Work In Genre Research Articles

Nobody’s home: the ecology of Terrence Malick

ABSTRACTThis article assesses Malick’s broadly ‘ecological’ claim against human intention and construction, including the auteur frame, which dictate narrative expectations and other aesthetics including the consequences of sound design and scoring in the films. It examines parataxis, lineation, and the de-anthropocentric impulse, at times in conversation with the animal figures in Malick’s films. It also articulates Malick’s custom of false focalization, mobilized in his later affluent ‘experience’ films toward an environmentalist claim: Malick’s vacant anthropic (nobody’s home). Finally, this essay engages briefly with the other pieces in the issue, which each build independent new theories of Malick’s syntax, genre work, and ecological arguments through attention to film form, philosophical interlocutors, and more.

The metamorphoses of concernity aesthetics in Krzysztof Penderecki’s violins and doppio concerts

The First and Second Concerts for violin and orchestra and the Concerto doppio for violin and viola with orchestra by Krzysztof Penderecki are analyzed in terms of expressing the concernity idea. An attempt was made to trace the dynamics of concernity aesthetics in the mentioned works. It is emphasized that works in different genres for stringed instruments became the artist’s art search laboratory, at the same time, the pinnacles of the main compositional and stylistic periods in the composer’s life. It is a 1960 avant-garde piece for 52 strings chamber orchestra ―The Crying for Hiroshima Victims‖ and 48 Strings ―Polymorphia‖, written a year later. The Master’s return to subtle self-reflection is a milestone, and string instruments have also played a significant role in this process. It has been determined that the metamorphoses of concerto aesthetics in semantic invariant of violin concert on the example of violin concerts by K. Penderecki manifested in the following dynamics: in the works of the author deep tragedy (the First concert), deeply reflexive, sophisticated, and sophisticated music were manifested. Thus, the concertize process in the works is carried out through a return to the symphonic thinking and theatrical procedural, while the musical thinking of the ―last great symphonist‖ (First and Second concerts) is supplemented by the iconic work of neo-romantic stylistics with vivid virtuosity (Concerto doppio). Such polar stylistic features create an artistic concept and predetermine the metamorphoses of concernity aesthetics in the Master’s violin and doppio concerts, which is a movement from form to process, when concertize as a process becomes the main concernity idea. New horizons of such development constitute further prospects of this research.

Прагматика лексем поля «Музыка» в шорских текстах. Концепт «Пение»

Shor texts are an essential resource of the preservation and further development of the language of Shor, one of the indigenous peoples of Southern Siberia. Nowadays, the Shor are developing their literature. Contemporary Shor authors are using their native language creating works in various genres. The examples of the Shor written language of a wide time frame have become accessible. In the process of revitalization of the Shor language the fixation of its vocabulary is of prior importance as vocabulary accumulates ethnic notional sphere in the lexical meaning of words. Shor lexemes can be singled out from Turkic- Russian dictionaries by V. I. Verbitsky (1884), W. Radlov (1893–1911). A dictionary for students of Shor is written by N. N. Kurpeshko-Tannagasheva and F. Y. Apon`kin (1993). Nevertheless, a significant amount of material from Shor texts has not yet been reflected in lexicographic studies. The “field” organization of the vocabulary and expanded presentation of the lexemes in their actual contexts meet the needs of practical usage of Shor – in its oral and written forms and as a material for further linguistic research. This article deals with the lexemes denoting “Singing”, the notion forming one of semantic centers in the field “Music”. The main aim of the article is to show the usage of the lexemes in various contexts. These contexts are taken from original Shor texts of different genres: folk and authors` texts ((lyrics and prose).

With regard to an instruction on a topic «Complex Binary Form» within the «Musical Works Analysis» course

