Academic literature on the topic 'Literature – History and criticism – Zimbabwe'

Abstract This article explores the syntax-semantics nexus of Shona postproverbials in the contemporary Zimbabwean society. In terms of syntax, Shona postproverbials are aligned to the following types of sentences found in the Shona language; substantival, verbal, and a combination of both. Like traditional proverbs, there is no postproverbial that takes the form of the ideophonic sentence. The communicative power of postproverbials is an inherent, inbuilt, and internal property stemming from their syntactic and lexical properties. The postproverbial forms, studied in this article, exhibit innovation and ingenuity of the users. The communicative force of the postproverbials arises from the correspondence and cross-correspondence of the structures and grammatical items that constitute them. Congruence and contrast of the lexical items found in the postproverbials also contribute to meanings. The study established that, just like the traditional proverbs, postproverbials are pithy and terse philosophical statements that resonate with a people’s collective experience. In most cases, the postproverbials provide a conduit for people to comment on issues regarded as politically ‘taboo’ and sensitive in a society where the state does not tolerate open criticism.

Literally hundreds of novels were written by white Rhodesians during the U.D.I. era of the 1960s and 1970s. Since Independence, however, not much more than a handful of literary texts have been produced by whites in Zimbabwe. This dissertation, therefore, involves an interrogation of both white discourse and the (reduced) space for white discourse in postcolonial Zimbabwean society. In addition to the displaced moral space, and the removal of the economic and political power base, there has been an appropriation of control over the material means of production of any discourse and white discourse, which has become accustomed to its position of superiority due to its dominance and dominating tendencies, has struggled to come to terms with its new, non-hegemonic 'space'. In an attempt to come to some understanding of the literary silence and marginalisation of white discourse in post-independence Zimbabwe there has to be some understanding of the voice that was formed during the British South Africa Company's administration and which reached a crescendo of authoritarian self-assertion at the declaration of unilateral independence. Vital to this discussion (in Part I) is an uncovering of the myths that were intrinsic to white discourse in the way that they were created as justification for settlement and to propagandise the aggressive defence of that space that was forged in an alien landscape. These myths have not been easily cast aside and, hence, have made it so difficult for white discourse to adapt to post-colonial society. Most Rhodesian novels were extremely partisan and promulgated these myths. Part II, discusses ex post facto novels about the war (from the white perspective) to investigate whether white discourse is recognising the lies that make up so much of its belief system. This investigation of this particular perspective of the war, then, will help to define at what stage white Zimbabweans are at in the development of a national culture. Part III takes this discussion of acculturation and national unity further. Furthermore, through the discussion of a number of novels in this chapter, it is argued that white discourse is struggling to come to terms with its non-hegemonic position and is continuing to attempt to assert its control. The 'space' available to the early settlers' discourse for appropriation, however, has been removed and, in the reduced space available to white discourse, one continued area of possible control is that of conservation.

Thesis (PhD)--Stellenbosch University, 2015
ENGLISH ABSTRACT: This thesis undertakes a comparative reading of post-colonial literature written in English in Botswana, Namibia and Zimbabwe to bring into focus the similarities and differences between fictional representations of poverty in these three countries. The thesis explores the unique way in which literature may contribute to the better understanding of poverty, a field that has hitherto been largely dominated by scholarship that relies on quantitative analysis as opposed to qualitative approaches. The thesis seeks to use examples from selected texts to illustrate that (as many social scientists have argued before) literature provides insights into the ‘lived realities’ of the poor and that with its vividly imagined specificities it illuminates the broad generalisations about poverty established in other (data-gathering) disciplines. Selected texts from the three countries destabilise the usual categories of gender, race and class which are often utilised in quantitative studies of poverty and by so doing show that experiences of poverty cut across and intersect all of these spheres and the experiences differ from one person to another regardless of which category they may fall within. The three main chapters focus primarily on local indigence as depicted by texts from the three countries. The selection of texts in the chapters follows a thematic approach and texts are discussed by means of selective focus on the ways in which they address the theme of poverty. Using three main theorists – Maria Pia Lara, Njabulo Ndebele and Amartya Sen – the thesis focuses centrally on how writers use varying literary devices and techniques to provide moving depictions of poverty that show rather than tell the reader of the unique experiences that different characters and different communities have of deprivation and shortage of basic needs.
