The article provides a comparative-typological analysis of the mythopoetic nature of eschatological (doomsday) motifs in world mythology and of the dominant mythological images activated within these motifs. The source base comprises the Ragnarök plot of Scandinavian-English mythology, Sumerian-Akkadian and scriptural accounts of the universal flood, Turkic (Altai-Khakas) narratives connected with Ülgen and Erlik, and the layer of Uzbek folklore enriched by Islamic notions of the hereafter. The analysis identifies a four-stage mythopoetic model of the eschatological motif: violation of the norm – catastrophe – purification – rebirth; the dominant images are classified into the groups of demiurge, eschatological antagonist, seer, salvific vessel and the surviving restorative pair. It is argued that in English mythology the destruction of the world is cyclical and cosmological, whereas in Uzbek mythology it is linear and morally accountable in character.

mythopoetics, eschatology, doomsday, Ragnarök, universal flood, dominant mythological image, demiurge, demonology, archetype, comparative literary studies.

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