Introduction by the Guest Editor

We bring to your attention a special issue dedicated to Christian denominations on the territory of Ukraine. The issue is dedicated to the most difficult periods in the history of Ukraine, namely three wars, two of which were in the 20th century, and the third of which began in 2014 and has been in an active phase since 2022. ...This August issue of OPREE is divided into two parts. The first part contains articles devoted to the period from 1900 to 1945. During this period, the authors from different denominational backgrounds analyze the state of Christian denominations and the challenges they faced in the first part of the 20th century. The second part covers the post-WWII period, and deals with the rapid changes that took place in Ukrainian Christianity after the military attack by the “brother” of the Russian Orthodox Church, which broke out in 2014, pretending at first to be of local significance. Those articles capture the events that are taking place now, giving us and future generations the opportunity to assess the impact of geopolitical processes on Christian denominations in a war

Mal d’archive?: Introduction by the Guest Editor

What does the decadent do in a pandemic? I write this from isolation in Western Canada, not a place conventionally associated with decadence, but the place I chose to flee to during the COVID-19 pandemic. I am far from my collection of books and beloved objects here, so am not so easily able to create the kind of decadent retreat enacted by Des Esseintes in Joris-Karl Huysmans’s À rebours. I am not the first to invoke Huysmans’s iconic hero when contemplating self-isolation in these pandemic times. Indeed, Des Esseintes is trending as a model for how to self-isolate in style in the midst of the latest maladie du siècle. Des Esseintes, of course, faced nothing near as drastic as this. His flight into self-isolation was not from a maladie du siècle but, rather, more self-indulgently, from the mal du siècle, a psychological illness that manifested itself in ennui, loss, disillusionment, world-weariness, and plagued French Romantic writers and decadents of the nineteenth century. Des Esseintes’s response to the mal du siècle was, of course, to retreat into a world of objects, books, art, and sensory experiences. &nbsp

Introduction: Emotions and Global Challenges of Inequality

An introduction to the special issue, by the guest editor

Issues in Review: New Developments in Commedia Research: The Commedia dell'Arte: New Perspectives and New Documents

Introduction to "Issues in Review: New developments in commedia research", 141-240, guest editor M A Katritzky. The first of six articles in this section, it introduces the five further articles, by Maria Ines Aliverti (158-180), Rosalind Kerr (181-197), Erith Jaffe-Berg (198-211), Stefano Mengarelli (156-7 & 212-226) and Robert Henke (227-240) and reviews recent significant developments and publications in the field of commedia dell'arte studies

Introduction to the Special Issue of The Councilor on Economic Education

Written by the guest editor, Mary Beth Henning, this is the introduction to the special issue of The Councilor focused on economic education

Ends of Worlds: An Introduction by the Guest Editor

The phrase about the ‘ends of the world’ is familiar enough, not just to readers of the Bible, where it appears amid dire warnings about temptation in 1 Corinthians 10:11, but of course also from Pater’s quintessentially decadent description of the Mona Lisa, where the biblical quotation is taken splendidly out of context to evoke a modern sensibility, the very ‘symbol of the modern idea’,[i] as he writes, a sweeping together in the knowing countenance of a Renaissance portrait all human temptations, all spiritual and worldly aspirations, whole networks of global trade and cultural exchange extending back much farther than those mere thousand years, extending not just to various nations and continents, but also to the depths of the sea and the secrets of the grave. Pater evokes one fallen empire after another as he deftly, if improbably, refigures Mona Lisa as a pearl-diver, a silk-trader, a goddess, a mother, even a vampire. At the droop of that weary eyelid, he is reminded that ‘modern philosophy has conceived the idea of humanity as wrought upon by, and summing up in itself, all modes of thought and life.’[ii] So many ends of worlds in a sublimely weary eyelid! Decadence is ostensibly a theory of the end of a world, but it has a way of collecting worlds without end. Pater elsewhere challenges us to see the visible outlines of the face as ‘a design in a web, the actual threads of which pass out beyond it’,[iii] extending indefinitely, beyond imagination – and yet continuing to twitch and vibrate like delicate nerves, transmitting messages we can scarcely begin to read.     [i] Walter Pater, The Renaissance (Oxford: Oxford University Press, 1986), p. 80. [ii] Ibid. [iii] Ibid., p. 150

Introduction.: Narrating Reality in Comics

Introduction to the Special Issue by the Guest Editor

A Forum for Lively Exchange and Constructive Discussions

Introduction to the Special Issue on GI-Days 2007 by the Guest Editor

key issues. An Introduction by the Guest Editor of the Special Issue

UIDB/00183/2020 UIDP/00183/2020This introduction presents an overview of the special issue of Con-Textos Kantianos devoted to Kant’s aesthetic theory. The articles in this issue have been organized into two sections: those written by keynote-authors, and those written in response to the general call for papers. Within each of these two sections, articles have been organized thematically, although the philosophical traditions that they engage with, as well as points of contact between articles, have also been considered. In the first section, keynote-authors address questions of aesthetic normativity; the role of aesthetics in the acquisition of empirical concepts; the emotional nature of aesthetics; subjectivity and disinterestedness; connections between aesthetics, anthropology, and politics; and aesthetic non-conceptualism. The second section begins with contributions dealing with matters of formalism and conceptualism in Kant’s aesthetics, as well as their relation and relevance to thinking about art, the arts, and contemporary art. It continues with papers that address key issues of Kant’s aesthetics, such as the free play and the role of imagination, as well as possible complementarities between the three Critiques. It closes with articles that focus on the reception of Kant’s aesthetic theory in the works of major philosophers of the 20th century, namely within critical theory and the phenomenological-hermeneutical tradition.publishersversionpublishe

Decadence, Decolonization, and the Critique of Modernity: An Introduction by the Guest Editor

What would it mean to decolonize decadence? To ask the question is to consider the relationship between disparate but intertwined critiques of modernity. For writers in late nineteenth-century France such as Charles Baudelaire, Théophile Gautier, and Joris-Karl Huysmans, for example, ‘decadence’ captures a particular critique of urban modernity. These were writers who exhibited a ‘profound scepticism about modernity and progress’, and were ‘disgusted by overcrowding, poverty, and rampant commercialism, what Huysmans described as ‘the caliphate of the counter’. Decolonizing critiques, however, developed out of the anti-colonial movements that lead to political decolonization in the second half of the twentieth century, the emergence of newly independent postcolonial national cultures, as well as continuing efforts at cultural decolonization, including the development of postcolonial theory, and theorizations of coloniality and decoloniality. These are all critiques of modernity differentiated by their origins and ends, but which nevertheless cast doubt, each in their own ways, on the project of Western civilization, its myths of progress, imperial expansionism, imposed temporalities, and enthralment to commodity capital. But to consider what it would mean to decolonize decadence is also to imagine modernity from starkly different viewpoints, from a stance of alienation within the West, from standpoints that experience Western hegemony as alien, and from innumerable perspectives that otherwise navigate colonial rule, imperialism and its aftermath, settler colonial myths, or the development of national cultures outside, but in relation to the West