AFRIKAANSE OPSOMMING: Hierdie tesis onderneem ‘n vergelykende studie van post-koloniale letterkunde in Engels uit Botswana, Namibië en Zimbabwe, om sodoende die ooreenstemmings en verskille tussen letterkundige uitbeeldings van armoede in hierdie drie lande aan die lig te bring. Die tesis ondersoek die unieke manier waarop letterkunde kan bydra tot ‘n beter begrip van armoede, ‘n studieveld wat tot huidiglik grotendeels op kwantitatiewe analises berus, in teenstelling met kwalitatiewe benaderings. Die tesis se werkswyse gebruik voorbeelde uit gelekteerde tekste met die doel om te illustreer (soos verskeie sosiaal-wetenskaplikes reeds aangevoer het) dat letterkunde insig voorsien in die lewenservarings van armoediges en dat dit die breë veralgemenings aangaande armoede in ander (data-gebaseerde) wetenskappe kan illumineer. Geselekteerde tekste uit die drie lande destabiliseer die gewone kategorieë van gender, ras en klas wat normaaalweg gebruik word in kwantitatiewe studies van armoede, om sodoende aan te toon dat die ervaring van armoede dwarsdeur hierdie klassifikasies sny en dat hierdie tipe lewenservaring verskil van persoon tot persoon ongeag in watter kategorie hulle geplaas word. Die drie sentrale hoofstukke fokus primêr op lokale armoede soos uitgebeeld in tekste vanuit die drie lande. Die seleksie van tekste in die hoofstukke volg ‘n tematiese patroon en tekste word geanaliseer na aanleiding van ‘n selektiewe fokus op die maniere waarop hulle armoede uitbeeld. Deur gebruik te maak van ‘ die teorieë van Maria Pia Lara, Njabulo Ndebele en Amartya Sen, fokus hierdie tesis sentraal op hoe skrywers verskeie literêre metodes en tegnieke aanwend ten einde ontroerende uitbeeldings van armoede te skep wat die leser wys liewer as om hom/haar slegs te vertel aangaande die unieke ervarings wat verskillende karakters en gemeenskappe het van ontbering en die tekort aan basiese behoefte-voorsiening.

Thesis (PhD)-- Stellenbosch University, 2013.
ENGLISH ABSTRACT: The last decade in Zimbabwe was characterised by an unprecedented economic and political crisis. As the crisis threatened to destabilise the political status quo, it prompted in governmental circles the perceived 'need‘ for political containment. The ensuing attempts to regulate the expressive sphere, censor alternative historiographies of the crisis and promote monolithic and self-serving perceptions of the crisis presented a real danger of the distortion of information about the situation. Representing the crisis therefore occupies a contested and discursive space in debates about the Zimbabwean crisis. It is important to explore the nature of cultural interventions in the urgent process of re-inscribing the crisis and extending what is known about Zimbabwe‘s so-called 'lost decade‘. The study analyses literary responses to state-imposed restrictions on information about the state of Zimbabwean society during the post-2000 economic and political crisis which reached the public sphere, with particular reference to creative literature by Zimbabwean authors published during the period 2000 to 2010. The primary concern of this thesis is to examine the efficacy of post-2000 Zimbabwean literature as constituting a significant archive of the present and also as sites for the articulation of dissenting views – alternative perspectives assessing, questioning and challenging the state‘s grand narrative of the crisis. Like most African literatures, Zimbabwean literature relates (directly and indirectly) to definite historical forces and processes underpinning the social, cultural and political production of space. The study mainly invokes Maria Pia Lara‘s theory about the ―moral texture‖ and disclosive nature of narratives by marginalised groups in order to explore the various ways through which such narratives revise hegemonically distorted representations of themselves and construct more inclusive discourses about the crisis. A key finding in this study is that through particular modes of representation, most of the literary works put a spotlight on some of the major talking points in the political and socio-economic debate about the post-2000 Zimbabwean crisis, while at the same time extending the contours of the debate beyond what is agreeable to the powerful. This potential in literary works to deconstruct and transform dominant elitist narratives of the crisis and offering instead, alternative and more representative narratives of the excluded groups‘ experiences, is made possible by their affective appeal. This affective dimension stems from the intimate and experiential nature of the narratives of these affected groups. However, another important finding in this study has been the advent of a distinct canon of hegemonic texts which covertly (and sometimes overtly) legitimate the state narrative of the crisis. The thesis ends with a suggestion that future scholarly enquiries look set to focus more closely on the contribution of creative literature to discourses on democratisation in contemporary Zimbabwe.
