By L. Donskis
A severe inquiry into postmodern anxiousness, worry, indifference, obsessive cognizance looking, and the disappearance of privateness and of public area, the e-book deals penetrating insights into what its writer phrases the identification, and in addition into the cultural canon, the weakened experience of belonging, and the inflation of key political concepts. Blending political thought and philosophy of tradition, the ebook exposes the stress among notion and motion, politics and literature, strength and dissent in postmodern politics and tradition. A polemical e-book of an japanese eu, it increases the pivotal problems with current Europe’s cultural identification and political life.
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Extra resources for Modernity in Crisis: A Dialogue on the Culture of Belonging
In his Troubled Identity 25 novel The Spell of Satan (2009), he depicts, with an epic brushwork, the willful forgetting of crimes committed during the Holocaust in Lithuania as an aspect of the Devil’s work. The emptiness of conscience, oblivion, and the will to forget as the final blow dealt to the victims that are blamed themselves for the crimes committed against them—here we have the devilish act of the deprivation of human memory and sensitivity. Ultimately, undistorted historical memory remains the only reliable and promised fatherland for European Jews after the Shoah.
Rock music, as we all know, was mercilessly and caustically dismissed by Kundera in The Book of Laugher and Forgetting as a gravedigger of Bach and of the entire classical legacy of Europe, and as an instrument of forgetting. Or we could recall Kundera’s irony toward the character Franz in The Unbearable Lightness of Being, who contrives to reconcile in his soul both classical music and rock music, a move nothing short of naïve, barbarous, and self-indulgent in the eyes of the great Czech-French esthete.
The epoch of the Renaissance to me is the embodiment and core of European intellectual interplay between people like Erasmus and Thomas More, one a Dutchman, the other an Englishman. What brought them together in Paris was an admiration for Lucian of Samosata, an Assyrian rhetorician who wrote in the Greek language and whom they translated into Latin. That was how their friendship started. They began sharing important insights; we know that Erasmus’s Praise of Folly (Encomium Moriae, or Lof der Zotheid, 1509) was nothing but a play on words—moria as folly but also as a reference to More, a subtle dedication.