In my article, I will seek to honor John Frank as a believing Christian. He is a thinker, writer, poet, scientist, philosopher, great citizen, an extremely capable person and a historical figure of our culture, spirituality in the years of European revival in the 19th century. and in our Ukraine, which was in the most difficult times of its existence. Just a few people have awakened our people from sleeping to working on themselves, to striving to become themselves. They prepared (...) us for our statehood at the end of the XX century. Such were Shevchenko, Shashkevich, Franko, among them later little-known Chikalenko and other forerunners of our will. Today, as it seems to me, our people are not fully aware of the merits of our great figures, to whom we are so grateful. They are either obscured by others, or sheltered by various historical streams to make them useful precursors in the role of social figures or revolutionaries, or anything else just to distance their figures from high spiritual values, in particular from Christianity. It is not an unknown phenomenon and only in our people. Pope John Paul II wanted to insert in the Constitution of the united Europe the statement that European culture and civilization had its roots in Christianity, that is, in Christ, but did not allow any underwhelming power. So do those who want to see Shevchenko and Frank atheists. (shrink)

Što se može očekivati od susreta i dijaloga između kulture i Crkve ? Polazna točka u ovoj raspravi je novum kojega je iznjedrio Drugi vatikanski sabor; kulturalno gledano, on predstavlja događaj kojim su srušene umjetne prepreke između kulture i Crkve . Upravo taj događaj čini se da je širom otvorio vrata susretu i dijalogu između Crkve i kulturalnog ambijenta u kojemu se i Crkva nalazi.Crkveno-teološko zauzimanje za dijalog sa suvremenom kulturom moralo bi, prema autorovu mišljenju, ispuniti neke zahtjeve ili pretpostavke, (...) kako bi taj dijalog ne samo bilo lakše ostvariti nego da donese i određene plodove svijetu i čovječanstvu. Jedna od prvih pretpostavki jest simpatija u odnosu prema svijetu i vremenu u kojemu se živi i djeluje; to je neophodan prvi korak u uspostavljanju »prvoga kontakta« između Crkve i kulture. Druga je pretpostavka ona koja se odnosi na snažniju valorizaciju uloge lokalnih crkava koje se čine primjerenijim subjektima što će lakše naći dodirne točke između općeljudskih pitanja i kulturalno elaboriranog navještaja vjere. Nadalje, unutar Crkve sve važnije mjesto i ulogu u vođenju dijaloga sa suvremenom kulturom trebaju imati vjernici-laici, tj. muževi i žene više uronjeni u razna svjetska životna područja kao što su politika, gospodarstvo, zdravstvo, itd. Unutar same Crkve valjalo bi sjediniti tzv. »benediktinsku duhovnost«, koja privilegira autoritet , s tzv. »franjevačkom osjetljivošću« koja je više usmjerena na bratstvo/sestrinstvo , ne samo među ljudima nego i sa svim stvorenim. Konačno, ne treba zaboraviti niti razlikovanje između vjere i teologije : to razlikovanje, koje ne znači strogo dijeljenje, otvara prostore da se različitim kulturalnim načinima izrekne vjera u Isusa Krista u različitim ozemljima i ambijentima u kojima ljudi obitavaju.What is to be expected from an encounter and dialogue between culture and the Church ? The starting point of this paper is the novelty introduced by the Second Ecumenical Council of the Vatican; culturally speaking, it represents an event with which the artificial obstacles between culture and the Church were pulled down. It seems that it was this event precisely that fully opened the doors to the encounter and dialogue between the Church and the cultural environment which the Church is also part of.The Church and theology’s advocating of dialogue with contemporary culture must, according to the author, meet a number of requirements or presuppositions not only for this dialogue to be conducted without unnecessary difficulty, but also for it to be fruitful for the world and humanity. One of the first presuppositions is sympathy in relation to both the world and times we live in; this first step is essential in the Church’s making “first contact” with culture. The second presupposition pertains to a more potent valorisation of the role of local churches , which seem to be more appropriate subjects to be able to more easily locate connection points between universally human questions and the culturally elaborated annunciation of faith. Furthermore, those who should have an increasingly more important role within the Church itself in leading this dialogue with contemporary culture are worshiping laymen, i.e. men and women who have been deeply and greatly involved in the various universal fields of life, such as politics, economy, health services, etc. Within the Church the so-called ‘Benedictine spirituality’, which privileges authority , should be merged with the so-called ‘Franciscan sensibility’, which is more directed towards a brotherhood/sisterhood not only between people but also with all that is created. Finally, the difference between faith and theology must not be forgotten either: this difference, which does not imply a strict division, creates space for the faith in Jesus Christ to be professed in the different ways of the cultures and environments that people live in. (shrink)

There are three main types of atonement, namely the ‘classic’ type where Christ is a Victor, the ‘Latin’ type where Christ is satisfaction and the type of ‘humanism’ in which God is Love. These three types contain language of violence. However, the most striking language of violence is the ‘Latin’ type, where God is seen as the Angry one, who is thirsty for blood and asking to be satisfied. The sacrifice of redemption is seen as the idea of (...) ‘bribe to God’. Some theologians reject this idea and look for other alternatives. This article aims to find other alternatives while maintaining the idea of redemption sacrifice. The author uses a Jewish perspective in reading the Bible. From the entire Bible metanarrative, the authors construct the theory of atonement by focusing on the idea of Besorat Hageulah, the Gospel of redemption. On the cross is the sacrifice for redemption that expresses God’s justice and love. The bloodshed on the cross is not to satisfy God, who is angry, but as a sign of God’s love for humans according to the demands of justice ‘life shall go for life’ (KJV, Dt 19:21).Contribution: This article is interdisciplinary in the sense that it touches on issues such as redemption, mercy and peace. In this article, the author has shown how redemption brings peace and love. The implication is in the life of the nation and state as God’s creatures. (shrink)

Der Begriff "Zweite Natur", der schon in der Antike Verwendung findet, nimmt in den philosophischen Debatten der Gegenwart eine Schlusselstellung ein. Auch wenn er in verschiedenen Traditionszusammenhangen jeweils anders gedeutet wird, soll mit dem Begriff doch immer das Problem gelost werden, wie sich Natur und Freiheit, kausale Notwendigkeit und menschlicher Geist zueinander verhalten. In der auf Marx zuruckgehenden Tradition wird mit "Zweiter Natur" in kritischer Absicht der historischen Umstand bezeichnet, dass sich die geschichtliche Entwicklung weiterhin ohne vernunftige Planung und daher (...) wie ein blinder Naturprozess vollzieht; in der sich auf Hegel berufenden und an Aristoteles anschliessenden Tradition wird mit "Zweiter Natur" die Tatsache umrissen, dass sich viele unserer kognitiven und moralischen Verhaltensweisen als Resultate von Gewohnheitsbildungen verstehen lassen und daher so etwas wie eine kunstliche Natur im Ganzen unserer Lebensweise darstellen; und schliesslich wird in einer dritten, eher auf Nietzsche und Freud zuruckgehenden Tradition mit dem Verweis auf unsere "Zweite Natur" die Aufmerksamkeit darauf gelenkt, dass in das menschliche Verhalten immer auch Zwange unserer biologischen Natur hineinragen und dieses daher wie von aussen beeinflussen oder gar bestimmen. Der Kongress der Internationalen Hegel-Vereinigung vom 14. - 17. Juni 2017 in Stuttgart suchte zur Aufklarung des Verhaltnisses dieser drei mit dem Begriff der "Zweiten Natur" verknupften Assoziationsfelder beizutragen. In elf Kolloquien, deren Beitrage dieser Band nun veroffentlicht, wurde im Lichte verschiedener Disziplinen diskutiert, wie die Beziehung zwischen menschlicher Freiheit und Natur angemessen aufzufassen ist; das Themenspektrum reichte dabei von historischen Auseinandersetzungen mit einzelnen Traditionen und Epochen bis zur Behandlung der Rolle der "Zweiten Natur" in der Asthetik, der Sozialphilosophie, der Psychoanalyse und der Anthropologie. Erganzt wurde dieser thematische Bogen durch drei Plenarvortrage und einem Forum freier Kurzvortrage, auf dem NachwuchswissenschaftlerInnen ihre Uberlegungen zur Fragestellung des Kongresses vorstellen konnten. Der Band bietet damit einen sowohl historischen wie systematischen Uberblick uber einen philosophischen Schlusselbegriff der Gegenwart. (shrink)