The article deals with arelevant issues of instructing the topic «Complex Binary Form», which is read within «Musical Works Analysis» lecture coursein the higher educational institutions of Ukraine of III – IV levels of accreditation. Given that this is one of the most complex form in the structure of the course, it is attributed to the understudied ones, although quite branched by the number of varieties. The investigations poses a question of the form definition, genesis, morphology, scope of application in the genres of vocal and instrumental music. Its structural specificity and semantic-shaped content are covered in the works by V. A. Mozart, L. van Beethoven, F. Chopin, K. Debussy, S. Rachmaninov, and others. The links identified with Neo-Baroque and Neoclassical Stylistics, as well as multi-style editing, which was formed within the aesthetics of modernism. Based on a study of genetic origins of a complex binary form and structurally-semantic analysis of the professional music works in different genres by the composers of the XVIII– XX centuries, written in this form, it became possible to substantiate its unique specificity and special role in the music of the New and Newest times. The article deals with two basic varieties of the complex binary form – repetition and non-repetition. The first variety usually includes works of vocal music, when the final function is performed either by the last verse («Adelaide» by L. van Beethoven), or by a synthetic repetition. The second one consists of the complex binary forms with a coda, existing either with contrasting, based on a completely new thematic material (Nocturne Op 32 No. 1, F. Chopin), or with a synthetic coda (Minstrelie by K. Debussy, Etude- picture No. 4, Op. 39 S. Rachmaninov, in the last play – with the signs of an old binary form). Modern composers use such forms extremely rare.

Why is Simeon Dancing? The Unity of Exegesis, Theology and Devotion in the Work of Bonaventure

Why is Simeon Dancing?The Unity of Exegesis, Theology and Devotion in the Work of Bonaventure William Hyland (bio) INTRODUCTION Bonaventure (1274) is generally regarded as one of the central representatives of the earliest phases of Franciscan scholasticism, and as a mystical theologian and ecclesiastical statesman of the first rank. Despite this acknowledgement, Bonaventure's significant work as a biblical exegete has witnessed relative neglect from scholars.1 While Bonaventure's academic exegesis is noted by Gilbert Dahan and others as important, particularly the Old Testament commentaries,2 his exegetical writings have received far less scholarly attention than his other works. In recent years, the English translations of Bonaventure's academic commentaries on Luke, John and Ecclesiastes have begun to spur interest in this aspect of his corpus in the Anglophone world.3 Led by the work of the Franciscan Fr. Robert Karris, these translations hopefully will lead to more attention being given to the exegetical aspect of Bonaventure's work, and to its importance in reception history.4 Bonaventure's academic exegesis was by no means done in isolation from his theological and devotional concerns. While it is important to understand the various purposes and audiences of his work in different genres, they can and must be seen as mutually enriching each other. This is in stark contrast to what is so often the case today, where strict boundaries between academic exegesis and theology, and both of these areas and writings usually classified as "devotional," are still all too evident. This perpetuates what Ryan Brandt has aptly described as a bifurcation and polarization of "the otherwise inseparable realties of academic reading and personal reading of Scripture."5 But for Bonaventure, there is ultimately no separation of the work of the exegete from the spiritual guide, nor the theologian from the mystagogue. Ilia Delio has written eloquently of Bonaventure's "propensity for integration, uniting faith and reason, intellectual and spiritual, speculative and symbolic, knowledge and love."6 For Bonaventure, all genres were seen as the opportunity to pursue the imperative of seeking wisdom and living out the imitation of Christ, and while each genre had a specific purpose and to some degree particular methodology, they ultimately interweave and enrich one another in order to engage and [End Page 267] integrate all the grace-illuminated faculties of human experience in pursuit of holiness. In order to apprehend the fullness of Delio's suggestion about integration in Bonaventure's work, it is necessary to include the way Bonaventure did his academic exegesis, and how this exegesis is reflected in his "devotional" works. Such an investigation illuminates the goal of integration of devotion and exegesis with theology, and presents the Seraphic Doctor as a much-needed model of how this spiritual unity of purpose can be recovered and achieved. In order to illustrate this approach of Bonaventure, the present article analyzes Bonaventure's exegesis of the Presentation of Christ in the Temple, along with the closely-related Purification of the Blessed Virgin Mary, an episode found in Luke 2: 22–39. The particular focus will be on how Bonaventure treats the elderly Simeon and Simeon's canticle, known in Latin as the Nunc Dimittis. This topic is an appropriate choice to illuminate Bonaventure's exegetical method for several reasons. Firstly, the episode plays an almost unique role in the later medieval devotional tradition, forming as it does, along with the Finding of Christ in the Temple at the age of Twelve, one of the Joyful Mysteries of the Rosary, but also one of the Seven Sorrows of the Virgin Mary. This complexity of the episode reflects that while the parents of Jesus are marveling at Simeon's words, the elderly man then prophetically indicates doleful things in Mary's future; as Robert Karris remarks, "In a stage whisper Luke announces the Cross."7 Secondly, in his commentary on Luke, Bonaventure himself will assert the unique importance of Simeon's canticle as an expression of the gospel, "the most brief capsulation of the evangelical story (totius evangelicae historiae quaedam brevissima comprehensio)."8 In this way he also will explain the appropriateness of Simeon's song in the daily prayer of the Church. Thirdly, this...

