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<title>English</title>
<link href="http://hdl.handle.net/10379/149" rel="alternate"/>
<subtitle/>
<id>http://hdl.handle.net/10379/149</id>
<updated>2017-10-29T21:53:04Z</updated>
<dc:date>2017-10-29T21:53:04Z</dc:date>
<entry>
<title>What's wrong with Medievalism: Tolkien, the Strugatsky brothers, and the question of the ideology of fantasy</title>
<link href="http://hdl.handle.net/10379/6848" rel="alternate"/>
<author>
<name>Ruppo Malone, Irina</name>
</author>
<id>http://hdl.handle.net/10379/6848</id>
<updated>2017-10-04T07:47:28Z</updated>
<published>2016-01-01T00:00:00Z</published>
<summary type="text">What's wrong with Medievalism: Tolkien, the Strugatsky brothers, and the question of the ideology of fantasy
Ruppo Malone, Irina
This article addresses the question of the ideology of medievalist fantasy genre through an analysis of Hard to Be a God (1963) by Arkady and Boris Strugatsky with references to J. R. R. Tolkien s The Lord of the Rings. Once we step outside the English-speaking tradition and the various Western ideological trends of the fantasy boom years, the following aspects of medievalist fantasy become particularly apparent: its descent from the historical novels of the nineteenth century, its concern with historiography, and its relation to the pan-European cultural revivalist movements. As a hybrid text, part fantasy and part science fiction, Hard to Be a God offers insights on the ideological tendencies and challenges of medievalist fantasy.
</summary>
<dc:date>2016-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Those bloody trees: the affectivity of Christ</title>
<link href="http://hdl.handle.net/10379/6690" rel="alternate"/>
<author>
<name>McCormack, Frances</name>
</author>
<id>http://hdl.handle.net/10379/6690</id>
<updated>2017-08-11T01:01:05Z</updated>
<published>2015-01-01T00:00:00Z</published>
<summary type="text">Those bloody trees: the affectivity of Christ
McCormack, Frances
[No abstract available]
</summary>
<dc:date>2015-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>'And like the sea God was silent': Multivalent water imagery in Silence</title>
<link href="http://hdl.handle.net/10379/6575" rel="alternate"/>
<author>
<name>McCormack, Frances</name>
</author>
<id>http://hdl.handle.net/10379/6575</id>
<updated>2017-06-14T01:00:53Z</updated>
<published>2015-02-26T00:00:00Z</published>
<summary type="text">'And like the sea God was silent': Multivalent water imagery in Silence
McCormack, Frances
[No abstract available]
</summary>
<dc:date>2015-02-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>John Locke, Edward Stillingfleet, and the Quarrel over Consensus</title>
<link href="http://hdl.handle.net/10379/6347" rel="alternate"/>
<author>
<name>Carey, Daniel</name>
</author>
<id>http://hdl.handle.net/10379/6347</id>
<updated>2017-02-24T02:02:07Z</updated>
<published>2017-02-01T00:00:00Z</published>
<summary type="text">John Locke, Edward Stillingfleet, and the Quarrel over Consensus
Carey, Daniel
Philosophical antagonism and dispute   by no means confined to the early modern period   nonetheless enjoyed a moment of particular ferment as new methods and orientations on questions of epistemology and ethics developed in the seventeenth and eighteenth centuries. John Locke played a key part in them with controversies initiated by the Essay concerning Human Understanding (1690). This essay develops a wider typology of modes of philosophical quarrelling by focusing on a key debate   the issue of whether human nature came pre-endowed with innate ideas and principles, resulting in a moral consensus across mankind, or remained, on the contrary, dependent on reason to achieve moral insight, and, in practice, divided by diverse and irreconcilable cultural practices as a result of the force of custom and the limited purchase of reason. The essay ultimately concludes on the idea that we should not only attend to the genealogy of disputes but also to the morphology of disputation as a practice.
</summary>
<dc:date>2017-02-01T00:00:00Z</dc:date>
</entry>
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