This paper makes explicit the basic problem perfect hallucinations pose for perceptual naive realists, more fundamental than the well‐trodden Screening‐off Problem. The deeper problem offers the basis for an overarching classification of the available naive‐ realist‐friendly approaches to perfect hallucinations. In the course of laying out the challenges to the different types of response, the paper makes a case for the superiority of a particular approach to perfect hallucinations, on which they would be understood as a special kind of perceptual (...) anomaly—arising from a secondary mode of perceptual processing. (shrink)

The current SARS-CoV-2 pandemic has killed thousands across the world. SARS-CoV-2 is the latest but surely not the last such global pandemic we will face. The biomedical response to such pandemics includes treatment, vaccination, and so on. In this paper, though, we argue that it is time to consider an additional strategy: the somatic (non-heritable) enhancement of human immunity. We argue for this approach and consider bioethics objections we believe can be overcome.

The article aims to base the presence of a reconceptualization of the political in Michel Foucault's thought, taking as the reading key ethhopolitics as a conceptual proposal. There, we can find a concept completely opposed to the way in which both modern governmentality and the tradition of political thought have understood the meaning of politics in the West. Following this purpose, the hypothesis is proposed and developed, according to which the analytical gesture that persists in Michel Foucault's thought is a (...) concept of the political that affirms life in its radical exuberance and unfoundedness. In this statement, we recognize the signatures of a triangular conceptual structure made up of the fold between life, ethics and power. After exposing the problem and clearing some methodological difficulties for its approach, we examine in detail the investigations that comprise the archeology of ethical life in the French philosopher. It is argued that the very textuality of ethhopolitics is formulated as politicity rather than as a specific policy, that is, it is presented as a politics of life, since it is implied as a singular modulation of existence. The article concludes with a scriptural threshold composed of five theses that attempt to expand and project the philosophical-political returns of the analysis developed towards a research program. (shrink)

Contrary to spontaneous yawning, which is widespread in vertebrates and probably evolutionary ancient, contagious yawning—yawning triggered by others’ yawns—is considered an evolutionarily recent phenomenon, found in species characterized by complex sociality. Whether the social asymmetry observed in the occurrence of contagious yawning is related to social and emotional attachment and may therefore reflect emotional contagion is a subject of debate. In this study we assessed whether yawn contagion was enhanced in pregnant women, a cohort of subjects who develop prenatal emotional (...) attachment in preparation for parental care, via hormonal and neurobiological changes. We predicted that if yawn contagion underlies social and emotional attachment, pregnant women would be more likely to contagiously yawn than nonpregnant, nulliparous women of reproductive age. We gathered data in two different settings. In the experimental setting, 49 women were exposed to video stimuli of newborns either yawning or moving their mouth and we video-recorded the women during repeated trials to measure their yawning response. In the naturalistic setting, 131 women were observed in a social environment and their yawning response was recorded. We tested the factors influencing the yawning response, including the reproductive status. In both settings, yawn contagion occurred significantly more in pregnant than nonpregnant women. By showing that pregnant women were most likely to respond to others’ yawns, our results support the hypothesis that the social variation observed in yawn contagion may be influenced by emotional attachment and that yawning in highly social species might have been coopted for emotional contagion during evolution. (shrink)

In this paper we explore the possibilities of a sexual ethics that responds to our times of precariousness. We sustain that the task of a reconsidered sexual ethics can contribute to a more livable life for persons rendered fragile beyond our constitutive embodied fragility. Thus, we connect Judith Butler with 20th century dialogical philosophies as well as with some analysis on sexuality and ethics in authors like Thomas Nagel and Margaret Farley. In all this a key category will be that (...) of justice. (shrink)

One of the key ethical debates in Russian religious thought, initiated by Leo Tolstoy, concerned the question of nonresistance to evil by force. The purpose of this article is to assess the influence of Kant’s ethics and philosophy of religion on the course of this debate and to determine the place and significance of the arguments and considerations expressed on this issue by Semyon Frank in the early and late periods (1908 and 1940s) of his work. To this end I (...) reconstruct the general course of the debate, notably the positions and arguments of Leo Tolstoy, Vladimir Solovyov, Ivan Ilyin and Nikolai Berdyaev. Beginning with Tolstoy, Russ­ian thinkers introduced the original ethical content of the idea of nonresistance derived from the Gospel into the ethics of duty borrowed from Kant. The Tolstoy version of this idea was challenged mainly from two directions: from the Kantian grounding of the legitimacy of coercion and attempts to bring in styles of moral thinking other than the ethic of duty. Ilyin’s apolo­gia for the use of force in the struggle against evil prompted Russian émigré thinkers to take a closer look at Tolstoy’s ethical concept and pay attention to its positive content. On this basis Berdyaev and especially Frank create their version of the Christ-centered ethic of salvation which, in the perspective of “protecting the world against evil” includes the ethic of duty and links it with the possibility of using force, always a wrongful act, but one justified “in a situation of extreme need”. (shrink)

As Classical Propositional Logic finds its algebraic counterpart in Boolean algebras, the logic of Quantum Mechanics, as outlined within G. Birkhoff and J. von Neumann’s approach to Quantum Theory (Birkhoff and von Neumann in Ann Math 37:823–843, 1936) [see also (Husimi in I Proc Phys-Math Soc Japan 19:766–789, 1937)] finds its algebraic alter ego in orthomodular lattices. However, this logic does not incorporate time dimension although it is apparent that the propositions occurring in the logic of Quantum Mechanics are depending (...) on time. The aim of the present paper is to show that tense operators can be introduced in every logic based on a complete lattice, in particular in the logic of quantum mechanics based on a complete orthomodular lattice. If the time set is given together with a preference relation, we introduce tense operators in a purely algebraic way. We derive several important properties of such operators, in particular we show that they form dynamic pairs and, altogether, a dynamic algebra. We investigate connections of these operators with logical connectives conjunction and implication derived from Sasaki projections in an orthomodular lattice. Then we solve the converse problem, namely to find for given time set and given tense operators a time preference relation in order that the resulting time frame induces the given operators. We show that the given operators can be obtained as restrictions of operators induced by a suitable extended time frame. (shrink)

The article deals with the metaphysics of cognitive processes in media reality formation. Metaphysics reveals being and nothingness. Processes and discourse practices are regarded as cognitive processes. There is a distinction between media reality, hyper reality and virtual reality. The relationship between reality and information processes is being explored. The metaphysics of media-reality influences the existence of man and society, touches upon the value foundations of being and introduces the way to transform them. The metaphysical dimension of cognitive processes opens (...) up new forms of media reality impact on society. It is considered to be an integrative form uniting the representatives of different groups in achieving a specific goal. (shrink)

El siglo XXI ha estado marcado por innumerables protestas callejeras en diferentes regiones del mundo desatadas a su vez por disímiles coyunturas políticas. El artículo tiene dos objetivos: primero, proponer las emociones políticas de la rabia, el resentimiento y el deseo de reconocimiento como categorías interpretativas de las expresiones de inconformidad ciudadanas frente a la política contemporánea. Segundo, advertir que la incapacidad de las democracias liberales para domesticar la violencia constituye uno de los mayores fracasos de la modernidad política. Así, (...) a partir de la lectura crítica de los filósofos políticos contemporáneos más relevantes en el ámbito occidental, ambos objetivos mostrarán que la crisis de las democracias liberales y del capitalismo tiene raíces estructurales y que demandan la reinvención del paradigma triunfante en 1989 conocido como el Fin de la Historia. (shrink)

