William Booth, the founder of the Salvation Army, initially preached in Methodist Churches, later left this position and formed a social and religious formation called the "Christian Mission". This movement was named "Salvation Army" in 1878. The Salvation Army, organized in many countries, has established nursing homes for elderly, women and children and continues to attract attention and increase its reputation both locally and internationally with aid organizations, rehabilitation of prisoners, natural disasters, fight against (...) human trafficking and aid to refugees. In every region where The Salvation Army is located, there is an administrative centre known as the regional headquarters. Headquarters are headed by the district commander at the international headquarters in London. Smaller districts are run by colonels, larger districts by commissars. Resembling the Catholic Church due to its episcopal structure, the Salvation Army accepts the same beliefs as this church at the point of belief. Although the movement has also the appearance of a Protestant and evangelical church, it approaches the sacraments from a different aspect. In this research, the history, organizational structure, activities, belief principles and practices of the Salvation Army have been tried to be revealed. Descriptive, comparative and chronological methods have been used while conveying the aforementioned issues in order of importance. In addition, the literature was scanned and various sources belonging to the emergence period of the Salvation Army and especially those belonging to them were examined. (shrink)

The captivating painting of Helene Schjerfbeck, _Fête juive / Lehtimajanjuhla_ (1883), is considered to this day an exceptional piece of art with significant cultural value. It already carries great value, aside from its artistic quality and how it showcases the Jewish feast of Sukkot. What is not evident from simply looking at the artwork, however, is the intriguing background story to the fate of its models – more specifically, that of its female model, Chava Slavatitsky, and the ‘scandal’ connected with (...) her story. Her name became known all over Finland, as it gained significant attention from the local press, perhaps mainly as it occurred during the turbulent times of the late nineteenth century when the question of Jewish emancipation in Finland was frequently discussed in society. This article aims to briefly introduce the reader to Schjerfbeck’s motivation in creating the painting and to its representation of the Sukkot 140 years ago, as well as aiming to tell the extraordinary story of its relatively unknown young sitter, including her abduction and conversion to Christianity. Hence, this contribution aims to provide an addendum to the Jewish history of the country in the late 1800s and to briefly reflect on the nature of Jewish–Christian relations of the era. (shrink)

A research project by the Schools of Theology and Psychology of Australia’s Charles Sturt University surveyed a large sample of Salvation Army officers. This article considers survey responses to two questions relating to end-of-life care: the use of pain medications that may shorten life, and the cessation of fluid and food intake. The results of the analyses are evaluated in terms of Michael Banner’s proposal that moral theology should more assiduously converse with ‘patient ethnographic study’, which the survey (...) instantiates to some extent. Banner’s proposal and the results of the survey are contrasted to Peter Singer’s analytical moral philosophical dictums on end-of-life care. The results are also compared to a metastudy by Andrea Rodríguez-Prat and Evert van Leeuwen of 14 ethnographic studies of those who wish to hasten death at the end of life. We conclude that respondents exemplify a form of moral reasoning that is embedded within Christian spirituality; counters the assumptions of Singer’s approach; contrasts the diminishment of ‘meaning’ at the end of life, as seen in Rodríguez-Prat and van Leeuwen; and deserves further respectful ethnographic study. (shrink)

La fin du xixe siècle est une période difficile pour les Français. La défaite de 1871, la chute du régime impérial, les déboires de la Troisième République et le krach de 1882 les ont amenés à douter de la capacité de leurs gouvernants. La société se fragilise et se divise, favorisant la montée du boulangisme et de l’antisémitisme. Charles Maurras et l’Action française en profitent également, après le suicide du général Boulanger en 1891 et la condamnation du capitaine Dreyfus en (...) 1894. Comtien convaincu, Maurras prend régulièrement position contre Rousseau, dans lequel il voit le principal responsable de la décadence morale et politique de la France. S’ouvre alors une campagne d’une rare violence contre les valeurs morales et esthétiques du romantisme. Erigé en icône du romantisme par les partisans d’une « Nouvelle Renaissance Classique », Rousseau est accusé de tous les maux de la société moderne : l ’individualisme exacerbé, la perversion des mœurs, le cosmopolitisme, le républicanisme, le sionisme, l’anarchisme et même l’homosexualité. (shrink)

The Cerdanya valley in the eastern Pyrenees has a physical unity into which a political frontier has been imposed to divide it. The social and cultural repercussions of this Franco-Spanish border have created obstacles to marriage which are not due to topography. Choice of month of marriage is under cultural control and the study of seasonality in marriages recorded in the registers of all the Cerdan parishes on both sides of the border demonstrated differences over time and between French and (...) Spanish sectors. It is suggested that these changes demonstrate the process of distancing of the two populations. Cluster and correspondence analysis showed progressive differentiation of the seasonality patterns of the French and Spanish Cerdans despite the geographic unity of the valley. Sociocultural factors are presumed responsible. (shrink)

Un nouveau type de paternalisme s’est développé ces dix dernières années sous l’impulsion de travaux innovateurs de certains économistes comportementaux. Ce nouveau type de paternalisme, que j’appelle ici paternalisme comportemental, s’est popularisé grâce à la théorie du « coup de pouce » de Richard Thaler et Cass Sunstein et remet en question l’idée selon laquelle le paternalisme serait inacceptable dans nos sociétés. L’objet de cet article est d’évaluer sa légitimité morale sans, néanmoins, se limiter à son supposé libertarianisme. Les résultats (...) de mon investigation peuvent se résumer ainsi : bien que le paternalisme comportemental soit généralement reconnu pour son caractère libéral, il ne satisfait pas en fait les conditions de ce que Joel Feinberg nomme le « paternalisme mou ». Néanmoins, il possède des qualités morales sous-estimées par ses partisans. Il résiste d’abord très bien à la critique égalitariste d’Elizabeth Anderson. A la différence des formes traditionnelles de paternalisme, le paternalisme comportemental n’est pas dégradant et n’est pas ostracisant. Le paternalisme comportemental, enfin, peut se targuer d’être véritablement altruiste, à la condition, cependant, d’abandonner les hypothèses principales de Sunstein et Thaler. Classification JEL : A12, D64, I18, I31, K32. (shrink)

We shall give reconsideration to the problem of communicating the allegedly unique and unprecedented aspects that may be possessed by a literary work. In doing this we will distinguish two senses of uniqueness. The first of these, which we call objective uniqueness, is communicated without fundamental difficulty. It is given by a definite description in terms of properties which are entirely familiar but which occur in an unprecedented combination. Criticism’s overall task, however, demands concern for a second notion of uniqueness, (...) to which we apply the term qualitative uniqueness and which cannot be communicated, like the first, by any description in the informative sense. The critic, however, does come to grips with this second sense of uniqueness by using language expressively. In this connexion we shall argue that through the expressive use of language the critic can not only transmit something of the qualitative uniqueness of his object, but can do so without requiring, as some have supposed, the presence of the object itself. Thus, we will conclude, critical communication in the fuller sense is possible because the critic, like the poet, can use language affectively and expressively to get beyond the limitations of ordinary description so as to give what we shall call a representation of that which is qualitatively unprecedented in any distinctive literary work. (shrink)

