This book discusses the ongoing revolution of dignity in human history as the work of ‘humanist outliers’: small groups and individuals dedicated to compassionate social emancipation. It argues that anti-authoritarian revolutions like 1989’s ‘Autumn of the Nations’ succeeded in large part due to cultural and political innovations springing from such small groups. The author explores the often ingenious ways in which these maladapted and liminal ‘outliers’ forged a cooperative and dialogic mindset among previously resentful and divided communities. Their strategies warrant closer scrutiny in the context of the ongoing 21st century revolution of dignity and efforts to (re)unite an ever more troubled and divided world.
Positive psychology is a thriving field with increasing political influence, yet there are few evolutionary studies that have had a tangible impact on rethinking mechanisms of well-being. This Element reviews existing literature and proposes synthesizing insights into human flourishing under an umbrella of multilevel selection (MLS). Conceptualizing quality of life as 'Happiness + Meaning = Well-being' draws attention to how people navigate between individual and group needs, and how they reconcile selfish pursuits with altruism and cooperation. We define happiness as the cluster of affects that reward individuals for solving adaptive challenges. We approach meaning as a reward that individuals experience when contributing to their community. By way of examples, we critically examine the Nordic well-being societies whose ethos and education advance prosocial values and practices and strike a balance between individualist and communitarian ideals. This title is also available as Open Access on Cambridge Core.
Talking to the Dead is an essay on death and its tenacious hold on Irish culture. There are few traditions in which funerary motifs have been so ubiquitous in literature, popular rituals, folk representations, public rhetorics, even constructions of place. There are even fewer cultures in which funerary genres and preoccupations constitute the central thread of continuity. The Irish Theatrum Mortis is not simply an obsession of writers from the bards to Beckett and Heaney. Nor is it confined to contemporary Republican iconography. It is to be found in the pages of the local press, in acts of ritual resistance to unpopular decisions, in the way in which significant public events are narrated and framed. Though the funerary Ireland presented here may well yield to the new, positive self-image of the Celtic Tiger, it is the authors' contention that at the end of the twentieth century the funerary sign continues to define Irish identity. For good and ill, it is the centre that holds.
At the beginning of the 21st century Norway has seemingly succeeded to create a Great Good Place on the planet: in the eyes of the outside world it is an epitome of welfare, equality, justice, environmental concern, and enlightened samaritanism. Nina Witoszek's book attempts to explore the cultural sources of the Norwegian success. What are the significant myths, images and codes of conduct that have propelled the Norwegian "regime of goodness"? How have they evolved over time? Who were their codifiers? The author takes issue with the stock interpretation of Norwegian (and indeed Scandinavian) cultural history, according to which the foundations of modern Nordic identity are to be found in the Romantic breakthrough. She argues that, while Norway was indeed perceived as the cradle of European Romanticism, its romantic credentials are at best suspect and were largely invented by the outside world. The vernacular romantic project was hijacked by a prolonged "Pastoral Enlightenment". The Enlightenment pastors forged a master-narrative of Norwegian identity rooted in nature, peace and Christian ethos. This influential story lives on in the evolving versions of modern social democracy and explains some of the paradoxes -- and successes -- of the "Norwegian model" today.
This book discusses the ongoing revolution of dignity in human history as the work of ‘humanist outliers’: small groups and individuals dedicated to compassionate social emancipation. It argues that anti-authoritarian revolutions like 1989’s ‘Autumn of the Nations’ succeeded in large part due to cultural and political innovations springing from such small groups. The author explores the often ingenious ways in which these maladapted and liminal ‘outliers’ forged a cooperative and dialogic mindset among previously resentful and divided communities. Their strategies warrant closer scrutiny in the context of the ongoing 21st century revolution of dignity and efforts to (re)unite an ever more troubled and divided world.