Don't tell terrible stories—everyone here has enough of their own. Everyone here has a whole bloody sack of terrible stories, and at the bottom of the sack is a hammer the narrator uses to pound you on the skull the instant you dare not believe your ears. Or to pound you when you do believe. Not long ago I saw a tomboyish girl on Khreshchatyk Street demand money of an elderly woman, threatening to bite her and infect her with syphilis. (...) Don't stroll through Volodymyr Hill Park, don't stroll around the botanical garden, and especially don't stroll on Kontraktova Square. Don't stroll anywhere. Don't go to the pavilion with the Golgotha panorama near St. Alexander's Church. Not even the twelve-meter-tall crucified Christ will save you. Don't go outside when it's dark and people turn into shadows a shade darker than dark. Also don't go where you can be seen from far away. Not to imply that people used to be like a bunch of lilies, but now they stink like a cellar of cabbage.The city, which earlier might have had some fun, is now going crazy. It's like a fish in warm water: it doesn't react to anything, swims slowly like it doesn't care if it swallows a hook or not. The excitement and exaltation pass into oppression, just as our necks have sunk into our shoulders, our shoulders into our lumbars, our lumbars into our nether regions. The holiday turns into a funeral, the parades into explosions, depression into mania. Winter passes into summer, people turn into beasts, the hours into ages, and the ages into hours. It's worth simply walking around the city to see a soldier from an unknown army taking a piss near the opera. Farther on is a row of identical old widows selling ball gowns and candelabra. Then there are the aristocrats and manufacturers who throw so much at the prostitutes that they'll soon be richer than their wives.I returned late through the Kyryliv Wood, not heeding all the warnings that I myself have given here. It really is dangerous—the place is famous for it. There's a madhouse nearby, caves where criminals and the sick can hide out. Also, once upon a time, as they say in fairy tales, the great dragon Zmei Gorynich lived here beside the Puchai River. The stench in these places drives away the most committed misanthropes and even one type of philanthrope—that is, perverts. It sounds dumb, but the stench is cleansing. I don't know where it comes from. After the operating theaters and the rooms with amputees, the stench no longer repelled or attracted me; it just was. And this was a great place to think. As I walked, I considered an incident with our patient.The patient, a respectable individual whose name carries too much weight for me to state it directly, one day began to assault people. He nearly strangled a merchant who he believed asked too much for a beaver coat. He likewise wanted to kill his business partner when he didn't say hello loudly enough. But the worst was, he lost all shame of his own nakedness. At first it was the police who took care of it. When our future patient slipped off his pants and undergarments, he was taken to Kyrylivska, which has had means for dealing with such cases dating back to the day when unhinged Cossacks and composers from Kyiv Mohyla Academy were taken there.During the examination we determined that the patient was experiencing a severe breakdown. His wife added that lately, more than once, he had allowed himself strong words in front of the children and often suffered from ennui. Furthermore, she said, the patient had been undergoing treatment for “the French disease” for some years—which was, obviously, where we needed to start.“Syphilis!” Skorsky spat out the matchstick he was chewing on. He was a specialist on the psychological aspects of diseases related to the venereal. “Tertiary syphilis! When poorly treated, over time ‘the French disease’ can destroy the central nervous system. Hence the patient's chicanery. Such theater!”Skorsky and I had not spoken since the incident at Bilinsky's. Meanwhile, something significant had happened to him. The most boring person on earth, Skorsky had simply caught fire. He said hello and kibitzed. I even heard the doctor got drunk alone in his office, then wandered through the forest. Could he be using narcotic substances?“Cocaine!” was the doctor's second proclamation. It was his favorite treatment for the psychological complications of syphilis. Skorsky himself never took what he called “the universal drug”—good for alcoholism and toothaches, neuroses and morphine dependency—though he had read in an article by a respectable Viennese physician, who used cocaine as a panacea, that it was not addictive. That doctor subsequently recanted, but Skorsky paid no attention. He believed the retraction was made under pressure from pharmacologists who had no incentive to cease production of the medications that cocaine might supplant. Their representatives either paid or threatened the Viennese to repent.As the patient was escorted to his room, he assaulted the orderly, Alevtyna. They tried pulling him off her, but, though he released his fingers from her neck, he buried his teeth in her leg. The poor orderly, who had not until then been attacked by a psychotic, nearly died of fear. Later, panic set in over Skorsky's diagnosis. He told her about the consequences of syphilis: grotesque patterns on one's face due to infection of the skin, mucous membranes, cartilage, and bones. He went on about the devastation to the central nervous system, which they had just observed in real life: “The face starts to look like lace some mangy dogs fought over before rolling in the mud.”Alevtyna, who had not yet regained her faculty of speech, straightened up. Ignoring the slavering male orderlies, she bared her leg to get a better look at the wound. She then ran down the hall and out into the garden, where she fell on the ground to rip up grass and small bunches of daisies. Alevtyna ate them along with the soil in their roots.“Minor hysteria. She needs fifteen milligrams of cocaine.”Skorsky took a snuff box out of his pocket and scooped up some white powder with a toothpick made from a goose feather. He gave the order to close Alevtyna's mouth and one of her nostrils, forcing her to snort the medication.We fretted over her so long that evening fell. I decided to walk down, along the ravine, behind the church.It was unlikely there were any large beasts there, but something was rustling. The pits and mounds, ravines, paths, graves of witches whose living sisters flew in the treetops from time to time, the whispers of the forest spirits, the spirits of the nutcases who died in the hospital, the spirits of the monks from the St. Cyril Monastery, Zmei Gorynich and the bogatyrs who wanted to defeat him. The city would be calmer without this forest. I saw the gaps between the trees and went off in the direction of the tram tracks.As I was coming out of the forest, there was a patch of Amanita muscaria that had been trampled into porridge. A bit farther on, the body of Professor Bilinsky lay killed in the blackberry bushes. The way he was lying it looked as though he had not struggled before death. I quickly examined his body but saw nothing out of the ordinary. There were no wounds, no dirt under the fingernails. Animals had not yet smelled the carrion, but swarms of various insects covered him. Oh, why did I have to find the putrid body?The best thing would be to take the tram to his house to inform his relatives. The doors closed, and I noticed my own calm. This death had not evoked any emotions in me other than a feeling of responsibility, the need to tell the family. But also—some alarm at the thought of who the murderer could be. I knew that it was murder.“Your nose is bleeding.” A woman as round as an onion, carrying two baskets full of strawberries, offered me an ironed and starched handkerchief.“Have I dirtied my shirt?”“No, it's as neat as a pin. It's just your nose that's dirty. Wipe it now before you spray blood on my strawberries.”“No one will see the red on red.”“Ah, but it's salty!”“You know why it's not sweet? We'd drink it like syrup.”“Those with Christ in their heart do not talk that way.”“Are your strawberries expensive?”“Why? What?”“I'm checking to see if you have God in your heart.”“Child, if you knew how I have to work for this berry! I have to weed it a hundred times. In a week, the quitch grass grows as high as a horse. And I water it with water I carry from the stream, it kills my arms... ”“How much are the berries?”“They're not for sale. Anyway, soon money won't mean a thing. Soon all money, all these papers made from the skins of sinners on their satanic presses will be annulled. What matters is how we treat each other.”“So if I try your strawberries for free, my ‘thank you’ will be enough?”“Hands off!” she said and thwacked my fingers.I heard loud laughter behind me—same laughter as from the café near the Continental. There was no one sitting near Alina. (This is what fate looks like, remember.) Without asking, I sat next to her, away from the old lady.“Excuse me, but the night before last didn't you, yes, didn't you intrude on my privacy?” She started right away.“I saw it a little differently. Who was that young man with the mustache who paid me for you?”“Are you checking to see if you can flirt?”The tram stopped. People got on and off.“Are you coming back from the hospital?” she asked. “Don't be shocked. My uncle works there. He's told me all about you.”“An uncle by the name of Skorsky?”(Remember: this is what fate looks like.)“Yes. Skorsky's been strange recently—says things that make me wonder if he hasn't lost his mind. Have you noticed anything?”“I don't know.”“You know perfectly well.”“Where are you going?” I tried to change the subject.“I have to send something to my theater friends in Odesa. By the way, they'll be putting on Oedipus Rex soon in Kyiv—in Ukrainian.”“Greek tragedy in Ukrainian! That's a first.”“Exactly. The troupe is rehearsing now in Odesa. The theater where they will perform this fall is being remodeled.”“Wait. Now I remember where I've seen you before—it was at a performance! Vynnychenko's Black Panther and White Bear, at the Bergonier on Fundukleivska.“The same director is doing the Oedipus. He's my friend.”“He's your friend in what sense?”“Again with that tired subject. By the way, I've been thinking about you.”“And I about you.”“That's good. I was thinking not about you, to be precise, but about that elevator you invited me on.”“Who was that man with you?”“Like a broken record! Even if he had been my fiancé, I'm not bought or inherited. I'm not a brooch or a hundred acres of land, and I'm not a house in Kaniv!... Who was with you when you saw Black Panther?“Ah, so.”“Answer!”“That was my mother. She looks very young. She is coming to Kyiv the day after tomorrow. I can introduce you.”“Oh, this is my stop.”I looked out the window and realized that I had long since passed the stop for Bilinsky's.“Can we see each other again?”