“Vaporwave Is (Not) a Critique of Capitalism”: Genre Work in An Online Music Scene

Abstract Vaporwave, first emerging in the early 2010s, is a genre of music characterised by extensive sampling of earlier “elevator music,” such as smooth jazz, MoR, easy listening, and muzak. Audio and visual markers of the 1980s and 1990s, white-collar workspaces, media technology, and advertising are prominent features of the aesthetic. The (academic, vernacular, and press) writing about vaporwave commonly positions the genre as an ironic or ambivalent critique of contemporary capitalism, exploring the implications of vaporwave for understandings of temporality, memory and technology. The interpretive and discursive labour of producing, discussing and contesting this positioning, described here as “genre work,” serves to constitute and sediment the intelligibility and coherence of the genre. This paper explores how the narrative of vaporwave as an aesthetic critique of late capitalism has been developed, articulated, and disputed through this genre work. We attend specifically to the limits around how this narrative functions as a pedagogical or sensitising device, instructing readers and listeners in how to understand and discuss musical affect, the nature and function of descriptions of music, and perhaps most importantly, the nature of critique, and of capitalism as something meriting such critique.

Una retrospectiva historiográfica de finales del siglo XIX. Bartolomé Gabarró y su <i>Gramática pentáglota</i> (1886)

Polyglot manuals for the teaching and learning of vernacular languages enjoyed a wide dissemination across Europe since their appearance in the Renaissance. Spain stayed outside of this cultural initiative with regard to the publication of this type of manuals. So much so that the first polyglot work published in Spain corresponds to the one that we present in the following study, in a period that witnessed the slow decline of the polyglot manuals originated at the end of the 18th century. Gabarró’s Gramática Pentáglota [Pentaglot grammar], written in the late 19th century, gathers five modern languages for the very first time: Spanish, Catalan, French, English and Italian. This grammar initiates a new grammaticographic tradition such as putting in contact two languages that had never shared place in a same manual before: we are talking about Catalan and English. Our objective is to rescue a singular and unique in its genre work from oblivion, by means of a detailed study of its content and preceded by an introductory study on the forgotten figure of its author, Bartolomé Gabarró. Gabarró was a multifaceted and controversial character in his time who caused the (r)evolution of the Spanish social scene with the creation of a secular educational movement, unknown until then in Spain.

ПОЛОГ И ЕГО ЖАНРОВЫЕ ВАРИАЦИИ В РУССКОЙ ЛИТЕРАТУРЕ XIX ВЕКА (В.Ф. ОДОЕВСКИЙ, И.С. ТУРГЕНЕВ, А.П. ЧЕХОВ)

