Genocide is a matter of law. It is also a matter of history. Engaging some of the most disturbing responses to the Armenian genocide, Marc Nichanian strikingly reveals the complex role played by law and history in making this and other genocides endure as contentious events. Nichanian's book argues that both law and history fail to contend with the very nature of events for which there is no archive (no documents, no witnesses). Both history and law fail to address the modern reality that events can be and are now being perpetrated that depend upon the destruction of the archive, turning monstrous deeds into nonevents. Genocide, this book makes us see, is in one sense the destruction of the archive. It relies on the historiographic perversion.
“Pagan life seduces me a little more with each passing day. If it were possible today, I would change my religion and would joyfully embrace poetic paganism,” wrote the Armenian poet Daniel Varuzhan in 1908. During the seven years that remained in his life, he wrote largely in this “pagan” vein. If it was an artistic endeavour, why then should art be defined in reference to religion? And which religion precisely? Was Varuzhan echoing Schelling’s Philosophy of Art? Mourning Philology draws on Varuzhan and his work to present a history of the national imagination, which is also a history of national philology, as a reaction to the two main philological inventions of the nineteenth century: mythological religion and the native. In its first part, the book thus gives an account of the successive stages of orientalist philology. The last episode in this story of national emergence took place in 1914 in Constantinople, when the literary journal Mehyan gathered around Varuzhan the great names to come of Armenian literature in the diaspora
The first volume consists of essays on four major twentieth-century Armenian authors: Yeghishe ́Charents, Gurgen Mahari, Zabel Esayan, and Vahan Totovents.
For Strasbourg consists of a series of essays and interviews by French philosopher and literary theorist Jacques Derrida (1930-2004) about the city of Strasbourg and the philosophical friendships he developed there over a forty year period. It is a profound interrogation of the relationship between philosophy and place, philosophy and language, and philosophy and friendship"--
“Pagan life seduces me a little more with each passing day. If it were possible today, I would change my religion and would joyfully embrace poetic paganism,” wrote the Armenian poet Daniel Varuzhan in 1908. During the seven years that remained in his life, he wrote largely in this “pagan” vein. If it was an artistic endeavour, why then should art be defined in reference to religion? And which religion precisely? Was Varuzhan echoing Schelling’s Philosophy of Art? Mourning Philology draws on Varuzhan and his work to present a history of the national imagination, which is also a history of national philology, as a reaction to the two main philological inventions of the nineteenth century: mythological religion and the native. In its first part, the book thus gives an account of the successive stages of orientalist philology. The last episode in this story of national emergence took place in 1914 in Constantinople, when the literary journal Mehyan gathered around Varuzhan the great names to come of Armenian literature in the diaspora
The first volume consists of essays on four major twentieth-century Armenian authors: Yeghishe ́Charents, Gurgen Mahari, Zabel Esayan, and Vahan Totovents.
In Behind the Curtain 2, author Marc LeVitre pulls back the curtain once again to reveal the Truth as seen in mainstream movies. These films have been chosen because they have impacted LeVitre on a spiritual level. He delves into such themes as coming-of-age, dealing with the cruel world, sports, the despicable, and Disney. LeVitre also analyzes film that should have been in the first book but were not because they were then too complicated or were not on his radar, and he adds to and/or corrects comments made in the first book. LeVitre, in most cases, ties films to Scripture. However, his Holy Spirit again has led him to explore areas of his life in a few instances. The author had believed the first book would be the last, for about a week. Then God inundated him with what appears in this volume. Since the beginning, LeVitre, a pastor's son, has been looking for the moral of the story, and by doing so, has been entertained, but more importantly, has been enlightened. LeVitre has been proud to call New Hampshire home since 1968.
In the dynamic Behind the Curtain 3, author Marc LeVitre once again pulls back the curtain to reveal Christian spiritual messages in mainstream films. This time, the themes covered are fantasies, war movies, fallen characters, movies about perseverance, and historic fiction. As the third part of his own trilogy, LeVitre thoroughly reviews The Lord of the Rings and The Chronicles of Narnia trios. He also includes recent smashes like Lincoln and Skyfall. As a contrast he includes films based on true stories, a few independent films, and some classics. In all cases, as before, the movies have messages that have impacted LeVitre in some fashion (intellectually, emotionally, and sometimes both), and the author's intention is to reach those who also enjoy stories with a moral (but may not yet understand the full impact). "Out of sight in; insight out," he says. Since the beginning, LeVitre, a pastor's son, has been looking for the moral of the story, and by doing so, has been entertained, but more importantly, has been enlightened. LeVitre has been proud to call New Hampshire home since 1968.
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