-competent” author’s point of view. Nevertheless, there is a metaphor of “an involved observer” who, nonetheless, is also limited in his possession of information. Both works represent a common psychological motivation of the heroes, which is based on a “mechanical” response to evil with more violent evil; a shift from the Christian tradition, atheistic and agnostic philosophizing are also represented in both works as well as a broken denouement and unresolved lines associated with the fate of the main characters. It should be noted that the works studied here belong to different historical and cultural epochs but they illustrate the development of typologically similar trends in literature and cinema, which are as follows: the strengthening of a pessimistic view of man and history, weakening of the spiritual and moral component, lack of assessment of the heroes’ actions, breakage (or inevitable absence) of denouement. The works of these authors are immensely popular because they satisfy the unspoken “social order,” and in some cases, they form it.

The novel “The Day of Wrath” by Yurii Kosach is a modernist literary experiment, which reflected genre and stylistic searches of the late 1940s and the features of the individual creative and ideological evolution of the writer. The novel by Kosach attempts to question Polish and Russian imperial views on the events and the era of the Ukrainian Cossack Revolution, as well as to discard established social and religious concepts in favor of a national-cultural one.
 The novelty of Kosach’s literary technique in the novel lies, in particular, in the method of kaleidoscopic arrangement of material chosen by the author, the specific alternation of images and situations, the incorporation of cinematographic elements, and the utilization of the ‘stream of consciousness’ technique. There are elements of baroque, romantic, and expressionist poetics in the structure of Kosach’s novel, and it’s the syncretism of these stylistic trends that underlies the uniqueness of Kosach’s author’s style. His works are marked with ornamentality, complicated associativity, the motif of duality, and the special function of the metaphor. These features bring Kosach’s writings closer to baroque poetics. Kosach’s “Day of Wrath” is also connected with the tradition of the romantic historical novel through the use of typical romantic images, schemes, and situations, which the author attempts to modernize. The expressionistic stylistic tendencies are evident in “The Day of Wrath” at the linguistic level, characterized by fragmentary writing, elliptical sentences, and a deliberate violation of syntax. These tendencies also manifest themselves in the means and techniques used for image and form creation. The paper highlights the characteristics of Kosach’s ideological and literary interpretation of Bohdan Khmelnytskyi’s image. The hetman is portrayed as a historical figure, a "baroque man," and a statesman-demiurge. Yurii Kosach created a sample of the historical novel, resonating with his time and his own historical and literary views. In order to fulfil this task, he updated its content and form, making some changes in genre and narrative canons.

Despite the fact that Yurii Yanovskyi's play The Prosecutor's Daughter has already attracted the attention of researchers, the main goal of scholars most oftenle was to analyze the final version of the work. The lack of thorough research about the history of the play makes this article relevant. Yanovskyi's archive provides a wealth material for research in general and about The Prosecutor's Daughter in particular. Within one research it seems more appropriate to focus on one of the major changes in the text. Therefore, the aim of this study is to analyze the transformation of the image of the main character of the play in different editions of the work. The subject of the research is the image of the main heroine of the play in different editions, and the object of research is the author's notes to the play, its variants, editions, and memoirs of Yanovskyi's contemporaries concerning his work. Such an analysis obviously involves the use of not only general philological research methodology but also methods of source criticism and textual criticism. Research results. Despite the author's position by Yanovskyi and those scholars who also agree with it, this study shows that the play Day of Wrath, written in 1940 have to be considered as the first edition of The Prosecutor's Daughter because of the similarity of characters, beginnings, and even identities of certain dialogues. Three editions of the play have been identified, the first, already mentioned, written in 1940, the second edition created by Yanovskyi after the war in 1952, and the last edition, which in this study dates with the last authorial version of the play, published posthumously in 1956. The main problem in all editions is the involvement of a girl from a supposedly quite decent and wealthy family on a criminal way. In the first edition, the author vividly depicts the flaws in the character of family members, thus demonstrating that the criminal path is a natural result in the life of a girl who has no love or authorities in the family. The image of the main character in the first edition is not without flaws, but at the same time it is tragic. In the second and third editions, Yanovskyi embodies the idea of justifying children expressed in the note to the play. In the second edition, the image of the main character is idealized, the girl is so balanced and cold-blooded that she is able to resist an adult and experienced criminal who deceitfully involves children in criminal schemes. In the third edition, the main character portrays the pain realistically; she is confused and scared in front of an adult criminal. The author again shifts the emphasis to the shortcomings of her relatives, to the lack of attention on their part, due to which the girl finds herself alone with too difficult problems for her. The analysis allows one to see how the image of the main character has changed in different editions of The Prosecutor's Daughter. Given the wealth of material preserved in the Yanovskyi’s Fund, the analysis of such changes in this play and other plays presents a wide field for writers to explore. Such research would enrich the knowledge of Yanovskyi's individual creative approach, and would be an important contribution to the general study of Ukrainian drama of the Soviet era.