Those who speak of the philosophy of science do not all have the same sort of study in mind. For some it is speculation about the overall nature of the world. Others take it to be basic theory of knowledge and perception. And for still others, it is a branch of philosophical analysis focused speci is meant to be a study falling under fically on science. The present book this last category. Generally, such a study has two aspects: one, methodological, (...) dealing with the logical structure of science, the other, substantive, dealing with scientific concepts. Our concern here is primarily methodological; and, where discussion veers at times towards substantive matters, this will be largely for the purpose of illustrating underlying methodological points. It should also be added that our considerations will be of a general sort, intended to apply to all of science with no special concern for any particular divisions. Except in an incidental manner, therefore, we shall give no primary attention to special problems in the methodology of the social sciences or in the philosophy of physics or of biology. And if we draw the larger portion of our examples from the physical rather than from the behavioral sciences, this is done merely for simplicity, succinctness, and similar conveniences of exposition rather than out of specialized concern for any particular area. (shrink)

Explores what can be known within quantum theory, with special emphasis on the difference between prediction and explanation.

Inspired by pleas for a layperson's guide to "thinking well", author S. Cannavo walks through the various modes of thinking, understanding, and reasoning, making logical thought engaging through real-life examples. He offers essential tips on how anyone can be empowered through continual self-monitoring and self-improvement. THINK TO WIN offers the fertile ground in which to cultivate your rational intelligence.

Un nouveau type de paternalisme s’est développé ces dix dernières années sous l’impulsion de travaux innovateurs de certains économistes comportementaux. Ce nouveau type de paternalisme, que j’appelle ici paternalisme comportemental, s’est popularisé grâce à la théorie du « coup de pouce » de Richard Thaler et Cass Sunstein et remet en question l’idée selon laquelle le paternalisme serait inacceptable dans nos sociétés. L’objet de cet article est d’évaluer sa légitimité morale sans, néanmoins, se limiter à son supposé libertarianisme. Les résultats (...) de mon investigation peuvent se résumer ainsi : bien que le paternalisme comportemental soit généralement reconnu pour son caractère libéral, il ne satisfait pas en fait les conditions de ce que Joel Feinberg nomme le « paternalisme mou ». Néanmoins, il possède des qualités morales sous-estimées par ses partisans. Il résiste d’abord très bien à la critique égalitariste d’Elizabeth Anderson. A la différence des formes traditionnelles de paternalisme, le paternalisme comportemental n’est pas dégradant et n’est pas ostracisant. Le paternalisme comportemental, enfin, peut se targuer d’être véritablement altruiste, à la condition, cependant, d’abandonner les hypothèses principales de Sunstein et Thaler. Classification JEL : A12, D64, I18, I31, K32. (shrink)

La actual crisis que enfrentamos es una de las primeras que genera efectos globales. Ella está ligada a algunos rasgos propios de la globalización. En este texto proponemos algunas notas de lectura al respecto. Por una parte, intentar desentrañar algunos rasgos de la actual crisis y las dificultades del pensar social y político actual para dar cuenta de ella, situación que ligamos a una insuficiente consideración de un marco de referencia desde el cual leer los actuales fenómenos y procesos sociales, (...) económicos, políticos y culturales. Por la otra, reflexionamos sobre la necesidad de articular reconocimiento, justicia y responsabilidad como principios normativos y de manera no excluyente; única forma quizá de enfrentar el rasgo (social, político, económico y cultural) primordial y estructural del devenir de nuestras sociedades latinoamericanas: la desigualdad (y su corolario de injusticia). (shrink)

This volume contains two unusual and appealing satirical works by the well-known European philosopher Kolakowski. The first, _Tales from the Kingdom of Lailonia_, is set in a fictional land. Each story illustrates some aspect of human inability to come to terms with imperfection, infinitude, history, and nature. The second, _The Key to Heaven_, is a collection of seventeen biblical tales from the Old Testament told in such a way that the story and the moral play off each other to illustrate (...) political, moral, or existential foibles and follies. (shrink)

In 1903, a representative from the Salvation Army's headquarters in London traveled to Canada to explore the possibility of relocating Britain's poor overseas. Over the next three decades, a quarter of a million people were shipped to destinations in Canada, Australia, and Africa. More than a hundred thousand of those deported were children: abandoned, orphaned, and otherwise separated from their natural parents. Dozens of religious organizations took part in the effort: the Catholic Emigration Association, Church of England Society (...) for Empire Settlement, Church of Scotland, Inter-Church Immigration Committee, Jewish Immigrant Aid Society, Methodist Church, Presbyterian Church, Society of Friends, St. Vincent de Paul, and the United Church of Canada, among others. The practice resumed on a smaller scale after World War II and continued until 1970. The agencies involved described their activities in the language of salvation, moral uplift, and service to God. "Carrying off the children of distress to the lands beyond the sea," one of the organizers wrote, was a service "to religion, humanity and civilization.". (shrink)

Evolution and ethics. Prolegomena (1894).--Evolution and ethics (1893).--Science and morals (1886).--Capital, the mother of labour (1890).--Social diseases and worse remedies (1891): Preface. The struggle for existence in human society. Letters to the Times. Legal opinions. The articles of war of the Salvation Army.

The role of churches in primary health care delivery in Africa's poor contexts is widely acknowledged. Discussion of churches' work in health largely focuses on the spiritual side and tends to downplay the practical side. A clear challenge and gap in the role of churches in primary health delivery is the lack of clear models and approaches to determine the efficacy of the interventions. Hence, the role of churches as a player in the delivery of primary health care needs examination. (...) This paper examines the role of church-driven primary health care, using a practical case study of the health work of the Salvation Army in East Africa. It outlines the primary health services rendered by the Salvation Army and deduces five models that emerged from the work of the various implementing churches in delivering primary health care. The article proceeds from an analysis of the meaning of primary health care and how churches are historically and currently positioned to contribute to primary health care. The article demonstrates that, viewed from a primary health care delivery perspective, churches in Africa play a critical practical contribution further to a spiritual role. From a practical theology perspective, the paper provides insight into how churches could operate in communities within the interface of church and health spaces. However, the church's role and function is organic and differs in every community. (shrink)

A boat is a floating piece of space, a place without place, which lives by itself, which is closed in on itself and that is at the same time exposed to the infinity of the sea. Nowadays one cannot conceive a utopia that does not address itself to nomads, peoples and individuals, to the homeless, to the excluded. After World War I a concrete barge made its way up and down the Seine between Rouen and Paris.1 It was called the (...) Liège, and its mission was to supply the French capital with English coal. When it was decommissioned in 1929, the Armée du salut (the French Salvation Army) bought it with the aid of a donation from Madeleine Zillhardt, the recently bereaved long-term companion of the painter .. (shrink)

This article attempts to show that, by comparing Bertolt Brecht’s play Saint Joan of the Stockyards (1931) with some observations by Friedrich Engels on the Salvation Army, we can appreciate the writer’s contribution to a Marxist sociology of religions.

