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ÖZ: 1978 yılında SciFiNow dergisinde Amerikalı eleştirmen Alan Frank tarafından ortaya atılan post apokaliptik terimi, ilk olarak edebiyat yazarlarının olası küresel felaketin yalnızca nedenlerini değil, aynı zamanda sonuçlarını da kavrama konusundaki arzuları sonucu çıkar. Özellikle XXI. yüzyıl dünya edebiyatında geniş yer kaplayan bu terim, “post apokaliptik edebiyat” adı altında yeni bir nesir anlayışının doğuşuna zemin hazırlar. Fantastik yazın türünün bir kolu olarak hareket eden bu edebiyat, genel anlamda soğuk savaş, uzay araştırmaları, III. Dünya Savaşı tehdidi gibi konular çerçevesinde şekillenir. Nitekim bu çalışmada, XXI. yüzyılın öne çıkmaya başlayan Rus yazarlarından Nikolay Lipnitskiy’in Eve Giden Yol eserinde, geleceğe yönelik çalışmalar içerisinde bir hayli geniş yer kaplayan III. Dünya Savaşı’nın sonuçları post apokaliptik temelde çözümlenecektir. Her zamankinden farklı olarak yaşanan bir savaşın edebiyata yansımasının ele alınmadığı bu çalışmada, henüz gerçekleşmemiş bir savaşın, son derece canlı bir şekilde kurgulanışı ve aktarılışı betimleme yönteminden faydalanılarak gösterilmeye çalışılacaktır. Böylelikle Lipnitskiy’in yalın bir şekilde işlediği bu senaryosuyla aslında araştırmacılar tarafından oldukça ihtimal dâhilinde görülen III. Dünya Savaşı’nın gerçekleşmesi halinde olabileceklere yönelik vermek istediği önemli uyarısı ön plana çıkarılacaktır. ABSTRACT: The term post-apocalyptic, coined by the American critic Alan Frank in 1978 in the journal SciFiNow, firstly derives from the desire of literary writers to grasp not only the causes but also the consequences of possible global catastrophe. This term, which especially occupies a wide place in the world literature of the 21th century, paves the way for the birth of a new prose genre under the name of “post-apocalyptic literature”. This literature, which acts as a branch of the fantasy genre, generally is shaped around issues such as the cold war, space exploration and the threat of World War III. Indeed, in this study, in the work of Nikolai Lipnitsky, one of the Russian writers who started to come to the forefront of the 21th century, On The Way Home, the consequences of World War III will be analyzed on a post-apocalyptic basis. In this study, unlike usual, the reflection of a war in literature is not brought to the fore, it will be tried to show from a different point of view a very lively fictionalization and transmission of a war that has not yet taken place. Thus, it will be emphasized that this fiction of Lipnitsky, which he conveys in a simple way, is actually a warning to what might happen in the event of a war, which is highly probable by the researchers.

The term post-apocalyptic, coined by the American critic Alan Frank in 1978 in the journal SciFiNow, firstly derives from the desire of literary writers to grasp not only the causes but also the consequences of possible global catastrophe. This term, which especially occupies a wide place in the world literature of the 21th century, paves the way for the birth of a new prose genre under the name of "post-apocalyptic literature". This literature, which acts as a branch of the fantasy genre, generally is shaped around issues such as the cold war, space exploration and the threat of World War III. Indeed, in this study, in the work of Nikolai Lipnitsky, one of the Russian writers who started to come to the forefront of the 21th century, On The Way Home, the consequences of World War III will be analyzed on a post-apocalyptic basis. In this study, unlike usual, the reflection of a war in literature is not brought to the fore, it will be tried to show from a different point of view a very lively fictionalization and transmission of a war that has not yet taken place. Thus, it will be emphasized that this fiction of Lipnitsky, which he conveys in a simple way, is actually a warning to what might happen in the event of a war, which is highly probable by the researchers. [ABSTRACT FROM AUTHOR]