“We can. But you have only one chance.”Alina the anarchist wrote something on a scrap of paper and handed it to me.Morning, not morning but a thick porridge (I hate porridge). Dew, thick spit, crushed fruits, urine, all on the sparkling cobblestones. The sun, just barely having made its appearance, is already scorching. The human masses scurry and grumble like poorly digested food inside a stomach.I walked diagonally across St. Sofia's Square, then along the perimeter, then one edge, then again diagonally across. I went underground. The basement café of the Continental Hotel was practically empty. I again asked the server to bring the cloth with the embroidered portrait, but I couldn't remember the musician's last name, only that it ended with -sky. The server said that -sky was currently in the southern cities of Yalta and Odesa. I added that Kurbas, the director, Alina's friend, was also in Odesa, rehearsing Oedipus Rex, and that he'd previously put on Black Panther.I was bored, so I walked along Khreshchatyk and then headed down, calling to mind all the Kyiv churches of Podil: there's Birth of Christ, St. Nicholas on the Shore, Intercession, Pyrohoshcha, Holy Presentation, St. Dymytrii Rostovsky, St. Illia's. And also the Epiphany Brotherhood Monastery, Ascension Convent, and St. Katherine's, all these whipped-cream churches on the waffles of our streets. A few of them reminded me of themselves by appearing suddenly out of nowhere.The smells on Kontraktova Plaza where commerce buzzed were like multicolored light bulbs turning on one after another. Here you could catch the aroma of Balabukha jam, which blended with the next smell, English shoe polish at the Raiskys’ shop. Then the crunchy-smelling cabbage from old women standing in a row like herons and spitting out the shells of sunflower seeds. Farther on, the stench of a good-sized rat that crawled under Mrs. Shevchuk's shop where she sells broadcloth. Oh, she can't scream: no, she'll quietly dig that rat out herself so as to not scare off her clients.I bought a paper and two pairs of underwear. I asked two laughing young chambermaids who were secretly puffing in a grape-filled yard for a smoke. I wandered around Podil until evening when I came across a sawmill near the Dnipro that surprisingly smelled pleasantly of mazut fuel oil. The weather was dry, yet in the middle of the road was an enormous puddle, a deep dark black. A forty-year-old woman in a pale pink dress stood near it. The theatricality of it all provoked me to pose her a question,“Ma'am, what should I do?”But she paid me no attention. I shouted,“What should I do?”“What to do, what to do?” she said in Polish. “Jump in the water and swim so far away that you cannot return.”I quickly crossed a section of the forest. The wind brought a mixture of unpleasant air, like a stinky handkerchief held under one's nose. Passing the trees, I saw light in the spaces between them and exited at the hospital.Outside the windows, two orderlies lay in chairs with their heads thrown back. Two others—fools—ran around the yard in different directions, peering out at... something. The lights on the first floor of the hospital were on, and the staff milled about.“You're just in time!” said Ivan, a tall, young orderly.“For what?”“Your patient ran away! We went into his room and he wasn't there.”“What patient?”“The one who bit Alevtyna,” said Danylo, the other orderly, short and middle-aged.“That's Skorsky's patient, not mine.”I had no intention of helping them. This was all history—like my family, Kyiv, and my previous life. I had no intention of thinking about it. I wanted to go to my office, pack up my field surgery kit, and get out. So what? Their psychotic syphilitic ran away—it happened.Of course, that patient could have something to do with Bilinsky's murder. But that was no longer my problem.“What a strange coincidence!” the doctor on duty said. “Comrade doctor, the other one responsible for this patient was just here.”“And where is he now?”“He took off toward the church to look for the patient.”“Didn't the patient escape earlier?”“Don't know.”“How do you not know? You had better call the police, moron, before he kills someone. And get those sleeping orderlies to look for him.”“They can't... ”“Why not? Should I go wake them?”“They're on morphine.”“And you, I can see, have lost your mind. Go, catch your psycho! If it turns out that he killed Bilinsky—and on your watch—you can't imagine what's in store for you.”I adjusted my homburg and set off in the direction of St. Cyril's, that unwelcoming monolithic cube. I glanced around—what if our escaped syphilitic were to jump out of the bushes and bite or strangle me. I looked around because I wasn't sure of my actions, wasn't sure of my choices. Tripping over a clump of clover, I reached the open doors of the church. I couldn't stop myself from going in.The walls and ceiling were covered with frescoes. There was what used to be an angel rolling up the sky on the southern column of the narthex. But also graffiti: people scratched their names on it so as not to be forgotten—their idea of eternity. Prince Volodymyr the Great compared this activity to the desecration of graves. The vandals paid a fine and were beaten with canes. During the raids of Batu Khan, the church was deserted and cracks appeared all over it. Wild martens and feral dogs sought shelter here; insects swarmed under the ceiling with its red mosaics. Birches grew in its midst. Water seeped in the cracks, the water became ice, the ice widened the cracks, more water seeped in the cracks, becoming more ice that further widened the cracks, the wall split and nearly fell over, and then the wall fell over. Yet the angel is still rolling up the sky... When I reached the exit, I heard a rustling behind me. I turned after I stepped outside: in the depths of the church, like a stick in a pot of tar, stood a man with a large bag thrown over his shoulder and a revolver pointed right at me.“Is that you, Doctor?“Don't move!”“What's... Skorsky, what's with you?”“Don't move, I say!”“What are you doing here?”And finally I understood... Skorsky was himself the psycho! (Really, I had known for a while.)“You are the murderer! I knew it! But—why?”“Shut up.”“It was you. You! The stolen cigarettes, the strange behavior, Bilinsky. If I shout, everybody will come running. They've already called the police!”There was heavy breathing behind me. And then a gun rang out.The city is overgrown with new buildings. They encircle everything that was once on the periphery. Kyiv has become an old lady that can no longer restrain herself in the face of pastries. The city climbs farther. It steps over the swamps, turns the old rivers into a series of lakes; the other bodies of water it drives into canals. The grain that falls from the wild wheat is black. When the sun heats it, the grain melts and trickles into the earth. St. Cyril's stands indestructible. No one spackles the small cracks in its walls with either expensive putty or glues, nor with cheap cement and whitewash. One day a small fox appears in the doorway. It runs inside and along the floor of simple gray tiles. The gods watch from the walls, watch and fall into ruin. The fox runs to the iconostasis. Before it is a time-darkened Virgin Mother and Child in oil on sheets of zinc. The fox runs the metal steps that wind up to the second floor. The fox runs past all the vaults, naves, all the frescoes. A buckthorn seed flies in through a broken window. It will be the first. Soon the buckthorn will grow everywhere. A dumb hare will make its nest in the buckthorn bushes and nightingales will settle in the upper branches to sing until the end of the world. The fox runs between the thick rays that penetrate the windows. It catches one of the rays, squints its eyes, and warms itself in the sun.The shot rang out, but I did not fall. I looked around—and on the church threshold was our syphilis patient bearing a rod. His head lay on the rocks by the doorway.“If only he'd been at the stage of nose deformity! Just imagine: a hole instead of a nose plus a hole from the bullet—like an extra pair of eyes!” Skorsky laughed at the corpse.“We need to call the orderlies.”“They heard the shot. They'll run here on their own. You see, Professor Bilinsky believed it would take two or three years to wrap up this patient's case,” Skorsky told me. “But I took care of it much faster!”“Excuse me, but I'm going crazy in this city. I thought that you were Bilinsky's murderer.”“Just so. Why not? I am Bilinsky's murderer.”“Don't tease. You've changed a lot recently, so... ”“Yes, I've started killing people. You might term such a change significant.”“You have the right to irony.”“I am not being ironic.”“Let's call it sarcasm.”“It's the honest-to-God truth.”“And yes, you have the right to mock me.”“Well then, let's be done. To the horses!”“What horses?”“Alina's waiting!”Alina, her uncle Skorsky, a few others I didn't know, and I rode like the wind that ripped off my homburg and carried it back to Kyiv.“There's a fresco in the choir loft at St. Cyril's where Vrubel painted himself and patients from the hospital as the apostles. When I came across it by accident, I really believed they were saints,” Alina said.“I've never been up there. I've only seen the church from below.”“Remember the way back so you can see it sometime.”“The Puchai River used to flow here. You shouldn't trust the landscape,” Skorsky said, reaching for something, perhaps his bag, just when we left the darkness of the trees and saw the endless steppe ahead of us.We rode all night without stopping. Though no one was chasing us. Though we had nowhere to be. We rode like beasts released from a cage. The promises of the horizon turned what we'd left behind into a cage fit for those from whom freedom had been severed, like an anomaly, at birth.The pre-morning sky looked at first like a sack of turnips—filled with something heavy. But with each verst, the sky became lighter. When it was finally light enough to see clearly, we arrived at a knoll at the foot of a stone wall that from a distance had appeared to be a gigantic piece of halva. The exterior ruins of the castle gave no hint of how it was when all was fine here, when people defended themselves successfully from the nomads’ raids. From far off, the wreckage looked like a natural agglomeration of stones—a rocky elevation, no more: a cluster of cliffs. It would rain a few hundred more times, a few hundred more winds from a few hundred directions would blow on this heap, and it would collapse as though nothing had ever been here.A few stalks of wheat grew from one of the rocks. Someone had probably cast a handful of grain here for some birds that forgot to eat it.“Who could this castle belong to?” I asked Skorsky.“I reckon the Swan Princess,” the doctor rejoined, hoping to sound knowledgeable.From behind one of the piles of gray sandstone emerged a young man in a black reptilian coat and a white papakha as lush, bright, and out of place as a dahlia. His name was Artem. The heat was melting our brains, but he was dressed like that, in rooster fashion, which was popular among the otamans. Artem helped Alina dismount her horse and tried to kiss her on the lips, but she offered him a cheek instead.Had she been racing to see this clown?We entered the yard—the ruins had fashioned an internal space that was more or less protected, at least from strangers’ eyes. It turned out that there were even places where it was possible to hide from the rain, and from there the ruins didn't look half bad.In the center of the court was a table, and on it a wooden bucket with pink gladiolas. How romantic! It all looked like it came from outer space. Where on earth, in the middle of the steppe, far from any village or town, did this table, this simple table, come from? And the gladiolas? The steppe hadn't been plowed in so long that any cultivars would have gone wild, degenerated, dried up completely.A campfire crackled nearby—a little preview of what we would soon do to the houses, villages, and cities. Artem the otaman brought over a cezve from the fire and poured the first portion into a small, copper cup for Alina. He also got out a porcelain cup with images of rosy cherubim—but how...?“Who else would like coffee?”Only Skorsky and I responded. The question excited me, even distracted me from the thought of the kiss I had recently witnessed and the Kyiv I had recently left.“It's obvious who the professors here are; cultured people drink coffee. Are you both doctors?”“Uh-huh.”“For wolves of the steppe, like us, doctors are gold, even more precious than gold. Actually, a Hippocrates like you should eat more, because those in your profession will soon be worth your weight in gold. Work on your figures, both of you.”“Who will take pity on the horses that have to carry us?”“We'll find the horses. And very large doctors can be transported on machine-gun carts. We'll need to seat the otamans near you. Only a fool would shoot at a doctor.”“I think we'll find quite enough fools here.”“With your beard, Doctor, you look like Tsar Nicholas II. But even so you won't be shot. You might even be canonized!”“We've only just arrived and you're going on about executions,” Skorsky grumbled and checked to make sure that he still had his bag.“Apologies, apologies, pardonnez-moi. But you are not merely a doctor. A venereologist! Skorsky, you're a specialist! A venereologist is the most important person in wartime. The most valuable! You are the botanists of war. You can't imagine what varieties of flowers grow here, and these beds have long awaited a proper gardener. Or even just a man with a scythe!”