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 45, no. 1. © 2019 by Feminist Studies, Inc. 235 Vivyan Adair Stigmata: A Memoir of Pain and Resistance For some of us poverty is not experienced from a distance or from the position of an audience member or critic, but as the most pressing truth of our existence, past or present and our core sense of identity. —Roxanne Rimstead, Remnants of Nation: On Poverty Narratives by (...) Women Shame My own mother—with four children under the age of seven by the time she was twenty five—taught, nurtured, and loved us ferociously but struggled and utterly failed to keep us fed, sheltered, and safe. We clung desperately to her fragile dignity, grace, and laughter, against all the forces of a cruel and indifferent world. Yet, in the end she was crushed by the weight of our shame and our raw, unrelenting pain as my brothers and sister and I were bent and broken and taken from her; with scars that never faded; injuries, infections, and ailments for which we found neither respite nor repair; with feet mangled by cheap, used Salvation Army shoes; the gnawing void of hunger and insecurity clawing at our tender backs; public indignities and humiliations for which I still can find no words. With access to neither medical insurance nor care, when my already fragile, toddling sister’s forehead was split open by a car door slammed in frustration, my brother and I had to pin her tiny body to the ground as 236 Vivyan Adair my mother sewed the angry gash together with needle and thread, practicing the meticulous dressmaker’s stitches for which she had received a modicum of acclaim, but so little reward. My sister somehow endured, but registered the pain, the terror, and the trauma with a brand, a stigmata, an angry and frightening scar as an indelible sign of our poverty, visually cleaving her very forehead in two, for the remainder of her life. In our school cafeteria “free lunchers” were reminded with a large and colorful sign to “line up last.” In that auditorium each fall we were coerced up onto a makeshift stage, with the promise of first dibs on free milk. There, our pristine school nurse sat upright and sucked air through her teeth as she donned surgical gloves to cautiously check only the hair of poor hungry children, one by one, for lice. I burned and choked and raged with shame, as our far more decent working-class colleagues and friends, in color-coordinated Sears sweater sets and matching tartan knee high socks, averted their eyes from our reluctant genuflections, while silently spooning their mac and cheese and sipping their Tree Top from tiny Dixie cups. In dilapidated and unsafe housing often without heat, hot water, or lights and with access to only public bathrooms, I developed a stubborn case of ringworm, scabies, and a series of painful urinary tract infections. When my second grade teacher would not excuse me every hour or so—because, as she said I was “willful”—I could not help but wet my pants in class. My schoolmates guffawed at my flea bitten legs, my ducttaped shoes, my crooked and ill-serviced teeth, and the way my siblings and I stank. Kids, teachers, and strangers stepped away from us intuitively and then, with great shows of distress, feigned concern and then outrage and disgust. Regularly our teachers excoriated us for our inability to concentrate in school and our refusal to come to class with proper school supplies, calling us out as greedy when we tried to take more than our share of free lunch. Whenever backpacks or library books came up missing, we were publicly interrogated and sent home to think about our offenses, often accompanied by notes that reminded my bewildered mother that she should be working twice as hard to make up for the discipline and order that had supposedly walked out the door with my father. And when occasionally we cried foul and lashed out, our behavior was used to justify even more elaborate punishment that exacerbated the effect of our growing anomie. Vivyan Adair 237 Guilt As children, our disheveled and unkempt bodies were produced as... (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terro(i)r Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage (Take One) * * * * Momma taught us to keep a clean house. Dust the wood furniture every two weeks. Clean the bathrooms once a week. Wipe down the baseboards once a season (Those damn baseboards. I still got bruises on my knees from scrubbing those things). Sweep away the cobwebs—and pray that those spiders are either dead or delirious (Livin in the country don’t mean you like bugs, especially the ones with too many legs ). Didn’t matter that the house was full of stuff: Great-Grandma’s heirloom dresser, that weird Mammy salt shaker and matching Uncle Tom pepper grinder (Where the hell did Momma get those P.O.S.’s?), the outdated drapes from Belks, Dad’s favorite wooden TV tray, and that uuuuugly love seat that some crazy uncle thought was a glorious find from the Salvation Army (Momma tried to make it pretty with some pillows, but no amount of love could help that seat). Spring Cleaning meant pullin all that furniture away from the walls and holdin your breath to see what time collected in the crevices. Then you gotta be careful not to breathe out too heavy cause the dust would go flying fore you got a chance to catch it. If you didn’t, you’d quickly find out if you’re allergic to dust. Quarter cup of lemon Lysol in a bucket of steaming water and an old wash rag. Maybe two. A dust towel and citrus-scent Pledge. Me and my brothers would fight over who cleaned what. Somehow the twins always got the easy stuff: vacuuming or moving dirt around with the feather-duster. Finishing in enough time to fly down the street on their bikes with the neighborhood kids. Older sister never got off that easy. Each of my stubby fingers morphed into plump, lemon-fresh golden raisins by the time that whole damn house was done. I would finish just in time to sit with Nadine on the porch, counting the seconds til the sun turned off and the fireflies fluttered on. The craziest thing: despite all that cleaning, the house still smelled like Momma’s cookin. That Old House. Might have been some of Grandma’s and Great-Grandma’s cookin mixed in there too. Pork chops. Ham hock soaked in collards. Pinto beans and mustard greens. Corn bread and my Auntie’s famous macaroni and cheese. Didn’t matter if the oven was cold and the valve of the gas stove had been shut for days. A stranger woulda thought someone’d been slavin away in that kitchen for a week straight. No Sweet Citrus & Zest Fabreze back then. Lysol would mask the odors for a little while. Not long enough to overpower the 50 years of goodness marinated in buttermilk, kneaded with lard, and fried in Crisco that’d been embedded in the wallpaper and window treatments. All that grime—dead skin, hair follicles, Carolina clay, carpet lint, yippee-little-dog fur—was evidence of life. We were a socially-awkward newly-minted teenager, two rowdy twin boys, a multi-tasking mother, and a road-warrior father. Eventually a strangely-feline Yorkie was added to the mix. And don’t forget about the stray distant relative stopping by unannounced. No corner of that damn house was unmarked. Hand-sewn pillows in the living room that we were forbidden to breathe on somehow had tiny burnt orange paw prints on them (sneaky little dog). It drove Momma crazy. And tore up my fingernails. They still won’t grow back right. Wipe all that shit off just for it to build up again. But that house was inherited and fully paid for. No reason to move. I did move. I was ready to move on. Move up. Move out. Over that small town. Into the big city. Here the streets take on the smells of Momma’s house. Plus piss, shit, and unbathed skin. A hot day means everything cooks and stews in its own juices, making the stench 10x more intense. The apartment is another story. 11 floors up. Big, east-facing windows. Great view of the skyline dotted with some green foliage. And the great lake. Immaculate. Odorless. Not even a trace of tobacco from the previous tenant’s bad habits. No lingering scent of lemon Lysol. No street stench seeping through the window panes. No stray cat hairs. Or dog fur. Not a speck of dust. Futon. Throw pillows. Photos. Knickknacks. Bowls of fresh citrus. Cursedly-assembled desk set from IKEA. Yet the void is too big to fill. Too clean. (shrink)