AFRIKAANSE OPSOMMING: Die afgelope dekade in Zimbabwe is gekenmerk deur ‗n ongekende ekonomiese en politiese krisis. Terwyl die krisis gedreig het om die politieke status quo omver te werp, het dit die ‗noodsaak‘ van politieke insluiting aangedui. Die daaropvolgende pogings om die ruimte vir openbaarmaking te reguleer, alternatiewe optekenings van gebeure te sensureer en ook om monolitiese, self-bevredigende waarnemings van die krisis te bevorder, het 'n wesenlike gevaar van distorsie van inligting i.v.m. die krisis meegebring. Voorstellings van die krisis vind sigself dus in 'n gekontesteerde en diskursiewe ruimte in debatte aangaande die Zimbabwiese krisis. Dit is gevolglik belangrik om die aard van kulturele intervensies in die dringende proses om die krisis te hervertolk te ondersoek asook om kennis van Zimbabwe se sogenaamde 'verlore dekade‘ uit te brei. Die studie analiseer literêre reaksies op staats-geïniseerde inkortings van inligting aangaande die sosiale toestand in Zimbabwe gedurende die post-2000 ekonomiese en politiese krisis wat sulke informasie uit die openbare sfeer weerhou het, met spesifieke verwysing na skeppende literatuur deur Zimbabwiese skrywers wat tussen 2000 en 2010 gepubliseer is. Die belangrikste doelwit van hierdie tesis is om die doeltreffendheid van post-2000 Zimbabwiese letterkunde as konstituering van 'n alternatiewe Zimbabwiese 'argief van die huidige‘ en ook as ruimte vir die artikulering van teenstemme – alternatiewe perspektiewe wat die staat se 'groot narratief‘ aangaande die krisis bevraagteken – te ondersoek. Soos met die meeste ander Afrika-letterkundes is daar in hierdie literatuur 'n verband (direk en/of indirek) met herkenbare historiese kragte en prosesse wat die sosiale, kulturele en politiese ruimtes tot stand bring. Die studie maak in die ondersoek veral gebruik van Maria Pia Lara se teorie aangaande die 'morele tekstuur‘ en openbaringsvermoë van narratiewe aangaande gemarginaliseerde groepe ten einde die verskillende maniere waarop sulke narratiewe hegemoniese distorsies in 'offisiële‘ voorstellings van hulself 'oorskryf‘ om meer inklusiewe diskoerse van die krisis daar te stel, na te vors. 'n Kernbevinding van die studie is dat, d.m.v. van spesifieke tipe voorstellings, die meeste van die letterkundige werke wat hier ondersoek word, 'n soeklig plaas op verskeie van die belangrikste kwessies in die politieke en sosio-ekonomiese debatte oor die Zimbabwiese krisis, terwyl dit terselfdertyd die kontoere van die debat uitbrei verby die grense van wat vir die maghebbers gemaklik is. Die potensieel van letterkundige werke om oorheersende, elitistiese narratiewe oor die krisis te dekonstrueer en te omvorm, word moontlik gemaak deur hul affektiewe potensiaal. Hierdie affektiewe dimensie word ontketen deur die intieme en ervaringsgewortelde geaardheid van die narratiewe van die geaffekteerde groepe. Nietemin is 'n ander belangrike bevinding van hierdie studie dat daar 'n onderskeibare kanon van hegemoniese tekste bestaan wat op verskuilde (en soms ook openlike) maniere die staatsnarratief anngaande die krisis legitimeer. Die tesis sluit af met die voorstel dat toekomstige vakkundige studies meer spesifiek sou kon fokus op die bydrae van kreatiewe skryfwerk tot die demokratisering van kontemporêre Zimbabwe.