“Bite your tongue,” Alina said. “I don't need to listen to this.”“Yes, yes, of course. Excuse me, my r—. ” He almost said “rose.”We rested all day. We went down to a surprisingly close river overgrown with lilies. We rowed the boats left by fishermen. I talked to Skorsky. He took his bag everywhere, refusing even to swim so he wouldn't have to part with it. I asked him what he had in it, but he said it wasn't my damned business.Alina rowed with the otaman to the middle of the river. They were having a loud discussion. She was waving her hands. The current carried their boat downstream slowly and smoothly. What a nuisance, that current!I tried to meet with Alina one-on-one, but she was avoiding me. In the morning I was confused, by lunch I was sad, and after lunch I got angry.In the evening, I lay on the hot grass and drank another cup (I have no idea where they got such good coffee), which had no effect at all on my sleep. I watched the Perseids. Every year, the Earth passes through the tail of Comet Swift-Tuttle. People can see the meteor shower and make a wish. I wished. I counted forty-seven falling stars. All forty-seven of my wishes were for the same thing.Around the campfire, they were sitting, talking. I saw how he tickled her face with a piece of grass and she brushed him off in annoyance. Then they were screaming at each other. Later they again spoke kindly, after which they again quarreled. My joy grew after each tiny mistake that Artem made. I wanted him to show the worst he was capable of.They were screaming at each other, but all I could hear was beautiful opera singing. The stars fell to the sound of their screaming. The stars blessed my joy.Then this happened: Alina kicked the fire, scattered burnt kindling, and burned some of the grass. Artem grabbed her by the arm, but she broke away from him and ran off to the horses.“Go then! I guarantee you'll get to Katerynoslav and return with your tail between your legs.”“I'm going to Huliai-Pole! To Father Makhno!”I jumped up and ran after her.“Where do you think you're going?” Artem shouted.Really—where was I going? I was going after her: to Huliai-Pole, to Katerynoslav, to Rome, to Washington, to Istanbul, to Montevideo... “Go to sleep,” he said. “Come morning, this coquette will be here, right as rain. We've already been through this show. Tomorrow she'll be right here next to my boot!”... No, she won't.In some sort of shape we entered some town. There were some buildings that were some colors, some trees, some streets, some roads, and some signs. Posts, flustered birds’ nests, echoes, colors, shapes—each of some kind. A wedding procession was coming toward us. If you want to make orange, you need to add yellow to red, and then bam—it's black. If you want to salt the soup, shake in a little, and then bam—two handfuls. You want to say a kind word, and then bam—a punch in the face. I was rocked around like a watermelon on a boat and threw up my breakfast straight into the horse's fluffy mane. Sanko found this hilarious, but I said I'd pulverize him. So Sanko sped ahead.No one knew anything about Alina. The daytime sky was like a poorly washed bowl. The sun was a squashed, rotten apricot. The night sky looked like the sole of a boot to me. The moon was a dirty cheap copper coin that had gotten stuck to the sole. Everything seemed spoiled to me, irrelevant, unnecessary. Without her, this journey was a waste of time.“You'd better stay away from everyone,” Artem said. “You'll infect us with your pining, and pining is worse than the clap.”The wedding procession was before us. The young couple, still utter children, walked so calmly it was as if they didn't see us. As if we were made of a light breeze—our bodies, clothes, our horses and their iron shoes—of the lightest gasses. As if we were visible only to ourselves and the coal-black dog that barked, panting and gasping.The wedding was headed straight for us. We were in the middle of the road, and so were they. We approached each other slowly, a wave going toward a wave. Some ten meters before their indifferent faces, I noticed the color of the bride's eyes. And the coral-colored tulips that fell on the road before her. Round goose eggs on meaty stems, the flowers were falling and falling before her. The bride's eyes were almond shaped.“Hey there,” Artem shouted at me. “Wake up!”I came to and saw the whole village, everyone there, not realizing my group had turned left onto a side street away from the procession. The tulips disappeared—where'd they get tulips in the fall? I was sitting alone on my horse in the middle of the road, and the entire wedding procession came to a stop. I moved to the side, and the throng marched on, cutting off our escape route. We rode a few more meters and came across the synagogue.“You know what, you're right,” said the otaman.“Who is?”“Oleksii is the only one here who's right.”“About what?”Artem turned his horse and raced back. Everyone stood still while he ran his horse into the crowd and began firing his revolver. People scattered in all directions. Artem trotted, cackling like an imbecile. The horse kicked an old guy in the mouth. The man fell, spitting out his gold teeth. We rode up to the commotion and formed ranks, but none of us wanted to join the otaman.The bride stopped in the middle of the street. On both sides were buildings and trees, as well as dust, sky, and sun. She stood still, beautiful, as if nothing had happened. Then she adjusted her garland and walked calmly on.“Well, should we get some sugar now?” Artem laughed, looking at the bride, and off he went toward the sugar factory.It was then I noticed that all of the houses had shutters—fuchsia, blue, ocher—and that all the shutters were closed.We flew toward the dirty building, whistling and shouting. If there had been aesthetes among the otamans, they would certainly have razed the abomination in this field after seizing it. They would have spread soil on top and sown buckwheat. Long live buckwheat!, that wonderful crop. Like hunting dogs hot on the trail, we raced to our defenseless victim, with the baying of hundreds of hounds behind us. The field shook beneath us. We became an artist's canvas, evolving from Realism to Romanticism, Romanticism to Expressionism, Expressionism to Suprematism. If we had been painted in black and white, we would have been splotches (until the ink ran, annihilating all remaining patches of white).Two men stood near the gate—unarmed and undressed, in nothing but their undershirts and boots. Our fervor, our kinship with the elements, our entirety, were all for naught.“Jesus Christ! What bores!” Artem exclaimed. “How boring you are!”“Maybe boring for us, but fireworks for them,” Sanko said, dismounting his horse.“The fear of death engenders creativity,” our otaman—a distinguished philosopher of the early twentieth century, that demonic breed—prophesied.He went on, “Excuse me, but with all due respect, we are not going to search you. Just show us right away where the money is. Why are there so few of you? Don't say there's not much money. I want piles and piles of money! If you don't show it to us, we'll print our own on your skin. Believe me, we will.”We entered the factory grounds. There were no workers, only an enormous mountain of sugar beets that looked like a pile of coal from a distance and a pile of dead rats from up close.“So, did you have a good year?” Artem asked a man in an undershirt.“Not really—too dry.”“Nah, that's fine. You wouldn't have been able to gather most of the harvest this year anyway. There's a fire burning across all of Ukraine, all of Russia. The whole world!”While Artem tossed thoughts like well-chewed sunflower seeds into the crowd, the two men quietly stepped aside and then ran fast ahead to the factory's main hall. The gigantic door slammed shut. The gate was locked behind us! The windows were smashed! The factory roared from inside like a cumbersome machine starting up. Bullets whirred through every window.“Bastards! It's a trap! Quick, after me!”Still on horseback, Artem bounded over to a vast window, low to the ground, and smashed it mercilessly. He broke the frame and jumped inside on his horse. I and a few others followed. We broke into their lair, threw open the doors, and let the other warriors inside.Iron vats of hot sugar were steaming, pipes were clattering; machinery groaned.“Parasites!” Artem gritted his teeth. “I'll get you. I'll get you red sons of bitches. Painted whores!”At the word “painted,” his horse fell to the ground. Lying prone, Artem continued fighting, but the red soldiers wouldn't let him stand. Fighting nearby, I rode over to assist but did not know where to aim. Artem got up, ran forward, and brought his sword down on the head of the closest soldier, all the way to the middle of his skull, to the bridge of his nose. It was like butchering a pig. Artem thrust the sword into the buttock of another who was fleeing and cut off his leg at the bend in the knee.“I'll cut off every last one of your asses! Cut off your asses!” Artem bellowed.A half hour later, the dead were lying, the captured sitting, and the victors doing anything they pleased.“Skorsky, are there a lot of casualties?” I asked the doctor, whose hour it was. I hoped not, because I was too tired to help him.“Just a few. The dead are already dead, and the wounded are not ours.”Though Skorsky rarely asked my help, and though I'd become an ordinary soldier, the doctor in me was still present in the most unpleasant attribute—knowledge. Others saw an eviscerated man, pieces of dusty flesh smeared with clay, soil, sand, and straw. I saw a perfectly formed kidney hanging perfectly from the rest of its body like a child's mitten from its coat. You could try this death on for size. Wear it like a sanbenito of the Inquisition.Artem counted the money and then lay on the floor alongside the gigantic sugar mountain in the middle of the room. From time to time, the crystals rustled as they fell.“I didn't think you'd be such a fighter!” the otaman said without turning toward me. “I thought you'd be healing us. You'd keep to the rear and we'd hide you like a girl. But here you are, in the vanguard, like a lion!”“I got excited,” I told him, choosing not to react to the “girl” part.“’Cause Alina said there was no sense counting on you to fight.”“Really?”“Does that sting?”“Why would it? I'm a doctor—not everyone is. It requires a brain. Unlike waving a sword.”“Yeah, yeah. I gave her gladiolas. We were lying in the boat near that castle, doing all manner of things, and she told me all about you. How you met.”“You were lying in that boat talking about me?”“It was the day before you left Kyiv. You agreed to go with the anarchists so quickly!”“Were you surprised? Doctors make fast decisions.”“But you probably had great prospects. Your parents are rich, right?”“And who are your parents?”“Probably all your relatives fled abroad—bourgeois. Why did you stay?”“What the hell's your point?”“Alina, by the way, died a while ago. Probably.”“Don't jinx her.”“Listen here,” he said, staring at the ceiling. “And listen good. If you have designs on her—dead or alive—it's best you castrate yourself now.”“After you.”“If I want to kill somebody, you know, I just do it.”At last he looked at me. I was lying on the floor nearby and looking in his direction, sweaty and relaxed, my appearance complemented by my disdain for his opinion, his authority, his stupid hat. His everything.Artem raised his arm above his head, stuck a finger in the sugar mountain, and licked it. We both got up. Had I anticipated this turn of events, I would have readied a gift for him. Artem held his revolver. Under my hand I found a knife the workers used for gathering beets: it was a deliberately sharpened arc they sank into the swollen brassicas. I jumped up and quickly stepped around the sugar mountain.Artem's bullet hit a pane and broke the glass.“Not man enough for hand-to-hand?”The otaman shot again.