This dissertation addresses the roots of fundamental changes in twentieth-century art in China by addressing how the cultural exchange between Europe and China transformed critical conceptions and artistic practices in the field of art. The translation of German aesthetic theories and the French academic training of Chinese artists engendered the conceptual and technical transformation of Chinese art in the early twentieth century. While the notions of pure nudity, artistic salvation, and archaeology of art were introduced from German philosophy into (...) Chinese art, the traditional ideas of art versus craft and artist as moral exemplars were converted. Chinese intellectuals analogized crisis-ridden China in the early 20th century to Germany being occupied by the Napoleon army in 1806. They believed that the superior academic culture, instead of its political and military strengths, was the foundation of the unification of Germany in 1871. The doctrines of German scholars were therefore introduced to China through German-trained Chinese intellectuals, aiming at achieving the modern transition of Chinese society. The implementation of aesthetic education based on German philosophical theories endowed modern artists and their works with the social mission to shape the citizens’ personalities and improve their tastes to establish a liberal and civilized modern Chinese society. Moreover, due to the establishment of the Institut Franco-Chinois in Lyon, more Chinese art students acquired the opportunity to study in Paris, the most important center for new artistic ideas and practices during the early twentieth century. Thus, the conceptual shift in the field of aesthetics was expressed through artists with a French academic training background. This study focuses on examining how the translation of German aesthetic doctrines and the introduction of French (sometimes Italian) artistic techniques contributed to the modern transition of Chinese art. How were German aesthetics translated and disseminated to young Chinese artists in the early twentieth century? How were the German scholars’ theories appropriated to establish new standards for evaluating artists and their works? What were the mechanisms, obstacles and cultural clashes encountered by European-trained Chinese artists in their training and creation processes? How did European-trained Chinese artists respond to these new modern aesthetic doctrines? Each of the five chapters of my dissertation centers on the introduction or transformation of an artistic concept: art versus craft, pure nudity, artistic salvation, and archaeology of art, discussing how these concepts were theoretically and practically formulated in Chinese art. (shrink)