В статье рассматривается трансформация жанра аполог в русской классической традиции, его новое терминологическое наполнение в литературе XIX в., указывается на наличие апологической линии в жанрах притчи, легенды, предания, рассказа. Исследование предпринято на литературнохудожественном материале В.Ф. Одоевского, И.С. Тургенева, А.П. Чехова, находящемся, как правило, на периферии внимания филологов. Выводы работы позволяют обратить внимание как на сам исследовательский вектор, так и на его результаты, которые дают принципиально новые ответы на известные вопросы стиля и жанра. The article analyses the transformation of the apologue as a genre in Russian classical literature tradition, its new meaning as a term in the literature of 19th century. Apologue traits are to be found in parable, legend, tale and short story genres. The study examines literary and fictional works of V.F. Odoevskiy, I.S. Turgenev, A.P. Chekhov which arent usually in the center of philologists attention. Conclusions of the study draw the attention to the study direction itself as well as to its results that give essentially new answers to wellknown questions about the style and the genre. The study conducts comparison of the apologue terms definition with the fable which is considered synonym from the Ancient times. Moreover the main trait of apologue is animal characters whereas in literature of the Middle Ages, the European Enlightenment, and furthermore in literature of Modern Age this feature is absent. Above that, the German literature shows that apologue is connected to meanings crucial for Christian worldview, but by the middle of 19th century, these meanings are pushed out by the terminology of so called calendar literature. The analysis of a fairy tale written by V.F. Odoevskiy shows that the writer who was familiar with apologues of F. Krummacher structures his work basing on principles of apologue where main trait is moral teaching, important in Christianity and characters there are not made into animals. To confirm that this is not one example of apologue this article also examines a short story by I. Turgenev called A drop of life, where the apologetic content is connected to the genre of Christian legend. The apologue is in the basis of this synthetic in terms of genre work with distinct moral agenda. While seeming inifferent to moral and spiritual composition, genre definitions fairy tale and short story are trying to indicate oral nature of the story, they contain features of oral tradition and legends. The study analyses in details in search of apologue features the short story A story of senior gardener by A. Chekhov. The semantics of the gardener image, the key problem of crime and punishment, the reflection upon chronotopos of the short story, also the mutual for three works character of the doctor, the way hes presented, all of this confirms the hypothesis of the study. The article concludes that the genre of apologue is dominant in almost all of the calendar literature works and in those short stories, fairy tales and other genres that promote directly or indirectly the moral and didactic idea.

Meditativity in the structure of art consciousness (on the material of the mass «And i said in my heart» by M. Shukh)

Meditativity in the structure of art consciousness (on the material of the mass «And i said in my heart» by M. Shukh)

Meditativity in the structure of art consciousness (on the material of the mass «And i said in my heart» by M. Shukh)

Meditativity in the structure of art consciousness (on the material of the mass «And i said in my heart» by M. Shukh)

A Study on Niels Gade s Piano Sonata op.28 for Edification of High Quality Repertory

닐스 가데는 19세기의 대표적인 덴마크 작곡가이자 지휘자였지만, 오랫동안 그의 작품들은 독일 낭만주의에 북유럽적인 서정이 가미되어 있는 정도의 것들로 취급되어 왔다. 그러나 필자는 현재까지 연구가 거의 되어 있지 않은 그의 피아노 음악을 연구해 오면서, 훨씬 다양한 음악양식들이 혼합되어 있고 특히 18세기 중후반에 즉흥적 뉘앙스의 자유로운 판타지 음악양식으로 큰 영향력을 폭넓게 행사했던 독일 작곡가 C. P. E. 바흐의 건반음악 기법이 폭넓게 반영되어 있음을 알게 되었다. 이런 새로운 측면은 ‘감정과다양식’으로 대표되는 이 작곡가의 독특한 음악양식이 그가 주로 사용하였던 ‘클라비코드’에서 그 역사가 끝난 것이 아니라 이후에 발전하는 피아노로도 전수되었고 가데의 피아노 문헌들이 그런 중요한 예에 속한다는 것을 의미하는 것이다. 따라서 본고에서는 -피아노 연주에서의 새로운 고급 레퍼토리 계발에 작은 도움이라도 되기를 바라며- 그의 피아노음악 중 처음으로 <피아노 소나타 op.28>을 분석연구 한다. 이 작품은 그가 북부 독일의 라이프치히로 가서 활동하기직전인 1840년(1851년 수정)에 작곡되었기 때문에 다른 후기 작품들보다 상대적으로 독일 낭만주의의 영향이 아직 크지 않은 단계로서 그 자신의 기본 음악양식들이 더 구체적으로 드러나 있고, 또한 판타지 작품 이외의 곡에서도 즉흥적 뉘앙스가 중요한 비중을 차지하는 독특한 특징을 보여주고 있기 때문이다.Niels Gade (Niels W. Gade, 1817 - 1890) was a leading Danish composer and conductor in the 19th century, but it is a strange name for us. Because many of his works in various genres have been simply treated as such that German Romanticism is mixed with Scandinavian orientation. While Gade s musical works, especially piano music, have so far been studied with little to come, I have found a much more complex combination of different styles of music that are characteristic of his studies, and in particular, C. P. E. Bach s Empfindsamer Stil. Then it would not the end of its history with his main keyboard instrument Clavichord, but rather handed down to piano which began to replace it by the late 18th century. Then it means Gade s piano literature is one of those important examples, and even a historical re-evaluation of his keyboard music is considered. His Piano Sonata op.28, which is the topic of my paper(1840; revision in 1851), is the one composed shortly before he left for Leipzig in northern Germany so that relative influence of Mendelssohn and Schumann is weak comparatively yet compared to other later works, therefore his own basic musical styles can be more overtly shown.

