The Apocalypse of St. Jana delights with the richness of eschatological content. However, the eschatological themes of the Apocalypse are not a frequent subject of scientific study. The reflections contained in this article take the form of methodological guidelines. They concern the process of interpreting the eschatology of Apocalypse. The Apocalypse should not be interpreted in isolation from historical and literary research. It should also not be interpreted in isolation from ethical research. It should also take into account the specific nature of prophetism of the Apocalypse. Eschatological contents contain an important place in this book. In order to interpret them properly, it is necessary to note i.a.: eschatological dynamics of the Apocalypse; the ambiguity of some symbols; the relation of eschatology to christology and ecclesiology.

The claim of this article is to argue that the main thrust of Karl Marx’s philosophy was neither a critique of political economy, nor a critique of the bourgeois political system, but an anti-theistic raid of a metaphysical nature, and that this drive gave him the impetus that motivated his intellectual activity from the time when he had not yet had any economic theory and when the proletariat had not yet played a major role within the purview of his interests. Marx’ rebellion led him to a condemnation of the entire creation as a product of an evil Demiurge, who – to exacerbate the situation even further – was nothing else than a product of human false consciousness, manifesting itself politically as a division of any populace into friends and foes, who were subsequently conglomerated into antagonistic social classes but could be transformed in appropriate conditions into stateless community of friends.

The article is titled “The symbol of the serpent in the Apocalypse of St. John”. Its aim is an exegetical analysis of the term “serpent” (ὄφις). The expression appears in Rev 9:19; 12:9; 20:2 and 12:14-16. In Rev 9:19 snakes are a symbolic element of a cavalry that realizes God’s plan. In other texts the serpent is a symbol of Satan. In Rev 12:9; 20,2 appears the title “the ancient serpent” referring to the biblical story of Gen 3:1-24. It is emphasized that Satan is the tempter. In Rev 12:14-16 the term “serpent” is used as a synonym for the dragon. It is possible that the symbolic scene of aggression towards woman expresses a destructive satanic action against the Church. We also ask a question how much the apocalyptic dragon (δράκων) is a serpent. In the course of exegetical analysis we have paid attention to two perspectives. The first is a historical and religious background of the serpent symbol in Rev. The second is original theology of Rev. One of her basic features is very rich symbolism. The author of Rev. refers to the past, but introduces a new, original content.

This article presents a new reading of the spoof poetic manifesto ‘Chamuły poezji’ [‘The Cads of Poetry’] written by Julian Przyboś in 1926. His use of the apocalyptic tones of early modernist poetry to lampoon a trio of acclaimed poets associated with Young Poland (especially Jan Kasprowicz) suggests a complex nature of Przyboś’s rejection and dependence on that movement. In general, the influence of Young Poland, though quite conspicuous in is juvenilia and early publications, tends to fade away. ‘Chamuły’ is a pejorative nonce word which alludes to the Biblical Ham as well as a Polish word for a cad or ill-bred bumpkin. This article adds to it another layer of meaning, based on Derrida’s interpretation of the Apocalypse, with allusions to sexual and genital imagery. And more generally, it reframes the whole Przyboś’s poetic work (not just his early poems) using Catherine Malabou’s concept of plasticity. Seen in a broader historical perspective, Przyboś’s struggles to break with Young Poland are not unlike the predicament of many eighteenth-century writers caught in the dispute between the Moderns and the Ancients, satirized in Swift’s Battle of the Books. The overall conclusion of this study is that at all times the avant-garde and the arrière-garde remain in a continuous dialogue and the innovators never lose sight of those left behind. Poetry is, after all, metamorphic and cannot be contained within within the bounds of manifestoes and artistic programmes.

This is a critical reading of two Polish science-fiction novels of the post-Apocalypse subgenre, Cassandra’s Head by Marek Baraniecki and The Old Axolotl by Jacek Dukaj, with the help of concepts borrowed from the philosophical toolkit of Jacques Lacan. Each of the two books envisages an apocalyptic catastrophe and its consequences as well as the subsequent attempts to rebuild human civilization. The action in either novel is shaped by tensions between the Symbolic and the Real. The latter, though suppressed and shut out, keeps resurfacing, usually when it is least expected, leaving an indelible marks in the life of the survivors. An analysis of the handling of this conflict in the two novels offers a number of insights into the way these two fundamental modes (or, Lacanian orders) of human perception are integrated into the worlds of post-Apocalyptic fiction.

This article analyses the first traces of postsecular turn in historical theory, arguing that they first emerged in Dominick LaCapra’s book History and Its Limits: Human, Animal, Violence (2009) and in Allan Megill’s subsequent polemic with that work. The author claims that what prevails in LaCapra’s narrative is the rhetoric of “resisting apocalypse”, thus demonstrating how he inscribes postsecular themes with the issue of trauma, together with its religious connotations. The discussion between LaCapra and Megill is treated here as a point of departure for considering the forms that the postsecular can take in historical theory.