continent. 1.3 (2011): 201-207. “Poetry is experience, linked to a vital approach, to a movement which is accomplished in the serious, purposeful course of life. In order to write a single line, one must have exhausted life.” —Maurice Blanchot (1982, 89) Nikos Karouzos had a communist teacher for a father and an orthodox priest for a grandfather. From his four years up to his high school graduation he was incessantly educated, reading the entire private library of his granddad, comprising mainly (...) the Orthodox Church Fathers and the ancient classics. Later on in his life he sold the library for money, only to buy a little more time before he went broke again: “I carry sorrow like a cage/ I got no birds/ as I come back from her hair/ I see the profit emptied/ cool from terror.” (1993, Ι, 101) Nowadays—and ridiculously recently—we are more than apt to speak of a certain insouciance pertaining to the Greek form of expenditure: expenditure without any type of investment, sometimes not (even) symbolic. In the vaults of the European unconscious, this imprudent stance still conjures a “capital punishment” in the form of de-capitation, reflecting back the fear of excess and the terror of its consequences.1 Thus the Greek way of living is very close to what a stranger could have termed as “the Greek way of dying.” Yet, what is not often understood is that the Greek esprit , the same one that invented the maxim μηδ?ν ?γαν (“nothing in excess”), does not experience death solely as an imminent fear of bankruptcy. For it miraculously combines its unconditional acceptance with the promise of a resurrection that is always there in the scents of Spring, from Dionysus to the orthodox Christ: “Everyone resurrects himself through dying [….] Resurrection is the switching of mortalities.” (2002, 94) Hence, if an entire library was imprudently traded for a plate with seven olives, a sliced tomato and some fresh goat cheese, let us not be fooled: this is not the meal of the pauper, but that of “an aristocrat from God” (1993, II, 491) feeding his eloquent loudmouth, ridiculously cut open in an otherwise rock-solid caput . *** To speak of the Greek experience is to speak about a half-dead language that still utters in life what is seemingly excluded from it and thus forbidden to be talked about: death. Death as anything that is out of this world, as something that will never return . Still, along with an experience of death that recently waned as a worn-out academic fashion, the Greek experience is dead too. Nearly 2300 years of written words separating Homer from the fall of Byzantium equal 500 books on a library traded for money: “I am with the killed. Hence my deepest solitude. I do not feel this tremendous macho society, beyond from the fact that it is a ruthlessly consuming one. It is me who pays all the time .” (2002, 57) Let us do the math and see how much this dealing with the Greek experience is costing the poet and how much dealing with the Greek experience might cost us today. *** “I do not guarantee a single word.” (Karouzos, 1993, II, 454) Through its various dialects and forms, the Greek language speaks through an incessant historical dissemination. Anyone who is aware of this terrifying polymorphy and still calls himself a poet, must stand against a white sheet of paper, pen-in-hand, with a very particular duty: to be as fully inconsistent as possible. In the formally ironic uniqueness of the poem, the poet functions as “a band-aid for lesser and greater antinomies.” (1993, I, 251) Of course these antinomies are not exhausted in language—they are historical, political and, alas, existential. Yet, beyond appearances , it is language that ruthlessly encodes them through history, submitting the poet to the temptation of placing them one next to the other on a single white sheet. The closer their neighboring, the greater the scattering of the writer in the ironic uniqueness of the paper. In a work where poetic license is described as a “freedom-impasse” (2002, 51), this task is undertaken in full conscience of its personal consequences: “what I am interested in is to escape my individuality (envisioning the non-ego) […] Nevertheless, my dissociations never achieve duration.” (2002, 74-75) Hence, though poetry is the “deserted direction of will,” (1998, 62) the stance of the poet is not that of a Nietzschean “great man.”2 Whereas drunkenness provides a thread between the poem and the excess it both presupposes and infuses (“Poetry always enlarges. ‘Drunkenness’ is nothing more than that,” (2002, 85)), whereas language flashes in loudmouth spurts of déraison (“When I am alone I do something else. I utter words. For example, while having my ouzo and listening to music I am most likely capable of randomly shouting ‘Electricity!’” (2002, 138)), the poet never gives in to the double affirmation that would eventually risk the “element of pleasure in discourse.” (2002, 80)” It is exactly because the gap of the antinomies is so vast that poetry is not meant to be written with a hammer. Neither does writing consist in a reevaluation of those elements. In short, poetry is not an affirmation of difference, but the surprising beauty of chiming antinomies. We might never transcend them, but it is up to us to put them together. Yet again, this voisinage is not to be identified with the necessity of chance as an eternal return.4 On the contrary it is a return from that very return : Let us treat Yes as a No to No and No as a Yes […] And let us not forget that this pissed affirmation crumbled down Nietzsche’s intellect in the dark paths of this world. (2002, 88) This return from the “vicious circle” should in no way be taken as a form of artistic prudence. Rather it can be seen as a dribble of demonic inconsistency as Dionysus transforms himself into a Christ that is in turn de-theologized: “Who can forbid that? Every man is capable of his own theology, nothing can stop him.” (2002, 73-74) This is a turn towards an existential vision of the world, historically coinciding with a particular political defeat of the Left, to which the poet devoted all his life: after the defeat of the popular front I raised the question “why do we exist?” while others were asking “why we failed.” (2002, 57)5 But most of all it is a return to poetry that exceeds the existential question itself, going beyond the issue of faith. Poetry comes in as a question of return after a defeat that is confessed in full profanity. Though it accepts the necessity of the defeat, it does not affirm it. Though it negates it, the negation is not in the name of a promise to be delivered in the kingdom of heavens. Following a historical and existential defeat, poetry is born post mortem . It signals a return to Christ as “groundless religiousness in the surprise of the real as such” (2002, 72) which is at once a return to the refuge of childhood. It is not a question of endurance towards an eternal return. Rather it is a question on the possibility of an existential return. Returning in a world as someone who cannot enjoy any returns exactly because he is averse to guarantees. A return without returns. *** PHOTOCOPY OF HAPPINESS When I was young I used to pin down cicadas and step on ant nests. I used to stand there silent for hours. With threads I decapitated bees. Now I am a dead man breathing. (Karouzos, 1993, II, 336.) The return to the “paradise of childhood” (2002, 68) constitutes the devouring refuge of its own memory when defeat becomes the synonym of adulthood. The political struggles of a young communist in a country torn up by a civil war right after World War II fraught with incarcerations and exiles. Historically they resulted in the defeat of the communist movement in Greece and opened up a long turbulent road that would peak in the dictatorship of 1967. Existentially they led to a series of disillusionments: mental breakdown, divorce, abandonment of studies in law school. To the question “why do we exist” the answer was poetry. Still this exposé should not be read as a sweeping chronography of a man. For it actually happens to coincide with the historical fate of a nation that after its modern constitution never stopped dreaming of the glories of its past youth, in a present