До питання першого сценічного втілення п’єс Л. Старицької-Черняхівської «Гетьман Дорошенко», «Крила» та «Останній сніп» на сцені театру Миколи Садовського (До 150-річчя від дня народження письменниці)

The article first attempts to reconstruct stage versions of the best dramatic works in different genres of talented writer Liudmyla Mykhailivna Starytska-Cherniakhivska – «Hetman Doroshenko», «The Wings» and «The Last Sheave».

Borges and Popular Culture

The `greatness’ of Jorge Luis Borges is an invention of the 1960s, based on the reception of a relatively small body of work from the 1940s (most notably the stories collected in Ficciones and El Aleph). It was in this decade that `Borges' was created: the cosmopolitan, erudite, philosophical but ingeniously playful weaver of cerebral, labyrinthine, and slippery narrative puzzles. This version of Borges is reductive, as there is a strongly referential dimension to his short fiction. This interest in reality rather than fiction and in the local as well as the cosmopolitan paves the way for an understanding of Borges’s deeply felt connection with what one might call popular culture. The focus of much of the author's life and work is the popular or even the vulgar: the gaucho code; the exploits of Buenos Aires hoodlums; pirates, cowboys and gangsters; detective stories and other genre works; classical Hollywood movies; tangos; and so forth. This essay explores the notion of the orilla to investigate the ways Borges’s literary and other outputs straddle opposing impulses: the rural and the urban, the local and the universal, the abstract and the referential, the `high' and the `low’, the traditional and the modern.

Aproximación etnográfica a la construcción de las identidades femeninas y masculinas en Educación Primaria

En la etapa de educación primaria los niños y las niñas aprenden a ser socialmente identificables como niño o niña, comenzando a construir su identidad de género. Desde esta perspectiva, el artículo presenta los resultados de una investigación etnográfica que se realizó en un centro de educación primaria del Principado de Asturias para conocer el proceso de construcción de las identidades femeninas y masculinas. Además de la observación participante realizada a lo largo de un curso académico en 5º y 6º de primaria, también se realizaron grupos de discusión con un total de 28 niños y niñas. Los resultados han permitido concluir que los niños y las niñas van conformando su identidad de género a través de las influencias de compañeros/as, maestras/os y las diferentes actividades, métodos y materiales utilizados en el contexto escolar. Asimismo hemos concluido que, en general, unos y otras se acomodan al rol de género hegemónico socialmente establecido, esperando encajar entre sus iguales y agradar a los adultos que les rodean. No obstante, también hay estudiantes que transgreden las normas de género lo que provoca que tengan dificultades en los procesos de interacción social con sus iguales, especialmente los chicos cuyo se asocia a la homosexualidad. Ante esta realidad, consideramos necesario el trabajo de género en la escuela, de forma holistic, desde las primeras edades para deconstruir la categoría género (Connell, 1996, 2000) dado que los centros escolares constituyen espacios centrales para el desarrollo de un discurso contrahegemónico.

The Literary Heritage of Jesuits of the Polish-Lithuanian Commonwealth

Since 1565, the Society of Jesus promoted education in the humanities. The vast majority of the Polish nobility received their education in Jesuit colleges. Jesuit preachers, writers, poets, authors of heraldic and emblem works—derived mostly from the nobility—were understandably deeply involved in politics. The legacy of the most outstanding Jesuit authors testifies to their active participation in public life. In keeping with the specifics of the Polish case, their literary production emphasizes not only the vita activa, but also animus civilis. Political and historical themes, as well as religious motifs, played a significant role in Jesuit works. The Society’s activities in the Polish-Lithuanian Commonwealth produced important works in various genres of literature, a significant portion of which was in Latin. Their poetry and prose is characterized by involvement in socio-political issues: the stormy political events and wars of the seventeenth century had a considerable effect on the compositions of the leading Jesuit authors.