“You should've challenged me to a duel, you romantic!”Encrusted with white crystals, I charged Artem from the sugar mountain. We fell in, and the sugar stuck in our hair, mustaches, nostrils, armpits.The gang ran in to get us apart, then backed off because it had nothing to do with them. By now the sugar mountain had burst its banks. Of the once perfect pyramid, a deformed mound remained.Wounded, Artem fell on the sugar mound, turning the white red.I stood before the gang sugar-coated and holding a bloody hook. The old otaman was drawing his last breath. Blood trickled from the corner of Artem's mouth and streamed from the left side of his breast.“What's the commotion?” Old Roman had just come in.“Be quiet,” the boys told him. And a good thing they did.“You killed him? You killed the otaman!”“Shut your mouth,” the boys told him.“You... ”I slugged Roman's stinky herring mouth. How did that son of a bitch find pickled herring in a sugar factory? My fist was now bigger and stronger than ever before, a steel anvil that could split nails and shatter memorial plaques. The unfortunate man's jaw twisted like an upper millstone that had gone off track from the lower.“Let's get out of here and go to Makhno's camp,” I gave my first order.We galloped so fast the grass burned beneath us. The birds and bugs had no time to fly out of the way; hooves trampled the burrows of rodents who didn't dare crawl out of their holes for a long time after. We raced like no one had ever raced before.The steppe, that sly fox, pretended to be an innocent fool. The steppe said, “I'm like Adam: I don't even know my own name.” But its grass harbored the tracks of thousands of armies and the heels of Herodotus, the crunch of Trypillia vessels, and the smell of Scythian hemp, Roman coins, clay figures of wolf people, the chevrons of Denikin's army, glass from the Chekists’ ruby stars, traces of uranium from flying saucers. I threatened it: “Steppe, show me your layers, or I will burn you, plow you under, flood you.” But it just replied: “I'm like Adam: I don't yet know my name.”I lost geography as if it were a silver coin. It fell out of my pocket and rolled through the feather grass that blanketed the steppe in white foam. The open space ahead was so endless that the whole world might as well have been steppe. If people ended up here from somewhere else, they would conclude they were on another planet. The coin fell and became an argentum, became one with the ring on the hand of the princess who had one green eye and one blue, with the twisted candlestick at the monastery on the other side of the steppe, with melted ingots. It broke down into simpler elements, simpler and simpler yet. The horse carried me spreading the seeds of northern plants to the south, just as southern riders had once brought flowers and weeds to the north. And then I turned back. Just as I had no geography, I had no time. Every night I fell asleep with the thought that the next day I would again race. Through all spacelessness, all timelessness. I exchanged one horse for another, got on a train, on a boat, traversed forty versts on foot—in rain that brought the river up to the road, in heat that overturned cattle. The earth I walked on became mine. Mine was the water in the lakes and springs, clean water, dirty water, enlightened water, contaminated with oil, stinking of algae, of fish that died in wells, stinking of the memory of atrocities, water as clean as broken bread. The water did not become Alina.I was doing this for her: I got the basturma out from under my saddle, sodden with the horse's sweat, sliced the throat of a rich man whose daughter I had danced with at a ball, climbed into a vat of beet juice and took a sugar bath, carried out the expropriation of the savings banks, wiped the sweat from my face with my shirt—and the cloth turned red; I didn't know from what. If it was someone else's blood, I didn't care; if it was my own, even less.We mostly came across Reds. We scraped them up like old red paint on a door in order to repaint the boards black. Black looked better. Red is tasteless, but black has style. Healthy men died before us of myocardial rupture like bunnies found in the nest. The ones whose hearts were sewn of steel wire envied the deceased. Seizing estates, banks, distilleries, and prisons reminded us of gathering in the harvest. If you're too lazy to pick an apple, you can shake the tree; some of the fruit gets bruised when it falls. We seized buildings like we were shaking apple trees. No one picked the fruits, we just shook: shook under the beds, under the tables, behind the curtains. No, there was no picking. We just shook until the red juice spurted from the apples.Near the Khorol River with Father Makhno and me in charge, we captured sixteen machine guns and four cannons, as well as five hundred prisoners who immediately came over to our side. The villagers voluntarily gave us bread and cheese, chickens and kvas. People joined us. The front of the machine-gun cart said “You can't run,” and “You won't catch us” at the back. We took factory after factory. Millions of karbovantsi, thousands of poods of sugar, weapons. We smashed the telephone exchanges and captured the telegraphs. We made alliances with some and then with others. Lenin, Wrangel, Frunze, the Germans, Chinese, Australians, Kaiser Wilhelm II, Cleopatra, Maria Theresa Walburga Amalia Christina. We ran the steppe. There were a hundred thousand of us. There were three hundred thousand of them. There were three hundred thousand of us. There were a million of them. There were two million of them. We were all of humanity. We were so many that we were none.The nobles’ estates were long ago forsaken. In the people's deepest trunks lay silks and guipure laces that were once perhaps used only to cover a table. Five steps from the barn in the direction of the pear tree, some silver candlesticks are buried; there's a plaster figure of an angel in the chicken coop, covered with shit and feathers.I was reluctant to be going to my home, but I didn't see any way out. Fate intended me to be a different being from the one I was before.Here my grandfathers and great-grandfathers were born. Here the ones who caused my grandfathers and great-grandfathers to flee had stopped. When we were still far off I noticed that someone was in the house. It was our men—Skorsky had brought them here, about twenty in all. I asked Sanko, whom I had walked with side by side more than once, where the doctor was now. All the men answered that he was around somewhere, but I didn't see him that evening.In 1918, the spirit of my great-grandfather Stepan, along with my mother and uncle, had gotten into a britzka and scrambled off to Paris, to Napoleon, against whom my great-grandfather had fought with the Cossacks, to whom the Russians promised to return self-rule. Following him in the cart went the soul of Grandpa Oleh, who lost a finger when he cut down the old linden near the house; his second finger was blown off by a cannonball near Balaklava, and later his entire hand was cut off by some Turk. Next went the spirit of my father, also Stepan, who did not take part in any war but died of measles at the age of forty. They all got the hell out of here. First, they went to Kyiv, led by my mother, Tamara Makarivna, in order to collect Uncle's family and me, their son. And their son, it turns out, has now come back to rob his own home (I didn't drive my war buddies away, did I?). It's a shame that I didn't know where the bathtub was, or whatever they bathed me in when I was small. It would have been good to walk through the ranks of anarchists with that basin and tell them all to spit into it.Remembering every room, I carried Alina upstairs to my mother's bedchamber. There was no longer furniture or pictures, only bare walls. The bed and mattress remained, but that was enough. Mother hated noise, so she set up her room far away from the running in the halls and the creaks on the stairs. I adjusted the mattress; in a gap, looking like a stalk of wheat, there lay a gold bracelet that she lost in the haste and that the thieves could not find in the mayhem. I tucked it into my pocket.The place could still be saved. It was strong, built under the leadership of my grandfather, who knew how to do it right. He built a sawmill, a gristmill, a dress factory (today it's probably been ransacked, maybe even by our own men).Alina had a complete, displaced break in her right fibula. We needed water first. I went downstairs—the guys were dragging out the piano like an old cow to the slaughter.“What are you doing with that?”“Taking it out.”“Why?”“What's it to you? We want to have fun.”“Can you play?”“We're not your bourgeois lily-handed bitches.”They couldn't play, but they were famous at destruction. “Noise is the music of the new time,” one of the smarter among them might have said. “But noise is the opposite of music. Just as a rose is the opposite of your ugly mugs,” I'd have responded if there was anyone to say it to. I could also have said that this was a Bosendorfer grand piano, that it was very valuable—but do the guys not deserve such a luxury?“Why are you so boring? We're relaxing.”“Then let me play a little first.”“Go ahead, but fast. One-two.”So I played. As before. My fingers ran up and down the black and white keys, which weren't simply keys of these, the simplest, colors. These were the keys that remembered my fingers specifically—achieved by that slovenly German Katerina, our governess. She knew a bundle of languages, could play the piano, and was interested in the latest scientific discoveries. But she had not an ounce of sympathy for anyone who couldn't master anything on the first try. More than once she hit my pinkie against the black key that remembered every one of its four thousand touches. She would pound it on the key and shout, “Si bémol! Si bémol,” and later bang my fingers and translate, “B flach! B flach!”I played. I could not expose myself, so the only thing I could do was believe in miracles. What if these coarse men saw value in this bit of furniture so unintelligible to them? And what if they didn't destroy it, this emblem of my childhood, my land, my air, which I could protect in no other way? My air. My water.“Shchedryk, shchedryk, shchedrivochka,” one of them who recognized the tune began to sing along.“Look at you.” They did not expect music from me, who had until recently been drinking blood like water.They said, “Again, again!”A group of curious men gathered around me. They were ordinary farmers, thieves, and recidivists, peasants and workers, everyone except for Skorsky. They needed this music as they needed baths. The music cleansed them from the inside, perhaps. They had not heard anything besides the whistle of a bullet, the neighing of a horse, or the knocking of a chisel and the whirring of a saw, amputating limbs, for a long time.But it could not go on long. I did not close the piano lid, just stood and went to fetch water for Alina, leaving the unfinished song for later. The well was to the north—that is, at the “Head.” My father once promised to give me a compass if I could learn to identify the ends of the earth by means of the sun. And to make it easier to remember, I gave each one of them a name: the east where the day begins was “Right” (my right hand), the west “Left,” the north “Head,” and the south “Feet.” Back when I could still do whatever I wanted all day long, I would wake in the morning and say: I'm going to the Feet. The mound was at the Feet, Left had the river, Right had the forest. It was only to the Head that I rarely went, because a village was located there. When the villagers saw me, they would speak in whispers and avoid the master's son.... I wiped her brow and her burning, sunken cheeks. I lay down next to her to feel the heat of her skin.When the fire in Alina calmed slightly, I went out into our orchard. My father had once been given a gift from Japan—a tulip tree that blossomed with yellow-green flowers. It had to have grown in the time that I was away. It would have been fatal had it been cut down. I again took the stairs down into the drawing room and came across nobody—they had all disappeared in search of food or were hidden away in their burrows. In the middle of the hall, like an opened rib cage, was the piano, irreparably shattered.B Flach! B Flach!Translation © Ali Kinsella 2022. (shrink)

