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Shlomit Gorin

It is inadequate to think about conditions of existence, and absurdity in particular, without contemplating dynamics of perspective, conflict, and potential; a sense of the absurd is inextricable from the nature of perception and, moreover, is necessarily rooted in a specific kind of perceptual tension. Underlying the works of Bruno Schulz is a unique framework for a sophisticated understanding of and reconciliation with the nature of absurdity, which paradoxically may lead to its annihilation as a source of anguish and provide an alternative to a view of life as meaningless.

Getting Over Europe

The Construction of Europe in Serbian Culture

Series:

Zoran Milutinović

The book examines the discursive construction of the representation of “Europe” in the selected writings of leading Serbian writers and intellectuals in the first half of the twentieth century. In addition to being of particular significance in the process of the genesis of our understanding of Europe across the continent, these several decades were crucial for the discursive construction of “Europe” in Serbian culture: when after the end of the Cold War the debate on Europe became possible again, it was on a discursive level to a large extent determined by the stockpile of images and ideas created between the world wars. The book seeks to answer the following questions: who constructed “Europe”, and with what authority? For whom were these constructions intended? How was this representation validated? What purposes was it meant to serve? Which issues were raised in comparing “Europe” with Serbia, and why? Which textual traditions were the elements of this construction borrowed from? How did the construction of the European other define Serbian self-representation? This volume is of interest for all those working in Slavic or East European studies - especially cultural, intellectual and political history of the Balkans - imagology, and European studies.

Dostoevsky’s Idea of the Golden Age

Modern Subjectivity in Philosophical and Poetic Perspective (Demons)

Géza S. Horváth

transgression of the semantic categories, the reconciliation of such incompatible categories as the sacred and the profane, literary and non-literary become stressed in the representation of his figure. 8 The formal and stylistic distortions characterizing the first language of the document Tikhon connects

Dorottya Szávai

constituting the object as another subject with whom the poetic subject might hope to strike up a harmonious relationship. Apostrophe would figure the reconciliation of subject and object. […] But […] apostrophic poems display […] awareness of the difficulties of what they purport to seek. […] often end in

Dostoevsky, Filaret, and The Principles of Christian Teaching

Personal Responsibility and the Corruption of Authority in ‘The Brothers Karamazov’

Nicholas Rzhevsky

as “Forgive, Everyone forgive!” In this sense, forgiveness is not to be given to Zossima alone, say in recognition of his inability to heal Dmitry’s tortured condition, but from one to all in the cell as a way of reconciliation and dealing with their antagonisms and aggression. The strong cultural

Irene Zohrab

illumination of the temple—a kind of amusement like a fair, with games and competitions in which all residents participate, regardless of class: “the holiday was also the day of general reconciliation ( primirenie )” ( tbs , 28–9). In the fourth chapter, his father takes Tom to Rugby School. Chapters five

Irene Zohrab

as Schelling and Hegel. He was especially fond of using Hegelian terminology that reflected his absorption with Hegelianism and was also utilised to express his religious views. Hence his essays refer to ‘finite reason’, ‘contradiction’, ‘reconciliation’, and Hegel’s concept of ‘spirit’ ( absoluter