Leo Tolstoy became very interested in love and relationships. He saw the world around him, much like it is now, as the world is, filled with emptiness (if you pardon the ironic phrase). And yet he felt within him a draw and yearning, and, yes, an inner knowledge that there is more, and that there are answers to our questions. "Let us be diligent," that inner light says, as if together within ourselves, we have all we need, or ever would need to find the way forward. This is a paraphrase in my own words of the attitude of these later works by Leo Tolstoy, the great Russian novelist -- and great thinker -- regardless of region. The volume includes two works, the first 100,000 words of which is the treatise, What Shall We Do, perhaps a more accessible work to be acquainted with Tolstoy's soul-searching and concerns of systematic contemporary life. The second work is a shorter yet worthy essay, providing insights as the title suggests. This edition has been lovingly and carefully edited by Alan Lewis Silva.
Books about thinkers require a kind of unity that their thought may not possess. This cautionary statement is especially applicable to Mikhail Bakhtin, whose intellectual development displays a diversity of insights that cannot be easily integrated or accurately described in terms of a single overriding concern. Indeed, in a career spanning some sixty years, he experienced both dramatic and gradual changes in his thinking, returned to abandoned insights that he then developed in unexpected ways, and worked through new ideas only loosely related to his earlier concerns Small wonder, then, that Bakhtin should have speculated on the relations among received notions of biography, unity, innovation, and the creative process. Unity--with respect not only to individuals but also to art, culture, and the world generally--is usually understood as conformity to an underlying structure or an overarching scheme. Bakhtin believed that this idea of unity contradicts the possibility of true creativity. For if everything conforms to a preexisting pattern, then genuine development is reduced to mere discovery, to a mere uncovering of something that, in a strong sense, is already there. And yet Bakhtin accepted that some concept of unity was essential. Without it, the world ceases to make sense and creativity again disappears, this time replaced by the purely aleatory. There would again be no possibility of anything meaningfully new. The grim truth of these two extremes was expressed well by Borges: an inescapable labyrinth could consist of an infinite number of turns or of no turns at all. Bakhtin attempted to rethink the concept of unity in order to allow for the possibility of genuine creativity. The goal, in his words, was a "nonmonologic unity," in which real change (or "surprisingness") is an essential component of the creative process. As it happens, such change was characteristic of Bakhtin's own thought, which seems to have developed by continually diverging from his initial intentions. Although it would not necessarily follow that the development of Bakhtin's thought corresponded to his ideas about unity and creativity, we believe that in this case his ideas on nonmonologic unity are useful in understanding his own thought--as well as that of other thinkers whose careers are comparably varied and productive.
The dangers of political violence and the possibilities of non-violence were the central themes of three lives which changed the twentieth century—Leo Tolstoy, writer and aristocrat who turned against his class, Mohandas Gandhi who corresponded with Tolstoy and considered him the most important person of the time, and Nelson Mandela, prisoner and statesman, who read War and Peace on Robben Island and who, despite having led a campaign of sabotage, saw himself as a successor to Gandhi. Tolstoy, Gandhi, and Mandela tried to create transformed societies to replace the dying forms of colony and empire. They found the inequalities of Russia, India, and South Africa intolerable yet they questioned the wisdom of seizing the power of the state, creating new kinds of political organisation and imagination to replace the old promises of revolution. Their views, along with their ways of leading others, are closely connected, from their insistence on working with their own hands and reforming their individual selves to their acceptance of death. On three continents, in a century of mass mobilization and conflict, they promoted strains of nationalism devoid of antagonism, prepared to take part in a general peace. Looking at Tolstoy, Gandhi, and Mandela in sequence, taking into account their letters and conversations as well as the institutions they created or subverted, placing at the centre their treatment of the primal fantasy of political violence, this volume reveals a vital radical tradition which stands outside the conventional categories of twentieth-century history and politics.
Understanding Narrative Inquiry: The Crafting and Analysis of Stories as Research is a comprehensive, thought-provoking introduction to narrative inquiry in the social and human sciences that guides readers through the entire narrative inquiry process—from locating narrative inquiry in the interdisciplinary context, through the philosophical and theoretical underpinnings, to narrative research design, data collection (excavating stories), data analysis and interpretation, and theorizing narrative meaning. Six extracts from exemplary studies, together with questions for discussion, are provided to show how to put theory into practice. Rich in stories from author Jeong-Hee Kim’s own research endeavors and incorporating chapter-opening vignettes that illustrate a graduate student's research dilemma, the book not only accompanies readers through the complex process of narrative inquiry with ample examples, but also helps raise their consciousness about what it means to be a qualitative researcher and a narrative inquirer in particular.
Dealing with the most topical questions of the time, Sofia Tolstaya’s artistic works—from parables to short stories, novellas, and memoirs—show deep insights into the social context of nineteenth-century Russia. In his lengthy review of My Life (along with other Tolstaya publications) in Canadian Slavonic Papers, the eminent Tolstoy scholar Hugh McLean (2011) laments the fact that it has taken so long (almost a century after her death) to focus academic attention on Sofia Tolstaya, and that there has been no unified publication of her works, scattered as they are among dated journals or not published at all. This book aims to help fill this lacuna by offering a critical introduction to her literary output as a writer in her own right, and presenting, for the first time, an anthology of her main artistic works, some in fresh English translation, and others never translated before.
This book, first published in 1944, provides a comprehensive overview of the work and life of the writer and philosopher Lev Nikolayevich Tolstoy. Widely considered one of the greatest novelists of all time, this title examines some of Tolstoy’s most seminal works, including War and Peace and Anna Karenina. This book will be of interest to students of literature and philosophy.
An experimental account of one woman’s quest to shed addictive substances and behaviors from her life—which dares to ask if we’re really better off without them. In January 2021, Freda Love Smith, acclaimed rock musician and author of Red Velvet Underground, watched as insurgents stormed the U.S. Capitol. It felt like the culmination of eight months of pandemic anxiety. She needed a drink, badly. But she suspected a midday whiskey wouldn’t cure what was really ailing her—nor would her nightly cannabis gummy, or her four daily cups of tea, or any of the other substances she relied on to get through each day. Thus began her experiment to remove one addictive behavior from her life each month to see if sobriety was really all it was cracked up to be. With honesty and humor, Smith describes the effects of withdrawal from alcohol, sugar, caffeine, cannabis, and social media, weaving in her reflections on the childhood experiences and cultural norms that fed her addictions to these behaviors. Part personal history, part sociological research, and part wry observation on addiction, intoxication, media, and pandemic behavior, I Quit Everything will resonate with anyone who has danced with destructive habits—that is, those who are “sober curious” but not necessarily sober. Smith’s experiment goes beyond simply quitting these five addictive behaviors. Moved by the circumstances of the pandemic and the general state of the world, she ends up leaving an unsatisfying job for more meaningful work and reevaluating other significant details of her life, such as motherhood and the music that defined her career. More than a simple sobriety story, Smith’s book is an exploration of passion, legacy, and what becomes of our identities once we’ve quit everything.
Charles Spurgeon was one of the most evangelical and puritan of protestant minister's in the 19th century. In the eighteenth volume of these series of sermons: these charismatic and inspiring sermons are enough to encourage, convict and inspire anyone who seeks a closer and more intimate relationship with God.