Political ecology is a recent development in contemporary scholarship. Contrary to popular belief, the French philosopher Bruno Latour was not its originator. Some scholars began to recognise that nature and politics were closely connected back to the time of Montesquieu. Nonetheless, Latour’s political ecology is original in that it features new or revamped concepts that lend it new content and meaning. It includes concepts such as ‘mode of existence,’ ‘actor/network,’ ‘humans’ and ‘non-humans,’ ‘terrestrial’ or ‘Earthbound,’ and offers a new interpretation (...) of the concepts of nature and politics. These concepts are the focus of the first and second parts of the article. The final part looks at their practical application, particularly in connection with Latour’s idea of creating a common world fit for life, or at least survival. -------------------------- Received: 24/11/2022. Reviewed: 08/03/2023. Accepted: 30/03/2023. (shrink)

El artículo propone un esbozo del programa teórico de la izquierda progresista del siglo XXI a partir de la lectura de los autores contemporáneos que tendrían mayor influencia en los líderes políticos iberoamericanos de esta corriente. Para ello, examina el escenario histórico político tras el fin de las utopías y del mito revolucionario, y luego describe los problemas teóricos que dotarían de contenido lo que el autor denomina una «revuelta posneoliberal».

Este trabajo se centra en la creciente interacción entre la neurociencia y el derecho, delineando cuestiones de responsabilidad penal y en el marco más amplio de las interacciones epistemológicas entre diferentes campos del conocimiento. Ilustra la oportunidad de mantener un “debate” o diálogo peculiar entre las ramas de la ciencia consideradas y en el ámbito particular del neuroderecho. A continuación, el artículo presenta el método socrático como un enfoque dialéctico específico para orientar racionalmente estas conexiones epistemológicas, favorecer la comparación crítica (...) de perspectivas heterogéneas y, por tanto, poner de manifiesto espacios comunes fértiles en los que es posible alcanzar nuevos conocimientos interdisciplinarios. Por último, el artículo considera posturas significativas en el debate sobre el neuroderecho para mostrar que, en la medida en que se basan en la dialéctica y la refutación, pueden considerarse como fuertes manifestaciones de un diálogo socrático. Por lo tanto, aprovechando esta práctica, incluso en los sistemasjurídicos hay espacio para las pruebas y las aportaciones neurocientíficas, aunque esto conlleve una pizca de “neuromodestia”, pensamiento crítico y una defensa del método socrático. (shrink)

