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HYPER-REAL RELIGION, LOVECRAFT, AND THE CULT OF THE EVIL DEAD
стр.4-24
The article examines the media franchise “Evil Dead.” The author addresses why it grew from a low-budget independent film to a popular culture phenomenon. This popularity cannot be explained simply by the fact that it has become a transmedia phenomenon (musical, theater, video games, comics, remake, TV series, etc. . .). The author believes that the demand for the franchise is explained, among other things, by the influence of Howard Lovecraft, whose work is of particular importance in the context of hyper-real religion and, in particular, for the original “Evil Dead” trilogy. First, the article clarifies the concepts of “popular culture” and “fantasy” and applies both to the “Evil Dead” franchise. It then discusses whether the franchise can be associated with a type of new religiosity, using Adam Possamai’s concept of “hyper-real religion.” Such “religion” is based upon the products of popular culture and only has representations with no real referents (“simulacra”). Although “Evil Dead” cannot be recognized as a proper hyper-real religion, it can be classified as a hyper-real cult. This concept is associated with the phenomenon of the cult cinema and includes ritualized viewing practices among the fans.
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THE CONFLICT OF IMMORTALITIES: THE BIOPOLITICS OF THE CEREBRAL SUBJECT AND RELIGIOUS LIFE IN ALTERED CARBON
стр.25-46
This article explores a possible conflict between the practical and ethical implications of scientific and religious discourses about human nature proposed in the sci-fi series “Altered Carbon.” It discusses the clash between biopolitically implemented technology and religious life. The scientific discourse is represented by the “ideology of the cerebral subject” (F. Vidal, F. Ortega), which establishes the connection between the brain and the self. A brief examination of examples of the representation of this ideology in science fiction and its general logic follows. The final development of neuroscience in this series is the technology of uploading the self onto a digital medium, which makes it possible to achieve a quasi-immortal state by changing bodies. This technology, biopolitically appropriated and introduced into individual lives by the state, conflicts with the religious life of Neo-Catholics who refuse to transfer their selves into another body after their bodily deaths. Thus, the field of collision between the interference of science-inspired biopower into the life of the individual and his or her religious life is marked by the coordinates of life and death. The article discusses this fundamental collision, its biopolitical background, and its implications.
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THE DEPRESSED MESSIAH: RELIGION, SCIENCE FICTION, AND POSTMODERNISM IN NEON GENESIS EUANGELION
стр.47-66
The article explores the anime series “Neon Genesis Evangelion” (1995-1996). The work is considered as a cultural product that is within the science fiction tradition of the second half of the twentieth century. The article shows how the series weaves together elements of Shinto and Abrahamic religious traditions as equally relevant. Through the use of religious topics, the science fiction work acquires an inner cognitive logic. The religious in the series is represented on two levels: an implicit one that defines the plot’s originality, and also an explicit one, in which references to religious matters become a marketing tool aimed at Japanese and Western media markets. To grasp the sometimes controversial and incoherent religious symbols, the author proposes to use a postsecular framework of analysis and the elements of a postmodern philosophy of culture. The author then proposes an analysis of the show’s narrative using the religious theme of apocalypse.
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DRAGON AGE: INQUISITION: A CHRISTIAN MESSAGE IN A POSTSECULAR WORLD
стр.67-90
This article deals with the religious, specifically Christian, message in the video game “Dragon Age: Inquisition,” released in 2014 by BioWare. In order to understand the specifics of this game, the article includes a detailed analysis of the conventional ways that religion, gods, and believers are presented in computer role-playing games (RPGs), the genre to which “Dragon Age: Inquisition” belongs. The study pays special attention to the way “Dragon Age: Inquisition” utilizes a common set of narrative techniques and game mechanics often present in the games of this genre. While borrowing many of them, the developers change them in small but significant ways. In doing so they manage to create a unique approach to the representation of religion that is shaped profoundly by secular ideology, which dominates the genre. This allows us to call “Dragon Age: Inquisition” a postsecular video game that adapts many traditional Christian narratives and conflicts to a new and unaccustomed medium.
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RELIGIOUS CULTS IN THE FICTIONAL UNIVERSE OF THE RPG THE WITCHER
стр.91-104
This paper deals with religions found in the fictional world of “The Witcher” video game. Within this fantasy universe, religious communities, institutions, and conflicts are not constructed around theological doctrines, nor do they refer to the issues usually associated with religious faith (such as cosmology, eschatology, ethics or worship). Instead, their depiction is primarily based on their position on violence and their attitude towards the Other. In many respects, this game is a typical product of contemporary pop culture; religions, religiousness, faith, and believers are portrayed here from a secular perspective. As a result, it is the question of religious cults’ willingness to peacefully co-exist with each other and the world around them that comes to the forefront, while issues that are less interesting for nonbelievers are downplayed or ignored. This article aims to show one of the dominant strategies of representation of religions and believers in contemporary video games.
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REVIEW OF: VIKTOR SHNIREL'MAN. 2017. “KOLENO DANOVO”. ESKHATOLOGIIA I ANTISEMITIZM V SOVREMENNOI ROSSII [“THE TRIBE OF DAN." ESCHATOLOGY AND ANTISEMITISM IN MODERN RUSSIA]. MOSCOW: IZDATEL'STVO BBI (IN RUSSIAN). - 631 P
стр.105-111
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