ABSTRACT The author examines the paradoxical dramatic dynamics of the Dreyer's masterpiece, according the Matte Blanco's theoretical model, as a tormented path of self awareness that consists in a progressive immersion in the unconscious. Anne, the young wife of an old Lutheran pastor, marginally involved in the witchcraft trial of a friend of her mother (now dead, but suspected to be a sorceress as well), falls in love for his son-in-law, leaving the child-wife position held so far. It's a new very strong vital drive for Anne, to which she adds the belief to own the magic powers of the witches: the ability to evoke the living and the dead, kill with thought and communicate through dreams. All the emotions are at an infinite level of intensity. Nevertheless, after she's left by her lover and after her husband's wished-upon death, the protagonist confesses her presumed witchcraft before the husband's coffin and, in the derangement of ambiguities, affective contradictions and shift of position, she attains a sort of mystic epiphany (significantly represented by the flow of filmic images): maybe a contact with the deepest layer of the mind where, according to MatteBlanco, the symmetrization is total.

The paper introduces the concept of tableau as articulated by film history and theory, with examples from the films of Roy Andersson, Jean-Luc Godard and Lars von Trier. A lesser known tradition, the bonnet view originates from Kelly Reichardt’s western Meek’s Cutoff which set out to tell the story from “the point of view of the woman who pours John Wayne’s coffee.” By replacing generic conventions, notably the customary widescreen with a square-like image, Meek’s Cutoff conveys the visual and social restrictions signified by women’s bonnets. The bonnet view is further traced in the tableaus of TV-series Handmaid’s Tale and other cinematic portrayals of women’s history ( Jessica Hausner's Amor Fou and Carl Th. Dreyer’s The Day of Wrath), exploring its potential as a vehicle of the female gaze.

Abstract In 1590, after Norway’s most famous witch trial, Anne Pedersdotter was burned alive. Resource scarcity and religious competition transformed an old superstition into a witch craze to which Anne fell victim. Her story became a play in 1908 and a film in 1943. The two adaptations attempt to give Anne’s persecution more modern explanations. In the play Anne Pedersdotter, Anne has psychic powers that make her neighbors think she is a Satanic collaborator. In the film Day of Wrath, Anne embodies humanistic aspirations that would have been delusional in her own era and that are perhaps also poorly adapted to human nature in general. The trial and the two fictional versions of the trial all illustrate how thought patterns that evolved for small groups of foragers can be overstimulated in post-agricultural environments. This article identifies cognitive dispositions that, in periods of crisis, can trigger persecution of outsiders, discusses how those universal mechanisms man­ifest themselves in different cultural contexts, and examines the historically specific beliefs and values that animate the two fictional versions of Anne’s story. The article concludes with reflections on how the evolved cognitive mechanisms that led to beliefs in witchcraft often manifest themselves, in the present, as conspiracy beliefs directed at minorities.

Book Review: P.A. Vodop’yanov, V.S. Krysachenko. (2018). Strategiya bytiya chelovechestva: ot apokaliptiki k noosfernomu veku [The strategy of humanity’s existence: from the apocalyptic to the noospheric age]. Minsk: Belaruskaya nauka. p. 306. [in Russian]. I am pleased to hold in my hands the elegant edition of the new book by philosophers and political scientists who are known not only in their countries — Belarus and Ukraine. It was created with the efforts of academic publishing in the anniversary series dedicated to the 90th anniversary of the National Academy of Sciences of Belarus, a corresponding member of which is one of the authors. Each creator of this book is known for his fundamental work in the fields of philosophy of science, social ecology, study of global issues and geopolitics and known for his own scientific school. Both Pavel Vodop’yanov and Valentyn Krysachenko, by the way, are full members of the National Academy of Sciences of Ukraine. Earlier, the previous work of these two authors, « Velikiy den gneva: Ekologiya i eskhatologiya [The Great Day of Wrath: Ecology and Eschatology]» (1983) (Minsk: Universitet. p. 282.), was awarded by a joint prize of three presidents: the National Academy of Sciences of Ukraine, the National Academy of Sciences of Belarus and the Academy of Sciences of Moldova. Therefore, from the new monograph the reader expects no less interesting content, a clear logic presentation, significant generalizations. And these expectations are fully justified. The book consists of introductory considerations, five chapters and summaries. In its content, it is completely ontological. The fundamental generalizations of human thought are considered by the authors through the prism of whether our reality exists, who is responsible for its destiny, what person`s place and value are in the course of the development of the universe, and what are the further perspectives of the earthly existence of man. And all this is analyzed and traced with the involvement of concepts and empirical material from a wide variety of fields of knowledge, beginning from the Holy Scripture to the latest futuristic reflections. The ontology of the crisis state causes concern as for the validity of moral and ethical regulators of interpersonal relations, internal degradation and disharmonization of the modern civilization. Eternal human values- goodness, justice, honesty, mutual assistance, etc. — are increasingly conceding to violence, malice, hatred and other bifurcation agents. So, does humanity have a real chance of the settled future. Isn’t this just an illusory dream? Monograph by P.O. Vodop’yanov and V.S. Krysachenko is a notable phenomenon in the scientific world, it is a fundamental study that delineates the in-depth foundations of human existence and, at the same time, it is imbued with anxiety and feelings for our common future. One attracts the style and manner of the material presentation, the encyclopedic awareness and, at the same time, the constructive ability to justify its position. It will interest not only humanities and naturalists, but also politicians and public figures and just people who concern or worry about the world’s current human collisions.

