The books under review exemplify some of the finest recent work on the historically informed political economy of Central and Eastern Europe. While different in their conceptual frameworks and geographical foci, the titles converge in the advancement of nuanced and convincing arguments, displaying both theoretical acuity and empirical depth to great effect. Bartel, Fabry, and Pula all share a resolute dedication to illuminating the under-explored provenances of neoliberalism and/or globalization in the region, that predate the annus mirabilis of 1989. Their (...) contributions situate the ‘Eastern bloc’ states within the contours of evolving global political economy and the existential crises engulfing capitalism and ‘actually existing socialism’ during the 1970s and beyond. The authors expound on the intricate web of global capital accumulation, geopolitical competition, and skilful diplomatic strategy, which served to dismantle the ‘Iron Curtain’. Two contributions further assess the postscripts of the 1989 revolutions. (shrink)

This article considers the principles of philosophical thinking in Søren Kierkegaard’s nonclassical aesthetics. Special attention is given to his radical critique of “false” and “impersonal” rationalism. This does not only mean the rejection of the traditional principles of classical metaphysics which claims “universality” and “universal meaning.” Kierkegaard also bases his philosophy on individual human life, or, in other words, personal existence with its unique inner world. His critique is more profound than that by Arthur Schopenhauer. Kierkegaard develops his own philosophy (...) of “existential crisis,” opposing subjective will and internal changes to abstract thinking and external influences. Kierkegaard’s works initiate the critical or nonclassical stage in Western aesthetics. The main place in it is occupied by the idea of the disharmony of the world: its subjective reflection is “split” consciousness that has lost contact with the traditional concepts of harmony, humanism, goodness, beauty and philosophy of art. (shrink)

This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes toward (...) the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world. (shrink)

Leibnizian metaphysics is traditionally held to be idealistic. It means that reality is composed of soul-like substances whereas material bodies are mere phenomena. The traditional interpretation presupposes that Leibniz’s view has not changed during the mature period (from 1683 onward). Some commentators have recently challenged this view. They claim that either Leibniz (despite inconsistency) was both a realist and an idealist (Hartz), or changed his view on the nature of substance (Garber). The aim is to defend the traditional interpretation and (...) to reply to the arguments by realist commentators. (shrink)

Whenever we think of impostors, we tend to think of liars. Yet impostures cannot be phenomenologically reduced to lies. Every lie presupposes a distinction between true and false, and it operates through a negation of reality, presenting falsity as truth and vice versa. An imposture, on the other hand, seeks to erase the distinction between true and false altogether. An impostor constructs a fiction that aims at substituting reality. In this process, an entire network of lies is put to work (...) in order to attain the ontological status of the real. This results in a dynamic that deprives truths of their authority, while making untruths highly potent in terms of their capacity to produce effects. (shrink)