Thesis (PhD)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis finds its epistemological basis in two related motives: the re-conceptualisation of white writing in Zimbabwe as a sub-category of Zimbabwean literature, and the recognition of white narratives as necessarily dialogic. The first motive follows the realization that writing by Zimbabwean whites is systematically marginalized from “mainstream” Zimbabwean literature owing to its perceived irrelevance to the postcolonial Zimbabwean nation. Through an application of Even-Zohar’s polysystem theory, this thesis argues for a recognition of white writing as a literary sub-system existing in relation to other literary and non-literary systems in Zimbabwe’s polysystem of culture. As its second motive, the thesis also calls for a critical approach to white Zimbabwean narratives built on the understanding that the study of literature can no longer be left to monologic approaches alone. Rather, white narratives should be considered as multiple and hence amenable to a multiplicity of approaches that recognize dialogue as an essential aspect of all narratives. The thesis attempts, by closely reading nine white-authored narratives in Zimbabwe, to demonstrate that white Zimbabwean literature is characterized by multiplicity, simultaneity and instability; these are tropes developed from Bakhtin’s understanding of utterances as characterized by a minimum of two voices. To consider white writing in Zimbabwe as a multiplicity is to call forth its numerous dimensions and breadth of perceptions. Simultaneity posits the need to understand opposites/conflicts as capable of existing side by side without necessarily dissolving into unity. Instability captures the several movements and destabilizations that affect writers, characters and the literary system. These three tropes enable a re-reading of white Zimbabwean narratives as complex and multi-nuanced. Such characteristics of the literary system are seen to reflect on the experiences of “whiteness” in postcolonial Zimbabwe. The white narratives selected for examination in this thesis therefore exhibit crises of belonging that reflect the dialogic nature of existence. In sum, this thesis is meant as a dialogue, culminating in the proposition that calls for a decentred and redemptive literary experience.
AFRIKKANSE OPSOMMING: Hierdie tesis vestig sy epistemologiese basis in twee verwante motiewe: die herkonseptualisering van skryfwerk deur wit skrywers in Zimbabwe as ’n sub-kategorie van Zimbabwiese letterkunde, en die erkenning van wit narratiewe as onontkombaar dialogies in aard en wese. Die eerste motief volg die argument dat die skryfwerke van wit Zimbabwieërs stelselmatig gemarginaliseer is uit “hoofstroom” Zimbabwiese literatuur, as gevolg van dié skryfwerke se beweerde irrelevansie tot die koloniale Zimbabwiese nasie-staat. Deur Even-Zohar se polisisteem teorie toe te pas, pleit hierdie tesis vir die erkenning van letterkunde deur wit skrywers as ’n literêre sub-stelsel wat bestaan in verhouding tot ander literêre en nie-literêre sisteme in Zimbabwe se polisisteem van kultuur. As sy tweede motief, vra die tesis ook vir ’n kritiese benadering tot wit Zimbabwiese narratiewe, gebou op die verstandhouding dat die studie van letterkunde nie meer suiwer aan monologies benaderings oorgelewer behoort te word nie. Inteendeel, wit narratiewe moet as veelsydig beskou word, en dus vatbaar vir ’n verskeidenheid benaderings wat dialoog as ’n noodsaaklike aspek van alle verhale erken en verken. Deur nege wit outeurs se verhale in Zimbabwe noukeurig te lees, dui hierdie tesis aan dat wit Zimbabwiese literatuur gekenmerk word deur veelvuldigheid, gelyktydigheid en onstabiliteit; hieride is teoretiese konsepte wat ontleen is aan Bakhtin se begrip van uitsprake (“utterances”) as bestaande uit ’n minimum van twee stemme. Om wit lettere in Zimbabwe as veelvuldig te verklaar is om die talle dimensies en breedtes van persepsie in letterkundige korpus te erken. Gelyktydig postuleer die tesis die moontlikheid dat teenoorgesteldes/konflikte langs mekaar kan en móét bestaan, sonder om noodwendig in ’n eenheid te ontaard. Onstabiliteit, soos dit hier verstaan word, omvat die verskillende bewegings en ontstuimige roeringe wat skrywers, karakters en die literêre sisteem beïnvloed. Hierdie drie konsepte laat ’n herlees van wit Zimbabwiese verhale toe wat as kompleks en multi-genuanseerd bestempel kan word. Sulke kenmerke van die literêre sisteem moet in ag geneem word om die ervaring van “witheid” in post-koloniale Zimbabwe effektief uit te beeld. Die wit verhale wat gekies is vir herlees in hierdie tesis beeld dus krisisse van bestaan uit wat die dialogiese aard van die menslike bestaan omvat. Ter afsluiting is hierdie tesis bedoel as ’n dialoog wat kulmineer in ’n oproep vir gedensentraliseerde en verlossende ervarings van die letterkunde in sy geheel.

Thesis (PhD)-- Stellenbosch University, 2013.