Contribution of Artists Teaching at the Russian Federation S.A. Gerasimov Institute of Cinematography into Formation and Development of the Fine Arts in Mongolia in 20th century

The relevance of studying the contribution of artists and educators of Russian art for formation and development of the creative method of masters in Central Asian countries is due to the importance of this topic for solving the theoretical and practical problems of contemporary art history. Since the second half of the 20th century, the influence of Russian art school on art of the countries of the socialist community has increased. Russian universities have become base centers of higher art education. As a result, the main number of masters of art in Mongolia are graduates to Soviet and Russian art institutions. With appearance in 1935 of the studio "Mongolkino" in Ulan Bator, there was appear need for connoisseurs. Mongolian creators got the opportunity to obtain good education in the Soviet Union in VGIK. When learning students mastered programs aimed at comprehensive creative education. Priceless contribution to formation of the creative method of young masters was made by the artist-educators B.V. Dubrovsky-Eshke, F.S. Bogorodsky, Yu.I. Pimenov and others. Particular attention in pedagogical activity they drawn to the development and improvement of the creativity of the student. We were taught to think and feel images, constantly develop creative individuality, professionalism and at the same time preserve national roots. In the 50s, Mongolian painters Ochryn Myagmar and Purev Tsogzol were educated at VGIK. They passed the school of Soviet art and based on it stood at the origins of the Mongolian cinema. Artists work in various genres and techniques, in the mainstream of European artistic methods. Perfectly knowing how to draw, they write with oil and watercolor. For both artists, work on the nature is fundamental. With a perfect mastery of this creative approach, they remain deeply national masters. VGIK pedagogical school gave the basic footing for the development of cinema in Mongolia and further stimulated the creative potential of new generations of filmmakers. So the Mongolian visual and film art enriched with innovative artistic principles.

Empires of Print: Adventure Fiction in the Magazines, 1899–1919. By Patrick Scott Belk.

For British and American publishers and periodical producers, the period 1880 to 1914 was one of great change and innovation. Shifts in technology enabled more sophisticated intertwining of print and visual media, with popular mass-media journals such as the illustrated London News and the Strand (in the UK) and Argosy, The Popular Magazine, and Munsey's Magazine (in the US) becoming apt spaces for embedding appealing illustrations into serialized popular adventure tales and other mass-appeal genre works. The development of the telegraph as a transnational communication tool, the reuse of popular print works in stage productions and in the newly emerging silent movie industry of the early twentieth century, and the rise of the literary agent in negotiating rights and licensing agreements for authorial work, attested to the transformation of the media landscape of the period. By the turn of the twentieth century, authors were no longer involved in negotiating simple transfers of works from serialized publication in genteel literary monthlies to book publication and then cheap-format republication, but were enveloped within a larger transnational media ecosystem. Patrick Scott Belk explores what this meant for some key, successful navigators of this transformed landscape. He offers well- honed case studies on four major exponents operating during a period Roger Lancelyn Green dubbed the ‘Age of the Storyteller’, from the 1890s, when Joseph Conrad began publishing unsettling tales set in overseas spaces, up to the end of the First World War and John Buchan's publication of a clutch of adventure tales featuring the rugged British spy and adventurer Hannay, hero of The 39 Steps (1915), Greenmantle (1916), and Mr Standfast (1919).

Fantastic Antifascist Radio Drama: Cultural Politics in Arch Oboler’s Lights Out

This article examines the cultural politics of Arch Oboler’s radio dramas from the mystery-thriller program Lights Out. Analyzing the dramas through the critical concept of the cultural front, the author argues that Oboler crafted plays that were antifascist and critical of the developing world war that supported cultural front politics. These plays critiqued fascism and the war indirectly through fantastic political allegories. Many of the plays featured fascistic figures that received poetic political justice in gruesome endings. This article advances our understanding of popular radio drama’s cultural politics during the interwar years and the continuity of Arch Oboler’s radio writing. It corrects the historical record by demonstrating that antifascist cultural front radio aired earlier in the interwar period than previously established. Additionally, the article bolsters our comprehension of Oboler’s radio work by establishing stronger ties between his early, popular genre work for Lights Out and his later radio writing. Drawing on Oboler’s original scripts for this program, the article also examines 17 plays for which no extant recordings exist. Therefore, the article contributes to our knowledge of this program, 1930s mystery-thrillers, and sustained radio dramas on U.S. radio.