that was (and is) sweepingly disappointing. But isn’t this return to youth finally a way of compensating for a loss of youth that necessarily results in a losing adulthood? Will Greeks, the eternal children of Plato and Nietzsche, ever learn? How to return without dying, how to remember without wasting time? WE ARE IN THE OPEN MEANING Living the coldest mauve night right across Parthenon I went to take a piss on some foliage and I was enjoying the foliage as it was steaming. (Karouzos, 1993, II, 340) Beyond the historical tragedies of modern Greece and away from any personal disappointments, the relation that this land holds with language and history is mediated through the Greek light—whose omnipresence is the very condition of its transcendence. All historical contradictions from Dionysus to Christ took place under this light; all those disseminated dialects were spoken beneath its warmth. To paraphrase Lévinas,6 light is both the condition of the world and of our withdrawal from it—a withdrawal towards the invisibility of God, of the dead, of meta-physics, resulting from the temptation that all is still here, behind this light the visibility of which they once evaded: “birds, the allurement of God.” (1993, I, 17) Under that luminous sky, if Greeks can do anything at all, it is to envision a return that will never come. All they can do is write poetry—which is doing nothing; other than lending an ear to a disseminated language whispering a unity that cannot be promised, as an adulthood in defeat is ready to recognize. Trying “to trap the invisible in visibility” (1993, II, 483) they forget that they have grown up and one day they die—with the promise of return. Hence an additional meaning must be given to this return to childhood. It does not signal salvation but rather its promise. To the ears of an aged continent it means that the return to/of poetry is a losing game, a return without returns. “Europe, Europe… you are nothing more than the continuation of Barabbas.” (1993, I, 295) *** “Life is not there to verify theories.”7 The records show that Karouzos was finally given a second-class pension from the Greek government, at the time when he was being recognized by the literary press as one of Greece’s major contemporary poets. Being neither a bourgeois nor a nobelist, he proclaimed himself to be an anarcho-communist, unconditionally faithful to the utopia of a classless society. He also drank, heavily. “Capitalism made an animal out of man/ Marxism made an animal out of truth/ Shut up.” (1993, II, 369) Perhaps one of the most scandalous divides of our times has been the one between the living and the dead, the latent prohibition that the living should not be concerned with the dead based on the mere impossibility of the dead to be concerned with the living in the first place. What adds to this scandal is that this divide abuses anything that cannot return to us by subsuming it under the same futility. Hence death is no longer “loss” in the usual sense. It no more refers to the things we lost but to our “loss” (of time, money and well-being) as we insist to dwell on them. Death is a waste —of time. It is this waste that we find in the insouciance of Greek expenditure; the waste in dealing with a language that most of its historical part is no longer spoken (a dead language); the waste in translating a poet who is ex definitio untranslatable; the waste of his vision, his money, his life. The waste of dealing with anything that cannot return and that cannot bring in any returns . But it is also the waste of life that poetry itself presupposes, the waste of dealing with invisibility, with anything that is out of this world and thus invokes the fear of death that is in turn—and surprisingly— nowhere to be found. Instead of death, what is there, beyond the light, is the being without us (to recall the Lévinasian il y a ), the mumble of our own nothingness which constitutes the price to be paid for writing poetry under an evergreek light. To understand this to-and-fro, is to realize that poetry is something out of this world that nevertheless takes place in this world, by virtue of this world. But to ridiculously equate this to-and-fro with death as non-existence, is to exile poetry along with its own possibility from this same old world: I do not believe that poetry will ever disappear from this world. […] But I am also sure that it does not have many chances of playing, as you say, a redemptive role in our vertiginous technological future. Without being endangered as a creative need, it will be placed on the side of history. (2002, 32) It is mainly there that we would like to locate the meaning of Nikos Karouzos’s poetry today. If we are willing to include the Greek original it is because we consider that it will be both a waste of time for us to do so (since most of you cannot read Greek) and because it might induce you to the even larger waste of learning it. We would additionally be glad if this small introduction served as an equally wasteful, academically useless piece of reading, gesturing towards a taboo of investing in anything Greek—that is in anything dead among the living, in anything that will never come back and maybe was never here in the first place. This is the only way to reserve for ourselves the possibility of poetry and preserve the light of its promise. “To return: that is the miracle.” (1993, I, 17) Athens, Greece July 10, 2011 NOTES 1 “ Capitale (a Late Latin word based on caput “head”) emerged in the twelfth to thirteenth centuries in the sense of funds, stock of merchandise, sum of money or money carrying interest.[…] The word and the reality it stood for appear in the sermons of St. Bernardino of Siena (1380-1444) ‘… quamdam seminalem rationem lucrosi quam communiter capitale vocamus ’, ‘that prolific cause of wealth that we commonly call capital’” (Braudel, 1992, 232-233). 2 “A great man – a man whom nature has constructed and invented in the grand style – what is he? First : there is a long logic in all of his activity, hard to survey because of its length, and consequently misleading; he has the ability to extend his will across great stretches of his life and to despise and reject everything petty about him, including even the fairest, ‘divinest’ things in the world.” (Nietzsche, 1968, 505, §962) 3 Cf. Deleuze, 1986, 186-9. 4 “Return is the being of becoming, the unity of multiplicity, the necessity of chance: the being of difference as such or the eternal return.” (Deleuze, 189)5 In this 1982 interview Karouzos refers to the defeat of the communist movement in Greece after the civil war of 1946-1949 between the Governmental Army and the Democratic Army of Greece, the military division of the Greek communist party. Karouzos’s father was a member of the communist National Liberation front (EAM) members of which formed the mainl resistance movement (ELAS) in Greece during WWII. The poet was a member of the United Panhellenic Organization of Youth (EPON), which was a youth division of EAM. After the end of the war, ELAS was called to disarmament in view of the formation of a National Army. The members of EAM resigned from the government of national unity and a series of protests led to a 3 year civil war between ELAS and the Government Army. After the defeat of ELAS the Communist party was outlawed and many communists were exiled in deserted Greek islands. Karouzos, who took action in the Greek resistance and was active during the Greek civil war, was exiled in Icaria on 1947 and in Makronisos on 1953 where he was called two years earlier to do his military service. 6 “Existence in the world qua light, which makes desire possible, is then, in the midst of being, the possibility of detaching oneself from being. To enter into being is to link up with objects; it is in effect a bond that is already tainted with nullity. It is already to escape anonymity. In this world where everything seems to affirm our solidarity with the totality of existence, where we are caught up in the gears of a universal mechanism, our first feeling, our ineradicable illusion, is a feeling or illusion of freedom. To be in the world is this hesitation, this interval in existing, which we have seen in the analyses of fatigue and the present.” (Lévinas, 1988,43-4) 7from a TV interview. THE POETRY OF NIKOS KAROUZOS From Redwriter [ Ερυθρογρ?