Talking to the Dead is an essay on death and its tenacious hold on Irish culture. There are few traditions in which funerary motifs have been so ubiquitous in literature, popular rituals, folk representations, public rhetorics, even constructions of place. There are even fewer cultures in which funerary genres and preoccupations constitute the central thread of continuity. The Irish Theatrum Mortis is not simply an obsession of writers from the bards to Beckett and Heaney. Nor is it confined to contemporary Republican iconography. It is to be found in the pages of the local press, in acts of ritual resistance to unpopular decisions, in the way in which significant public events are narrated and framed. Though the funerary Ireland presented here may well yield to the new, positive self-image of the Celtic Tiger, it is the authors' contention that at the end of the twentieth century the funerary sign continues to define Irish identity. For good and ill, it is the centre that holds.
ELEKTRYZUJĄCA HISTORIA O KOBIECEJ PRZYJAŹNI I MIŁOŚCI DO KINA. Jak zaczynają się relacje? Miłość łatwo opatrzeć datą, ma wyraźny początek i koniec. Pierwszy pocałunek. Zerwanie. Ale co z przyjaźnią? Ona się do nas zakrada. Katja i Lou poznały się 15 lat temu. Połączyła je przyjaźń i marzenie o przyszłości w blasku fleszy. Jednak życie napisało inny scenariusz; Katja nadal szuka swojej drogi, a Lou zagrała w obsypanym nagrodami filmie Babetta, który uczynił z niej gwiazdę. Od premiery minęły lata i sława Lou zbladła. Jedynie więź łącząca kobiety jest na tyle silna, że kiedy Lou zaprasza Katję na wakacje do francuskiej posiadłości, przyjaciółka zgadza się bez wahania. Żadna z nich nie wie, że to początek przełomowego lata. Po świetnie przyjętym Testamencie Nina Wähä powraca z kolejną znakomitą powieścią. To wnikliwe studium kobiecej przyjaźni i zazdrości oraz hołd złożony kinematografii – opowieść o przemyśle filmowym, #metoo oraz władzy wciąż spoczywającej w rękach mężczyzn. Ekscytacja, niepokój i radość z podglądania. Ta opowieść przewija się przed oczami jak oscarowy film. Bardzo łatwo zapomnieć, że ten świat istnieje tylko na papierze. Chciałoby się tam być! Paulina Holtz
De briljante zangeres Nina Simone werd ondanks haar grote talent gedwarsboomd door haar eigen innerlijke tegenstellingen. Op het podium voelde en gedroeg Simone zich vrij en ongeremd. Tegelijkertijd had ze veel moeite haar artistieke ambitie te verenigen met haar toewijding aan de politieke burgerrechtenstrijd. In combinatie met haar grillige temperament leidde dit tot destructieve relaties, niet alleen met haar fans, maar ook met haar geliefde en dochter. Alan Light schreef op basis van jarenlange diepgaande research deze definitieve biografie. Hij gebruikte onder meer niet eerder gepubliceerde opnames van interviews. En zo ontstaat het beeld van de soms verdrietige en vaak verbijsterende wirwar van Nina Simones ware leven, een beeld dat Simone zelfs in haar eigen autobiografie nooit heeft willen tonen. Het resultaat is een aangrijpend, eerlijk en fascinerend portret.
In der Geschichtsschreibung sind Frauen unterrepräsentiert. Die großen Namen, die nicht von Männern getragen werden, nehmen als idealistische Vorbilder viel Raum ein - wir denken zum Beispiel an Marie Curie, Rosa Parks oder Frida Kahlo. Doch was ist mit den weniger bekannten Frauen in der Weltgeschichte? Diese kleine Erzählung des Feminismus wurde geschrieben von meist weniger bekannten, aber mitnichten weniger wichtigen Frauen, die ihre Epoche bewegten. Manche von ihnen sogar namenlos. Die Geschichte der Frau. Ein roter Faden, der alle Geschichten miteinander verbindet. Ein ernstes Thema, mit einem Augenzwinkern frei nacherzählt. History is HER story!
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