This article analyses the later G. Sapgir’s work – his novel “Armageddon”. Apocalyptic problematic of work is polemically sharpened against the eschatology "historical avant-garde" of the first third of the 20th century and the eschatological expectations "nuclear war" of the late Soviet time. It rather takes the form of reflection on "finalistic" culture concept, which is inherent in the postmodern era with its critique of the concepts of "authorship", “aesthetic novelty" and "authenticity". Author equally skeptical to the idea of sacralised play of "classical canon" (which was parodied in the plot arrangements in verse one of the characters of Dostoyevsky's novel "Demons") and to the idea of semantic emasculation of pretext in postmodern game means. The era of "the end, maybe, 80th" is interpreted as a crisis, and as a landmark, covering the whole epoch rather than opening entirely new opportunities and ways of artistic innovation. However, one of the possible new forms becomes the novel by the poet, paradoxically based on skepticism towards available artistic forms of modernity
Based on extensive collection of interviews with Soviet, mostly - Ukrainian, - Jews born before the World War II, the essay examines the problem of religious observance and attitudes to it before and after the war concentrating on the circumcision, the first rite of passage, primal in Judaism and exceedingly dangerous during the Holocaust.
Human nature’s complexity and contradictoriness, accentuating the enigmatic essence of the Russian mentality, receives a unique depiction in Dostoevsky’s works. Often we read about strange specimens, whose thoughts and actions would bear typical features of Russian culture. The article sets out to examine these features: in particular, duality and a combination of mutually excluding qualities. In focus is violence committed by Dostoevsky’s characters, which inexplicably shifts from self-inflicted injuries to targeting of the outside world. The author suggests that it is caused by the character’s being torn between two conflicting urges, that eventually gives rise to duality. Thus, the character plays both roles: that of God and that of the master. These divine and sovereign characteristics can be measured through a discourse of pain, through perpetration of experimental violence.