φος ], in Collected Works, Vol . II, Athens: Ikaros. 1993, 463-4. [Athens: Apopeira, 1990, 9-10.] JESUS ANTI-OEDIPUS* Why were we once saving till the fifth day the Paschal lamb? The scriptures say: with this victim’s meat we ought to cleanse all of our senses. To give life to the whitest wave miraculous odors in the extension of the chest. Ideals to death. For us to witness the illustrious dawns of Absinthe and for the soul to be a deeply carved ornament on the fore we named will. Then many deer running amidst the evergreen growth with watery hymns, then, the unintended angels descending with heights spiraling in their momentum offer themselves to the luminous Adventure. Whence the need for speech and our sufferings covered with flags like the glorified dead. An incorporeal finger pointing at the flamboyant and fragrant holocausts within the tired horizons and the exhausted breadths with joys of the mistletoe on fire and shivering all of the green-leaved love. Something would have chirped again had we not driven it away— maybe the ewe’s grass. Something would have called us to the eternal resurrection— maybe the grace of spring. But now our heart is fiercely blinded, withdrawn to the appearances of Hades. Silence and ice incessantly cover the Infant Spirit in thatched times. While the cherry trees are dreaming faintly glowing in absolute darkness there’s nothing the Babylonians can contemplate in labs with automatic colored lights. How to rejoice now in the fifth day of the lamb? We have forked the stars. We’ve gradually become supposedly sublime with plucked chimeras in our hands. Avenged relentlessly by science. *Though the poem appears in a 1990 collection, it was actually written in 1968. Hence the reader must be aware in not associating Karouzos’ Anti-Oedipus with the famous 1972 work of Deleuze and Guattari, given that the former precedes the latter. ΙΗΣΟΥΣ ΑΝΤΙ-ΟΙΔΙΠΟΥΣ Γιατ? κρατο?σαμε κ?ποτε ?ς την π?μπτη μ?ρα το πασχαλιν? πρ?βατο; Τα κε?μενα λ?νε: μ’ αυτο? του θ?ματος το κρ?ας ?πρεπε να καθαρ?σουμε ?λες τις αισθ?σεις. Για να δ?σουμε κ?μα στη ζω? λευκ?τατο θαυμ?σιες ευωδι?ς στην ?κταση του στ?θους. Ιδανικ? στο χ?ρο. Για να βλ?πουμε τα λαμπρ? χαρ?ματα του ?ψινθου και να ’ναι η ψυχ? στ?λισμα βαθυχ?ρακτο της πλ?ρης που την ε?παμε θ?ληση. Τ?τε πολλ?ς δορκ?δες τρ?χοντας αν?μεσα στην καταπρ?σινη φ?ση με τους υδ?τινους ?μνους, τ?τε, κατεβα?νοντας οι αθ?λητοι ?γγελοι με κυλινδο?μενο το ?ψος στην ορμ? τους χαρ?ζονται της αστραφτερ?ς Περιπ?τειας. ?θεν η μιλι? γι’ αυτ? χρει?ζεται και τα δειν? σκεπ?ζονται ωσ?ν τους τιμημ?νους νεκρο?ς με σημα?ες. Ασ?ματο δ?χτυλο δε?χνει τα φλογ?δη και μοσχοβ?λα ολοκαυτ?ματα στους κουρασμ?νους ορ?ζοντες στα εξουθενωμ?να πλ?τη καθ?ς αν?βουν οι χαρ?ς του νερα?δ?ξυλου και τρ?μει ολ?κληρη η πρασιν?φυλλη αγ?πη. Κ?τι θα κελαηδο?σε π?λι αν δεν το δι?χναμε— μπορε? της προβατ?νας το χορτ?ρι. Κ?τι θα μας καλο?σε στην απ?ραντη αν?σταση— μπορε? του ?αρος η χ?ρη. Μα η καρδι? μας ?γρια τυφλ?θηκε π?ρασε στα φαιν?μενα του ?δη. Σιγ? και π?γος αδι?κοπα σκεπ?ζει στους αχυρ?νιους καιρο?ς το Ν?πιο Πνε?μα. Την ?ρα που ονειρε?ονται οι βυσσινι?ς και λ?μπουν αμυδρ? μεσ’ στο απλ?τατο σκοτ?δι τ?ποτα δε στοχ?ζονται οι βαβυλ?νιοι στα εργαστ?ρια με τ’ αυτ?ματα χρωματιστ? φ?τα. Π?ς να χαρο?με πια την π?μπτη μ?ρα του προβ?του; Φουρκ?σαμε τ’ αστ?ρια. Γ?ναμε σιγ?-σιγ? δ?θεν υπ?ροχοι με μαδημ?νες χ?μαιρες στα χ?ρια. Μας ν?μεται σκληρ? η επιστ?μη. From: Redwriter [Ερυθρογρ?φος], in Collected Works, Vol. II, Athens: Ikaros. 1993, 472. [Athens: Apopeira, 1990, 18.] DIALECTΙCS OF SPRING Christ the straight angle; Christ the Pythagorean theorem. Christ the infinitesimal calculus from above the blessed Sets Christ. Christ the tessellation of massive particles Christ the zero mass. Hence we spray numbers and fields of lust. We are carabineers of diseased logic plus something— Observed means observer and Hekate The darkness luminous and light in the dark Astarte banqueters demons from today. ΔΙΑΛΕΚΤΙΚΗ ΤΟΥ ΕΑΡΟΣ Χριστ?ς η ορθ? γων?α· Χριστ?ς το πυθαγ?ριο θε?ρημα. Χριστ?ς ο απειροστικ?ς λογισμ?ς ?νωθεν ?λβια Χριστ?ς τα Σ?νολα. Χριστ?ς η ψηφιδογραφ?α στα μαζικ? σωμ?τια Χριστ?ς η μ?ζα μηδ?ν. ?ρα ψεκ?ζουμε αριθμο?ς και πεδ?α λαγνε?ας. Ε?μαστε τυφεκιοφ?ροι νοσο?σης λογικ?ς και κ?τι-- παρατηρο?μενο σημα?νει παρατηρητ?ς και Εκ?τη σκ?τος το π?μφωτο και φως εν τ? σκοτ?? η Αστ?ρτη συνδαιτημ?νες δα?μονες απ’ ?ρτι. From: Redwriter [Ερυθρογρ?φος], Athens: Apopeira, 1990, 18. [1993, II, 472]. CREDO (as we are used to say in Latin) Α I believe in one Poet expelled from heavens / fugitive from the god and vagabond, Empedocles / and here on earth / exile on the earth etc. of Baudelaire /. Β I believe in one Computer inside thunder and through matter. Γ Suffering undefiled / substantive / the Poet uplifts himself slow-burning suicidal implying lengthy sleeps. Δ Cutting down on prospective mistakes. Ε Of all things visible and invisible officiating the onion-peelings. Ζ The Poet has nothing / see the departed /. Η I believe in one Poet that says: madness I enjoy; he ridicules existence; let me light up from my mana. Θ Syntax he doesn’t care about when musicality commands him. Along with still more licenses, and Ts are played according to the concept sound anywhere. E.g. the winters here, he winters there; it will not come—I will not rest, etc. etc. Ι The Poet exercises thought until it’s stripped down. Κ And if he’s Greek he must always study the fineness of Attica, in light, mountains, fields and sea. For this fineness teaches language. Λ And if he’s deeply destined the Poet expresses the unexplainable of the explained; he happens to be a rightful heir to the scientist and his predecessor. Μ On the froth he does not last; the Poet blusters at the bottom of the pot. Ν Flamebred and never redeemed. Ξ The Poet must sometimes say: what a consumption of presence — be a bit lonely for a change! Ο The Poet is twilit. Π He is susceptible of deaths and resurrections. Ρ He looks from the corner of his eye and exists in a glance. Σ He follows behind the mother. Τ Eveningless when it comes to age. Υ I believe in one Poet who says: let the purities coincide. Until the Corinth of the Universe or even further. Φ In a higher despair. Χ In a brighter quintessence. Ψ In one sensation that lifts off. Ω Forgiving everyone. CREDO (ως ε?θισται να λ?με λατινιστ?) Α Πιστε?ω εις ?να Ποιητ?ν εκτ?ς ουρανο? / φυγ?ς θε?θεν και αλ?της, Εμπεδοκλ?ς / και επ? της γης / εξ?ριστος π?νω στη γη κ.λπ. του Βωδελα?ρου /. Β Πιστε?ω εις ?να Υπολογιστ?ν εντ?ς κεραυνο? και δια της ?λης. Γ Υποφ?ροντας ?χραντα / ουσιαστικ?ν / ο Ποιητ?ς ανατε?νεται βραδυφλεγ?ς αυτ?χειρας εξυπακο?οντας πολ?ωρους ?πνους. Δ Τα υποψ?φια λ?θη λιγοστε?οντας. Ε Ορατ?ν τε π?ντων και αορ?των ιερουργ?ντας την αποκρομμ?ωση. Ζ Ο Ποιτ?ς ?χει τ?ποτα / βλ?πε τους αναχωρ?σαντες /. Η Πιστε?ω εις ?να Ποιητ?ν που λ?ει: η τρ?λα μ’ αρ?σει· γελοιοποιε? την ?παρξη· ας αν?ψω απ’ τη μ?να μου. Θ Συνταχτικ? δεν το γνοι?ζεται στην προσταγ? της μουσικ?τητας. Μαζ? και μ’ ?λλες ακ?μη λευτερι?ς, και τα νυ πα?ζονται κατ? την ?ννοια ?χος οπουδ?ποτε. Π.χ. τον χειμ?να εδ?, το χειμ?να εκε?· δε θ? ’ρθει – δεν θα καταλαγι?σουμε, κ. λπ. κ.λπ. Ι Ο Ποιητ?ς γυμν?ζει τη σκ?ψη σε απογ?μνωση. Κ Κι αν ε?ναι ?λληνας οφε?λει να σπουδ?ζει π?ντοτε της Αττικ?ς τη λεπτ?τητα, σε φως, βουν?, χωρ?φια και θ?λασσα. Διδ?σκει γλ?σσα η λεπτ?τητα το?τη. Λ Κι αν ε?ναι βαθι? πεπρωμ?νος ο Ποιητ?ς εκφρ?ζει το ανεξ?γητο του εξηγητο?· τυγχ?νει ν?μιμος δι?δοχος του επιστ?μονα και προκ?τοχ?ς του. Μ Στον αφρ? δεν ?χει δι?ρκεια· στο πατοκ?ζανο μα?νεται ο Ποιητ?ς. Ν Φλογοδ?αιτος και ποτ? ξελυτρωμ?νος. Ξ Ο Ποιητ?ς κ?ποτε πρ?πει να λ?ει: μεγ?λη καταν?λωση παρουσ?ας – γενε?τε και λ?γο μοναξι?ρηδες! Ο Ο Ποιητ?ς ε?ναι αμφ?φλοξ. Π Επιδ?χεται θαν?τους και αναστ?σεις. Ρ Ακροθωρ?ζει και υπ?ρχει σε ξαφνοκο?ταγμα. Σ Ε?ναι ουραγ?ς της μητ?ρας. Τ Αν?σπερος απ? ηλικ?α. Υ Πιστε?ω εις ?να Ποιητ?ν που λ?ει: να συμπ?σουν οι αγν?τητες. Μ?χρι την Κ?ρινθο του Σ?μπαντος ? μακρ?τερα. Φ Σε αν?τερη απελπισ?α. Χ Σε φαειν?τερη πεμπτουσ?α. Ψ Σε μια α?σθηση που πτηνο?ται. Ω Συγχωρ?ντας τους π?ντες. From Large Sized Logic [ Λογικ? μεγ?λου σχ?ματος ], Athens: Erato, 1989, n.p. [1993, II, 521-3]. (shrink)