Book Review: P.A. Vodop’yanov, V.S. Krysachenko. (2018). Strategiya bytiya chelovechestva: ot apokaliptiki k noosfernomu veku [The strategy of humanity’s existence: from the apocalyptic to the noospheric age]. Minsk: Belaruskaya nauka. p. 306. [in Russian]. I am pleased to hold in my hands the elegant edition of the new book by philosophers and political scientists who are known not only in their countries — Belarus and Ukraine. It was created with the efforts of academic publishing in the anniversary series dedicated to the 90th anniversary of the National Academy of Sciences of Belarus, a corresponding member of which is one of the authors. Each creator of this book is known for his fundamental work in the fields of philosophy of science, social ecology, study of global issues and geopolitics and known for his own scientific school. Both Pavel Vodop’yanov and Valentyn Krysachenko, by the way, are full members of the National Academy of Sciences of Ukraine. Earlier, the previous work of these two authors, « Velikiy den gneva: Ekologiya i eskhatologiya [The Great Day of Wrath: Ecology and Eschatology]» (1983) (Minsk: Universitet. p. 282.), was awarded by a joint prize of three presidents: the National Academy of Sciences of Ukraine, the National Academy of Sciences of Belarus and the Academy of Sciences of Moldova. Therefore, from the new monograph the reader expects no less interesting content, a clear logic presentation, significant generalizations. And these expectations are fully justified. The book consists of introductory considerations, five chapters and summaries. In its content, it is completely ontological. The fundamental generalizations of human thought are considered by the authors through the prism of whether our reality exists, who is responsible for its destiny, what person`s place and value are in the course of the development of the universe, and what are the further perspectives of the earthly existence of man. And all this is analyzed and traced with the involvement of concepts and empirical material from a wide variety of fields of knowledge, beginning from the Holy Scripture to the latest futuristic reflections. The ontology of the crisis state causes concern as for the validity of moral and ethical regulators of interpersonal relations, internal degradation and disharmonization of the modern civilization. Eternal human values- goodness, justice, honesty, mutual assistance, etc. — are increasingly conceding to violence, malice, hatred and other bifurcation agents. So, does humanity have a real chance of the settled future. Isn’t this just an illusory dream? Monograph by P.O. Vodop’yanov and V.S. Krysachenko is a notable phenomenon in the scientific world, it is a fundamental study that delineates the in-depth foundations of human existence and, at the same time, it is imbued with anxiety and feelings for our common future. One attracts the style and manner of the material presentation, the encyclopedic awareness and, at the same time, the constructive ability to justify its position. It will interest not only humanities and naturalists, but also politicians and public figures and just people who concern or worry about the world’s current human collisions.

Meditativity in the structure of art consciousness (on the material of the mass «And i said in my heart» by M. Shukh)

Meditativity in the structure of art consciousness (on the material of the mass «And i said in my heart» by M. Shukh)

The 13th century Latin hymn, Dies Irae, is one of the better-known Roman Catholic liturgical sequences, famous for its seemingly-dark portrayal of the Day of Judgment (“Day of Wrath”). Once a staple element of the Requiem Mass, this text has now been relegated to relative obscurity, finding life only in concert halls, where grandiose musical settings of Mozart’s & Verdi’s “Requiem Mass” are performed. In its absence, the Dies Irae is now synonymous with a bleak, medieval theology fixated on death and judgement. However, upon deeper examination, it seems that the “Day of Wrath” can also be read as a “Day of Mercy.” Sorrow for past transgressions and preoccupation with eternal hell constitute only one element of the hymn. Far from being focused on sin and death, the Dies Irae also establishes the vital connection between Christ’s mercy for sinners and the mercy each Christian is called to share with one another. This is seen through the numerous Scriptural allusions which fill the hymn, including those referencing that ‘final day’, when Christ is said to “judge the living and the dead.” In pleading to be on the right side during the separation between the metaphorical “sheep and goats,” the author acknowledges the significance of Christ and His command to love the “least of these” on the Day of Judgement (Matthew 25:40). The Dies Irae contains both a call for mercy and a call to mercy, the latter of which distinguishes itself as the litmus test of salvation.