ENGLISH ABSTRACT: My thesis is on the literary imagining of the city in Zimbabwean literature that emerges as a re-visioning and contestation of its colonial and postcolonial manifestations. Throughout the seven chapters of the thesis I conduct a close reading of literary texts engaged in literary (re)creations of the city. I focus on texts by selected authors from 1949 to 2009 in order to trace the key aspects of this city imagining and their historical situatedness. In the first chapter, I argue the case for the inclusions and exclusions that are evident. In this historical span, I read the Zimbabwean canon and the city that is figured in it as palimpsests in order to analyse (dis)connections. This theoretical frame brings out wider relationships and connections that emerge in the (re)writing of both the canon and city. I adopt approaches that emphasise how spaces and temporalities ‗overlap and interlace‘ to provoke new ways of thinking about the city and the construction of identity. I argue for the country-city connection as an important dynamic in the various (re)imaginings of the city. Space is politicized along lines of race, ethnicity, gender and class in regimes of politics and aesthetics of inclusion and exclusion that are refuted by the focal texts of the thesis. I analyse the fragmentation of rural and urban space in the literary texts and how country and city house politico-aesthetic regimes of domination, exclusion and marginalisation. Using tropes of the house, music and train, I analyse how connections in the city are imagined. These tropes are connected to the travel motif found in all the chapters of the thesis. Travel is in most of the texts offered as a form of escape from the country represented as a site of essentialism or nativism. Both settlers and nationalists, from different ideological positions, invest the land and the city with symbolic political and cultural values. Both figure the city as alien to the colonised, a figuration that is contested in most of the focal texts of the thesis. Travel from the country to the city through halfway houses is presented as a way of negotiating location in new spaces, finding new identities and contending with the multiple connections found in the city. The relentless (un)housing in Marechera‘s writing expresses a refusal to be bounded by aesthetic, nationalist and racial houses as they are constructed in the city. In Vera‘s fiction, travel – in multifarious directions and in a re-racing of the quest narrative in Lessing – becomes a critical search for a re-scripting of gender and woman‘s demand for a right to the city. The nomadism in Vera‘s fiction is re-configured in the portrayal of the marginalised as the parvenus and pariahs of the city in the fiction of Chinodya and Tagwira. In the chapter on Chikwava and Gappah, in the contexts of spatial displacement and expansion, the nationalist nativist construction of self, city and nation comes under stress. I interrogate how ideologies of space shape politico-aesthetic regimes in both the country and the city throughout the different historical phases of the city. In this regard I adopt theoretical approaches that engage with questions of aesthetic equality as they relate to the contestation of spatial partitioning based on categories of race, gender and class. In city re-imaginings this re-claiming of aesthetic power to imagine the city is invoked and in all the texts it emerges as a reclaiming of the right to the city by the colonised, women, immigrants and all the marginalised. I adopt those approaches that lend themselves to the deconstruction of hegemonic figuration, disempowerment and silencing of the marginalised, especially women, in re-imagining the city and their identities in it.
AFRIKAANSE OPSOMMING: My tesis se onderwerp is die literêre voorstellings van die stad in Zimbabwiese letterkunde wat ontstaan as ‗n herverbeelding van en teenvoeter vir beide koloniale en postkoloniale manifestasies. Regdeur die sewe hoofstukke van die tesis voer ek deurtastende interpretasies van literêre tekste aan, wat die stad op nuwe maniere uitbeeld. My fokus val op tekste deur geselekteerde skrywers van 1949 tot 2009 ten einde die sleutelelemente van hierdie proses van stadverbeelding en die historiese gesitueerdheid daarvan te ondersoek. In die eerste hoofstuk bied ek die argument aan betreffende die voor-die-hand liggende in- en uitsluitings van tekste. Deur hierdie historiese strekking lees ek die Zimbabwiese kanon en die stad wat daarin figureer as palimpseste, ten einde die (dis-)konneksies te kan analiseer. Hierdie teoretiese beraming belig die wyere verhoudings en verbindings wat na vore kom in die (her-) skrywe van beide die kanon en die stad. Ek gebruik benaderings wat benadruk hoe ruimtes en tydelikhede oormekaarvloei en saamvleg om sodoende nuwe maniere om oor die stad en oor identiteitskonstruksie te besin, aanmoedig. Ek argumenteer vir die stad-platteland konneksie as ‗n belangrike dinamika in die