The destruction of the Egyptian army in the Book of Exodus is the primary story of salvation for Israel; God is the chief combatant in this story. "Yahweh is a warrior!" So goes the victory hymn in Exodus 15:3 after the annihilation of the enemy by Yahweh, marking the importance held by this show of divine power. This unleashing of divine power and its militaristic imagery has long caught the attention of scholars as starkly nationalistic. Thomas B. Dozeman (...) furthers this study by addressing the theological problem of divine power in the Exodus story and, by extension, the Judeo-Christian attempt to deify nationalism by calling its wars holy. He interprets Exodus as liturgy, the Day of Yahweh, celebrating God's defeat of Pharaoh and the ultimate ascendancy of Israelite authority. This liturgy, though, did not remain static, but changed as the national experience of exile changed the practice of Israelite worship. An isolated event evolved into an extended account of salvation history, in which the life of faith becomes a wilderness march to the promised land. Dozeman traces how revisionary embellishments in the plot structure and characters of the Exodus story reflected the new understanding of divine power. By combining literary and historical interpretation this study offers the first serious inquiry into the idea of divine power, and makes a major contribution to resurgent research on the Pentateuch as a whole. No scholar concerned with biblical historiography and its justification of holy wars can afford to ignore this book. (shrink)

The key problems of Ivan Vyghovsky’s rule (the main problem among them – is Gadiatskiy pact in 1658) in Mykhailo Grushevskiy’s works are considered in the article. It’s emphasized the scientist’s ambiguity in treatment of polish Ukrainian compromise in 1658. On the one hand the researcher highly evaluates Ivan Vyghovskiy and his like minded persons for their realization the basic idea of social and political development of Ukrainian nation, the necessity of being independent and trying to legalize it in the (...) appropriate paragraphs of “Big kingdom of Russia”.On the other hand emphasizes the factors which caused the union “lack of vitality” and hopeless of I. Vyghovskiy’s polish foreign policy choice.In the scientist’s conception the compromise of 1658 is the result of acombination of a set of factors, opposing tendencies, which had a deep foundation; the current geopolitical realities. For the «Zaporizhzhya Army» it was seen as a salvation from the expansionist, incorporationist policy of Muscovy, the mechanism of affirmation of the Orthodox « Grand Duchy of Rus» as an equal component of the reorganized Commonwealth.Mykhailo Hrushevsky, while paying tribute to the Treaty of Hadiach asa political and legal act, which testified to the level of state thinking of the then Ukrainian elite, indicates, at the same time, his doom.First of all, the historian observes that the treatise was in a hurry, under pressure of circumstances, it may have a temporary character. The most dangerous thing in the treaty is the «... competition of the Cossack and Nobility element...». The researcher believes that the basis of the Hadiach Union was nobility, because it was called «... to restore the economic and political affluence... of this social stratum...».Even the acquisition of the nobility`s rights by the Cossack sergeant «... meant only the strengthening of the nobility stratum against the Cossack masses». Therefore, for the Cossack public (for the common people - moreover, because it was not mentioned in the treaty) the union was unacceptable. In addition, the weak power of the Commonwealth government was incapable of fulfilling allied obligations to the «Zaporizhzhya Army» and the magnate-nobility community has demonstrated its inability to engage in relations with it on a parity basis.In contrast to the Hadiach apologists in 1658, who admired the preferencesfor the Ukrainian in the field of education and culture. Mykhailo Hrushevskyconvincingly states: «For us, from a retrospective perspective, it is quite clear that the Hadiach Union did not look to be successful...».In fact, only a formal Ukrainian-Polish compromise on the 6th(16th ) September 1658, could have been the basis of a federal union of Ukraine, Poland and Lithuania: the really progressive provisions of the treaty, which were proposed by Y. Nemirich - I. Vyhovsky, were already limited in time by signing it near Hadiach ; then - substantially eliminated in the process of ratification by the Warsaw Sejm; The illogical view of the coexistence of the Cossack emancipated Ukraine with the state-regulated Crown (with privileged nobility and followed by a feudal dependent slap) is seen in the «renewed» Commonwealth. That is why the Hadiach Treaty eventually became one of the decisive factors in defeat of Vyhovsky as a hetman.And at the same time it remains a Memorandum of such a desired mutual forgiveness and consent of the elites of the two peoples for a better life of each of them. (shrink)

The aim of this paper is to examine the difficulties that belief in a paradisiacal afterlife creates for orthodox theists. In particular, we consider the difficulties that arise when one asks whether there is freedom in Heaven, i.e. whether the denizens of Heaven have libertarian freedom in action. Our main contention is that this 'Problem of Heaven' makes serious difficulties for proponents of free will theodicies and for proponents of free will defences.

And, as The Promise of Salvation makes clear through abundant empirical evidence, religion will not disappear as long as these promises continue to help people ...