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Review of: P. M. - Robert Piłat, O rozsądku i jego szaleństwach, Wydawnictwo Naukowe PWN, Warszawa 2019, ss. 282. M. Ch. - Zofia Zarębianka, Bóg wpisany w wiersze. Teologia poetów polskich, Wydawnictwo Pasaże, Kraków 2019, ss. 402.
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As you undoubtedly noted, the familiar cover of EEPS, which has adorned our journal for the past nineteen years, has changed. It was my feeling that the emergence of the “New-Old” Eastern Europe was the right moment to introduce a new cover. This is an Eastern Europe that is once again integrated into the rest of Europe and, with the accession of eight East European countries into the European Union, has reclaimed its rightful role in the European family. [...]
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The editorship of the journal East European Politics and Societies (EEPS) is passing to me after some extraordinary 18 years of existence. Since its founding, the journal has passed through the hands of four outstanding editors—Daniel Chirot, Ivo Banac, Jan Gross, and Vladimir Tismaneanu—and has catapulted to a premier publication, identified by the Times Literary Supplement as “the leading journal in the field.” [...]
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Aristotle tells us that “philosophy begins in wonder,” so we begin this foreword to our special issue of The Philosophical Journal of Conflict & Violence on “Film and Violence” by wondering out loud whether a form of popular entertainment like film can really be a suitable topic for philosophical investigation. To paraphrase Tertullian, “What does philosophy have to do with film?” For most of the century and a quarter since the first motion picture was commercially screened in 1895, the obvious answer for most philosophers would surely have been, “Nothing whatsoever.” Indeed, one could argue that if there is a relationship between philosophy and film, it lies in their being almost perfect antitheses. Ideas and arguments are the currency of philosophy, which is a practice that aims—or at least was once thought to aim—at universal, abstract, and necessary truths. Film, on the other hand, is ordinarily a vehicle of storytelling; the filmmaker shows us contingent actions connected to each other within a narrative framework, actions that are necessarily concrete and particular. And, perhaps most importantly, with the exception of documentaries, the stories recounted in films are almost always fictional or at least fictionalized. Why then should philosophy, with its mission to discover truth, be bothered with the smoke and mirrors of film?
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