Religion and nationalism are both powerful and important markers of individual identity, but the relationship between the two has been a source of considerable debate. Much, if not most, of the early work done in Nationalism Studies has been based, at least implicitly, on the idea that religion, as a genealogical carrier of identity, was displaced with the advent of secular modernity, which was caused by nationalism. Or, to put it another way, national identity, and its ideological manifestation nationalism, filled the void left in people’s self-identification as religion retreated in the face of modernity. Since at least the late 1990s, this view has been increasingly challenged by scholars trying to account for the apparent persistence of religious identities. Perhaps even more interestingly, scholars of both religion and nationalism have noted that these two kinds of self-identification, while sometimes being tense, as the earlier models explained, are also frequently coexistent or even mutually supportive. This collection of essays explores the current thinking about the relationship between religion and nationalism from a variety of perspectives, using a number of different case studies. What all these approaches have in common is their interest in complicating our understandings of nationalism as a primarily secular phenomenon by bringing religion back into the discussion.
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Notes from Underground (Russian: Записки из подполья, Zapiski iz podpol'ya), also translated as Notes from the Underground or Letters from the Underworld, is an 1864 novella by Fyodor Dostoevsky. Notes is considered by many to be one of the first existentialist novels. It presents itself as an excerpt from the rambling memoirs of a bitter, isolated, unnamed narrator (generally referred to by critics as the Underground Man) who is a retired civil servant living in St. Petersburg. The first part of the story is told in monologue form, or the underground man's diary, and attacks emerging Western philosophy, especially Nikolay Chernyshevsky's What Is to Be Done?. The second part of the book is called "Àpropos of the Wet Snow", and describes certain events that, it seems, are destroying and sometimes renewing the underground man, who acts as a first person, unreliable narrator and anti-hero. From Wikipedia (CC BY-SA).
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Despite its popularity when it first appeared in print in 1600, Every Man Out of His Humour has never appeared as a single modern critical edition until now. The volume's introduction and annotations convey early modern obsessions with wealth and self-display by providing historical contexts and pointing out the continuity of those obsessions into modern life. The play is of interest because of its influence on the course of city comedy and its wealth of information about social relationships and colloquial language at the end of Elizabeth's reign. Jonson's experiments in generating theatrical meaning continued throughout his career, but Every Man Out of His Humour--with its youthful vigour and extraordinary visualizations of the urban capacity for self-deceit--is a text that enriches the understanding of all the plays that come after it.
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When We Dead Awaken is the last play written by Norwegian dramatist Henrik Ibsen. It was first published in 1899, and first staged in Stuttgart in 1900.-- Excerpted from Wikipedia, the free encyclopedia.