Справочник древнерусских апокрифических текстов, представляющих концепции земного рая

The handbook contains information on the apocryphal works of tanatological themes that are common in Old Russian literacy. Selected texts representing the concept of earthly paradise. The handbook contains information about the genre of works, information about well-known handwritten lists, with classification by editorial board and characteristics of their content. Accurate bibliographic references to the publication of manuscripts and to the corpus of studies of each monument are given.

“There Is Another Kingdom”: On The Politics of Virtue

“There Is Another Kingdom”:On The Politics of Virtue Tracey Rowland John Milbank’s and Adrian Pabst’s The Politics of Virtue could be described as the theo-political analogue to Rupert Brooke’s The Soldier, Blake’s Jerusalem, and Sir Cecil Spring Rice’s I Vow to Thee my Country all rolled into one. It pulls no punches and is unashamedly in favor of aristocratic and monarchical forms of government, as well as the establishment of the Church of England. God, Queen, and Country Anglicans who read it are likely to recall the words of Simeon’s prayer upon the presentation of the Christ-child: Nunc dimittis servum tuum, Domine, secundum verbum tuum in pace: Quia viderunt oculi mei salutare tuum; Quod parasti ante faciem omnium populorum: Lumen ad revelationem gentium, et gloriam plebis tuae Israel. Another way to describe it would be a twenty-first-century Tory manifesto or “Blue Labor” handbook. (The difference between the British political classifications “Red Tory” and “Blue Labor” seems to be more a matter of class identity than substantive policy preference). Whether one is an aristocrat with a strong sense of noblesse oblige—that is, a Red or Turquoise Tory (turquoise is red combined with green ecological interests)—or a person from a lowlier social position who appreciates the value of an aristocratic element within the social order—a Blue Labor type—the same substantive political positions can be arrived at assuming a common Christian intellectual foundation. The Politics of Virtue is therefore in the genre of works that offer a critique of liberal political theory from a Christian perspective. It [End Page 1337] shares something of the flavor of Alasdair MacIntyre’s many publications on the subject, especially the need to reclaim virtue and unmask the confidence tricks and coercive character of liberal ideology. However, where MacIntyre and others have been criticized for offering no alternative to the present liberal political order other than building more monasteries, home schooling children, out-breeding liberals, and praying for another St. Benedict or Joseph Ratzinger (all reasonable strategies in my judgment), Milbank and Pabst have dared to offer some concrete proposals about the structure of political institutions, as well as offering a robust defense of a Christian commonwealth where both politics and economics are rooted in virtuous practices. While a wave of communitarian and specifically Catholic criticisms of liberalism began to be published in the 1980s, often in response to John Rawls’s liberal classic A Theory of Justice (1971), at a time when it seemed as though the end-of-history theorists and a chorus of neoconservative Catholics might be right about the triumph of liberalism, and hence the enthusiasm (especially among American Catholics) to quickly baptise it, Milbank’s and Pabst’s book comes after the outbreak of Islamic terrorism in 2001 and the financial crisis of 2008. They note that both of these events “exposed the limitations of the two liberalisms that have dominated Western politics for the last half-century: the social-cultural liberalism of the left since the 1960s and the economic-political liberalism of the right since the 1980s.”1 The social-cultural liberalism of the left and the economic-political liberalism of the right share the same starting position of a merely negative conception of liberty. A negative conception of liberty is about “freedom from” something, rather than “freedom for” something. This negative liberty rests on two pillars: “a procedural, formalistic conception of justice and an instrumental notion of reason.”2 The combined result is that “individuals are proclaimed ‘autonomous’ when all the while they are subjected to the instrumental logic of bureaucratic control and commercial exchange.”3 Worse yet, “the scale of self-worth that the individual is encouraged to adopt is the [End Page 1338] very same scale by which she is subjected to mass manipulation.”4 The “double paradox at the heart of liberalism” is therefore the “relentless privatisation of the public sphere and yet the ever-greater invasion of the private sphere, coupled with an oppressive moralism masquerading as liberal impartiality and procedural fairness.”5 Milbank and Pabst strongly affirm the judgment of the Slovenian philosopher Slavoj Žižek...