Nursing education is in the process of incorporating critical thinking, social justice, and health inequality perspectives into educational structures, aspiring to help nursing students develop into professional nurses prepared to provide equal care. Norm criticism is a pedagogical philosophy that promotes social justice. This qualitative case study aimed to gain an understanding of and elaborate on an educational development initiative in which norm criticism was incorporated into the composition of a new campus‐based clinical learning environment for nursing education. By analyzing (...) documents and interviews with the help of reflexive thematic analysis three themes were generated: “Intention to educate beyond nursing education,” “Educating in alliance with society,” and “The educative ambiguity of the Clinical Learning Centre.” The case study indicates that the incorporation of norm criticism into a campus‐based clinical learning environment may encourage nursing students to evolve social skills for nursing practice that support health equality within healthcare. By collaborating with society, nursing education can considerably improve its educational frameworks in alignment with societal demands. However, the inclusion of norm criticism in a setting such as a campus‐based clinical learning environment entails a clash with established institutionalized norms and being perceived as too proximate to politics. (shrink)

This paper tries to propose a reading focused mainly on some of Foucault’s late works, developed since the first volume of his Histoire de la sexualité, from 1976. The aim of our reading tends to note that the distance between Foucault and Deleuze, even marked in an explicit rupture after the publication of that book, is not so much due to Foucault's “fascination” with power, or to his peremptory challenge of desire and its leakage power, or its supposed abandonment of (...) the detailed analysis of dispositifs. According to our reading, the distance taken by Deleuze will account, in this impasse, for the possibility of a resistance that is not exerted on dispositifs and power formations, and that projects the problem of power towards differents ways of life, according to a logic of modulation of life, very similar to that outlined by Foucault in his later years, and creating a singular consonance between both projects of thought. (shrink)

El artículo analiza las condiciones de validez del testimonio en ciencias sociales. Sus potencialidades centrales son el constituir un campo de exploración e investigación de acercamiento a la subjetividad, especialmente a la de los sectores populares. Ello ha permitido incorporar sus discursos y representaciones en las ciencias sociales. Sin embargo, dicha incorporación se ha realizado bajo una perspectiva empirista, según la cual el testimonio es una representación inmediata, directa de los sujetos, lo que oculta la mediación del testimonio a través (...) del cientista social, particularmente a través de la entrevista. Por ende, la idea del testimonio como una ¿voz de los sin voz¿ oculta el diálogo entre investigador-sujetos, que podría ser potenciado en un tipo de investigación hermenéutica en la que el investigador ya no ostentaría el monopolio de la interpretación. (shrink)

En los últimos años, el filósofo surcoreano radicado en Alemania, Byung-Chul Han, viene marcando nuevos derroteros para la reflexión filosófica usando el potencial teórico que surge de la comprensión de las nuevas realidades sociales, políticas y económicas, que marcan esta época de evolución neoliberal y de desarrollo tecnológico, en el contexto de la cuarta Revolución Industrial. Así, temas como la transformación de la biopolítica en psicopolítica se convierten en un punto muy relevante para el análisis de las sociedades actuales y (...) sus derivas. Con este trasfondo de pensamiento, el presente artículo tiene por objetivo sumergirseen las argumentaciones de Han, explorando el papel crucial que desempeñan las emociones en las sociedades del rendimiento, del cansancio y de la infocracia, acudiendo a la metáfora de la “rueda del hámster” como imagen evocadora de las dinámicas de las sociedades actuales. De esta forma, se presenta una perspectiva innovadora de la complejidad del siglo XXI, al adentrarnos en determinados matices del pensamiento de Han, en conexión con la realidad palpable de las emociones, que actúan como el combustible que impulsa a cada individuo en su propia “rueda existencial”. Esta articulación con las experiencias emocionales contribuyede manera significativa a las discusiones contemporáneas acerca de la naturaleza humana en contextos de innovación tecnológica. (shrink)

This chapter contains sections titled: Bibliography.