“Viimne reliikvia” ja “Kolme katku vahel”: ruumist eesti ajalookirjanduse ekraniseeringutes / The Last Relic and Between Three Plagues: On Space in Film Adaptations of Estonian Historical Fiction

On January 25th, 2011 thousands of protesters took to the streets of major cities in Egypt—referred to as the "day of wrath"—to express their grievances and frustration with the ruling regime, ultimately leading to the ouster of President Hosni Mubarak after three decades in power. The street, as a socially constructed space of discontent, had become the central locus of political change. In this paper, I will tackle the question of how and why policing strategies in Cairo failed to contain protesters, eventually leading to the withdrawal of security forces on January 28th. I will analyze the interactions between security forces and protesters in protest events during the uprising, focusing on policing strategies, tactical repertoires, and spaces of resistance. Through this, I hope to offer a way of looking at the politics of territorialization and space production in protest, and by extension, the negotiation of power relations between authority and resistance actors.

This article attempts to circumscribe a field of enquiry around what Wu Ming 1 defined as ‘unidentified narrative objects’. It demonstrates how, within narratives such as Asce di Guerra (2000) [Axes of War] by Wu Ming and Vitaliano Ravagli, Gomorra (2006) [Gomorrah] by Roberto Saviano, Dies irae (2006) [Day of Wrath] by Giuseppe Genna and Sappiano le mie parole di sangue (2007) [My Words be Bloody] by Babsi Jones, a recurrent series of modal figures defines the relationship between literature and the real. Starting from Gomorra, the article attempts to delineate a taxonomy, to make sense of the continuous overlapping and re-bidding between the textual and the extra-textual fields at stake in the novels. The aim is both to clarify how these novels take up a liminal literary position and to deepen our understanding of their own peculiar form of realism. The notion of realism in this context refers less to a stylistic construct according to specific compositional codes than to a ‘textualization of the real’, wherein reality presents itself within the texts through a system of references external to the text itself.

This paper explores a spiritual verse, Sudac gnjevan, by the prominent Slavic enlightener Matija Divković, which had been written on the motif of a famous Latin hymn, Dies Irae (Day of Wrath). Despite the evident similarity of the subject and texture, there are marked differences between the verses. As a whole, the Latin verseconveys a Biblical story, omitting emotional aspects. The presence of generalizations and complex metaphors orientates the text for a well-educated audience. In the Slavic verse, a semantic accent falls onto man’s emotional experience. High emotionality is created by a great number of personal requests and direct speeches, which arestressed by rhetorical figures more applicable to a wide audience.

The Last Judgement was one of the most important themes in Christian art from the twelfth to the sixteenth centuries. It can be found in glittering mosaics on the west wall of the cathedral on the island of Torcello in the Venetian lagoon, on the sculptured centre portal of the west façade of Notre Dame in Paris, in Luca Signorelli’s haunting frescos in the Chapel of the Madonna of San Brizio in Orvieto, and in Michelangelo’s masterpiece in the Sistine Chapel. Numerous other churches had their own ‘dooms’. A dramatic but not untypical example from the twelfth century can be found above the entrance to the Church of Sainte-Foy at Conques. Christ is enthroned as an austere judge, dividing the saved from the damned. The procession to heaven is neat and orderly while hell is chaotic, being depicted as a hideous mouth devouring the damned, a common representation in medieval art. In ominous foreboding, this Romanesque Last Judgement rivals the thirteenth-century hymn, theDies Irae, as a reminder of the coming ‘day of wrath and doom impending’.

Abstract Few months after the outbreak of the al-Aqsa Intifada, Safar al-Hawālī, one of the most prominent and controversial Islamic scholars of Saudi Arabia, published his book Yawm al-gadab, "The Day of Wrath", which has enjoyed a wide readership both for its Arabic and English versions in the internet. Engaging with the current wave of Christian and Jewish apocalyptical literature, he challenges the widespread view that the biblical prophecies predict the final victory of the Israel over its neighbours. The book claims that, quite to the contrary, they can be read as indications of the violent end of that state and its allies. The article analyses Safar al-Hawālī's unusually close reading of the Bible which even transfers the biblical promises of return to the Palestinians. His fierce accusations against Israel and the U.S.A., which are orchestrated with extensive quotes from the biblical Prophets, testify to a new stage of the sacralisation of political language in the Middle East.