Résumé : Le but de ce travail est de mettre à profit le rapport – à la fois déclaré et manifeste – de Roberto Bolaño à ce qu’il est convenu d’appeler la « pop culture », pour proposer un agencement ou une articulation de plusieurs questionnements traditionnellement associés à son œuvre : la thématique du Lumpen, l’imbrication vitale de l’art et de son extériorité, et enfin la problématique du Mal que nos travaux antérieurs sur l’auteur n’ont jamais dissociée de celle du « devenir technique » heideggérien. Notre thèse centrale, à laquelle l’analyse du motif de la science-fiction dans son œuvre nous conduit, est ainsi celle d’un dépassement par l’auteur de la réflexivité postmoderne : un dépassement dans lequel, à notre sens, réside une bonne part de son pouvoir de fascination. Abstract: The aim of this work is to emphasize Roberto Bolaño’s relationship – at the same time declared and manifest – with what is known as «pop culture», to propose an arrangement or articulation of several questions traditionally associated with his work: the theme of Lumpen, the vital interweaving of art and its exteriority, and finally the problematic of Evil that our previous works on the author have never dissociated from that of Heidegger’s «technical evolution». Our central thesis, to which leads us the analysis of the motive of science-fiction in his work, is the overrun by the author of postmodern reflexivity: it is on this overrun that hinges on, in our view, a good part of his power of fascination. Resumen: El propósito de este trabajo es aprovechar el vínculo –a la vez reivindicado y manifiesto– de Roberto Bolaño con lo que acostumbramos llamar la «cultura pop» para proponer una articulación de varias problemáticas tradicionalmente asociadas a su obra: la temática de lo Lumpen, el entrelazado vital del arte con su exterioridad, así como la cuestión del Mal, que nuestros trabajos anteriores sobre el autor nunca disociaron de los aportes del pensamiento heideggeriano sobre la técnica. Nuestra tesis central, a la que nos lleva el análisis del motivo de la ciencia ficción en su trabajo, es la de un repudio por parte del autor de la reflexividad posmoderna: un repudio en el que radica, a nuestro parecer, buena parte de su poder de fascinación.

Samuel Beckett litters the text of his despairing post-apocalyptic drama with references to the book of Genesis. Beckett dissolves and diminishes the characters, plot, structure, and even syntax of Genesis as he undermines the world's beginning in order to portray its end. Significantly, the allusions and references to Genesis are scattered and incoherent, replicating the disintegration of the world through their dissolute form. Endgame intentionally disseminates the texts, stories, and structures of Genesis—as well as its patriarchal family structure—amidst a chaotic, explosive deployment of the Bible itself. The text does more than allude to Genesis and reverse creation; it deconstructs the western world's foundational text as an integral part of the world's end. [ABSTRACT FROM AUTHOR]

• Postapocalyptic environmentalism has a contradictory impact on climate movements. • It can shape activists' future imaginations without changing their strategies. • Theories of temporality and imagined futures can make sense of these contradictions. • Apocalyptic strategies are enabled by marginalizing expected future scenarios. • Spatialization is another key strategy to overcome temporal contradictions. Climate activists are confronted with an increasing tension between the need for urgent climate action and a sense that it could already be too late to prevent 'dangerous' or 'runaway' climate change. In this context, scholars observe the spread of a postapocalyptic environmentalism that understands climate change as already being locked in beyond 'safe' limits. This narrative challenges apocalyptic environmentalism, which presents climate disasters as a future threat to be avoided. We aim to improve our understanding of the profound yet contradictory impact of this shift on climate activism. Specifically, we explain why in some cases, the postapocalyptic narrative is adopted without clearly impacting climate activists' goals and strategies, which remain informed by an apocalyptic vision based on notions of solution, control and progress. Drawing on an ethnographic case study of a British climate movement organization, we explain why apocalyptic strategies can be reproduced despite postapocalyptic visions, and how this can result in a juxtaposition of strategies perceived as most realistic and strategies actually being pursued. We argue that Tavory and Eliasoph's (2013) theory about the disjuncture and coordination of imagined futures can help us make sense of this situation. We expand this theory by showing the importance of spatialization as a strategy to overcome temporal contradictions. [ABSTRACT FROM AUTHOR]

This article analyzes the civic love that emerges from three recent post-apocalyptic novels. Post-apocalyptic fiction captures our collective fears and reworks imaginatively how we might live together. In imagining how we might live together these post-apocalyptic texts go beyond the collective fear that might seem to be central to the genre to instead illustrate and inculcate civic love. This civic love is both evidence of just communities and illustrates the emotion necessary for creating such communities. Marge Piercy'sHe, She and It(1992), Octavia Butler'sParable of the Talents(1998) and Kim Stanley Robinson's2312(2012) illustrate the persuasive power of novels that highlight living in just communities. The love these characters have for their own communities, illustrated in their personal love relationships, awakens in the reader a sense of possibility for how we might live together. [ABSTRACT FROM PUBLISHER]