verskillende (her-)voorstellings van die stad. Ruimte word só verpolitiseer met betrekking tot ras, etnisiteit, gender en klas binne politieke regimes asook ‗n estetika van in- en uitsluiting wat deur die kern-tekste verwerp word. Ek analiseer verder die fragmentasie van landelike en stedelike ruimtes in die literêre tekste, en hoe die plattelandse en stedelike ruimtes tuistes bied aan polities-estetiese regimes van dominasie, uitsluiting en marginalisering. Die huis, musiek en die trein word gebruik as beelde om verbindings in die stad te ondersoek. Hierdie beelde sluit aan by die motif van die reis wat in al die hoofstukke manifesteer. Die reis word in die meeste tekste gesien as ‗n vorm van ontsnapping uit die platteland, wat voorgestel word as ‗n plek van essensie-voorskrywing en ingeborenheid. Beide intrekkers en nasionaliste, uit verskillende ideologiese vertrekpunte, bekleed die platteland of die stad met simboliese politieke en kulturele waardes. Beide verbeeld die stad as vreemd aan die gekoloniseerdes; ‗n uitbeelding wat verwerp word in die fokale tekste van die studie. Reis van die platteland na die stad deur halfweg-tuistes word aangebied as metodes van onderhandeling om plek te vind in nuwe ruimtes, nuwe identiteite te bekom en om te leer hoe om met die stedelike verbindings om te gaan. Die onverbiddelikke (ont-)tuisting in die werk van Marechera gee uitdrukking aan ‗n weiering om deur estetiese, nasionalistiese en rassiese behuising soos deur die stad omskryf en voorgeskryf, vasgevang te word. In die fiksie van Vera word reis – in telke rigtings en in die her-rassing van die soektog-motif in Lessing – ‗n kritiese soeke na die herskrywing van gender en van die vrou se op-eis van die reg tot die stad. Die nomadisme in Vera se fiksie word ge-herkonfigureer in uitbeelding van gemarginaliseerdes as die parvenus en die uitgeworpenes van die stad in die fiksie van Chinodya en Tagwira. In die hoofstuk oor Chikwava en Gappah word die nasionalistiese ingeborenes se konstruering van die self, stad en nasie onder stremmimg geplaas in kontekste van ruimtelike verplasing en uitbreiding. Ek ondervra hoe ideologieë van spasie vorm gee aan polities-estetiese regimes in beide die platteland en die stad regdeur die verskillende historiese fases van die stad. In hierdie opsig maak ek gebruik van teoretiese benaderings wat betrokke is met vraagstukke van estetiese gelykheid met verwysing na kontestasies oor ruimtelike verdelings gebaseer op kategorieë van ras, gender en klas. In herverbeeldings van die stad word hierdie reklamering van die estetiese mag om die stad te verbeel, bygehaal in al die tekste as herklamering van die reg tot die stad deur gekoloniseerdes, vroue, immigrante en alle gemarginaliseerdes. Ek maak gebruik van benaderings wat hulself leen tot die dekonstruksie van hegemoniese verbeelding, ontmagtiging en die stilmaak van gemarginaliseerdes, veral vroue, in die herverbeelding van die stad en hul plek binne die stadsruimte.

AbstractThis chapter focuses on the state program “Digital Economy of the Russian Federation” (2017) and its subsequent transformation into the national project (2018) to be implemented from 2018 to 2024. It examines the effectiveness of the government’s strategy in this area and provides an analysis of the program’s content in terms of its main objectives and mechanisms of implementation, drawing on the constructive criticism of the program in the literature. It also reviews the history of the development of the program, main actors involved in its design and implementation, and the nature of the decision-making process.

The cognitive capabilities of the teleological paradigm of purpose are discussed. An inquiring mind everywhere sees that inanimate matter serves for living, and that, in turn, serves for a man. However, such a concept as “purpose” turned out from the contemporary science, although for a long time it went along the path of becoming the doctrine of purpose determination, or nomogenesis. The history of the substitution of the main paradigm of science from purpose to chance is traced. The overcoming of the catastrophic representations of Cuvier by the provisions of actualism and evolutionism is considered. From the middle of the 19th century, public opinion began to strengthen that every new scientific achievement casts doubt on religious beliefs. Criticism of biblical history began with the events of the Great Flood, as the key one in the Bible. The negative attitude to catastrophism in the Soviet scientific literature and the importance of ideology in the methodology of science are considered. The anthropic principle predetermines a radical restructuring of the general scientific methodology. It finally comes closer to religious knowledge. The anthropic principle is teleological and contains that goal (“eidos-entelechia”) in the structure of matter that impels it. In this light, the power of science is again seen not in confrontation with religion, but in harmonization with it.