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My 4th Journal/Paradox Work. Some of it was created before Soul Anarchy #3 but most of it came afterwards. As close to printing cost as I can get it. Enjoy: )
Compendium of the first four soul anarchy books/journals.
This ethnography of everyday life in contemporary Russia is also an examination of discourses and practices of "soul" or dusha. Russian soul has historically appeared as a myth, a consoling fiction, and a trope of national and individual self-definition that drew romantic foreigners to Russia. Dale Pesmen shows that in the 1990s this "soul" was scorned, worshipped, and used to create, manipulate, and exploit cultural capital. Pesmen focuses on "soul" in part as what people chose to do and how they did it, especially practices considered "definitive" of Russians, such as hospitality, the use of alcoholic beverages, steam baths, Russian language, music, and suffering. Attempting to avoid narrow definitions of soul as a thing, Pesmen developed a new way of structuring ethnographic interviews.During her stay in a formerly "closed" military industrial city and surrounding villages, Pesmen spent time on public transportation and in kitchens, steam baths, vegetable gardens, shops, and workplaces. She uses stories from her fieldwork along with examples from the media and literature to introduce a phenomenology of russkaia dusha and of related American and other non-Russian metaphysical notions, exploring diverse elements in their makeup, examining and questioning the world created when people believe in the existence of such "deep," "vast," "enigmatic," "internal" centers. Among theoretical issues she addresses are those of power, community, self, exchange, coherence, and morality. Pesmen's attention to dusha gives her a multifaceted perspective on Russian culture and society and informs her rich portrayal of life in a Russian city at a historically critical moment.
“Perhaps the best book on Christian anarchism since Jacques Ellul . . . a timely and valuable addition to resurgent interest in political theology.”—Eric Gregory, Princeton University Anarchy and the Kingdom of God reclaims the concept of “anarchism” both as a political philosophy and a way of thinking of the sociopolitical sphere from a theological perspective. Through a genuinely theological approach to the issues of power, coercion, and oppression, Davor Džalto advances human freedom—one of the most prominent forces in human history—as a foundational theological principle in Christianity. That principle enables a fresh reexamination of the problems of democracy and justice in the age of global (neoliberal) capitalism.
 Joss Whedon has created numerous TV series, movies, comics and one sing-along-blog, all of which focus on societal problems in the metaphorical guise of monsters-of-the-week and over-arching big-bads. The present work examines structural violence through interdimensional law firm Wolfram & Hart's legal representation of evil. We explore the limits of consent through the Rossum Corporation's coercion and manipulation. We rehearse the struggle to find meaningful freedom from the crew of Serenity. This book traces a theme of anarchist theory through the multiple strings of the Whedonverse--all of his works show how ordinary heroes can unite for the love of humanity to save the world from hierarchy and paternalism.
Anarchy in the Pure Land investigates the twentieth-century reinvention of the cult of Maitreya, the future Buddha, conceived by the reformer Taixu and promoted by the Chinese Buddhist reform movement. The cult presents an apparent anomaly: It shows precisely the kind of concern for ritual, supernatural beings, and the afterlife that the reformers supposedly rejected in the name of "modernity." This book shows that, rather than a concession to tradition, the reimagining of ideas and practices associated with Maitreya was an important site for formulating a Buddhist vision of modernity. Justin Ritzinger argues that the cult of Maitreya represents an attempt to articulate a new constellation of values, integrating novel understandings of the good, clustered around modern visions of utopia, with the central Buddhist goal of Buddhahood. In Part One he traces the roots of this constellation to Taixu's youthful career as an anarchist. Part Two examines its articulation in the Maitreya School's theology and its social development from its inception to World War II. Part Three looks at its subsequent decline and contemporary legacy within and beyond orthodox Buddhism. Through these investigations, Anarchy in the Pure Land develops a new framework for alternative understandings of modernity in Buddhism.
The Republic is a Socratic dialogue, written by Plato around 380 BC, concerning justice, the order and character of the just city-state, and the just man. It is Plato's best-known work, and has proven to be one of the world's most influential works of philosophy and political theory, both intellectually and historically. In the dialogue, Socrates talks with various Athenians and foreigners about the meaning of justice and whether the just man is happier than the unjust man. They consider the natures of existing regimes and then propose a series of different, hypothetical cities in comparison, culminating in Kallipolis, a city-state ruled by a philosopher king. They also discuss the theory of forms, the immortality of the soul, and the role of the philosopher and of poetry in society. The dialogue's setting seems to be during the Peloponnesian War. In the first book, two definitions of justice are proposed but deemed inadequate.[14] Returning debts owed, and helping friends while harming enemies, are commonsense definitions of justice that, Socrates shows, are inadequate in exceptional situations, and thus lack the rigidity demanded of a definition. Yet he does not completely reject them, for each expresses a commonsense notion of justice that Socrates will incorporate into his discussion of the just regime in books II through V. At the end of Book I, Socrates agrees with Polemarchus that justice includes helping friends, but says the just man would never do harm to anybody. Thrasymachus believes that Socrates has done the men present an injustice by saying this and attacks his character and reputation in front of the group, partly because he suspects that Socrates himself does not even believe harming enemies is unjust. Thrasymachus gives his understanding of justice and injustice as "justice is what is advantageous to the stronger, while injustice is to one's own profit and advantage".[15] Socrates finds this definition unclear and begins to question Thrasymachus. Socrates then asks whether the ruler who makes a mistake by making a law that lessens their well-being, is still a ruler according to that definition. Thrasymachus agrees that no true ruler would make such an error. This agreement allows Socrates to undermine Thrasymachus' strict definition of justice by comparing rulers to people of various professions. Thrasymachus consents to Socrates' assertion that an artist is someone who does his job well, and is a knower of some art, which allows him to complete the job well. In so doing Socrates gets Thrasymachus to admit that rulers who enact a law that does not benefit them firstly, are in the precise sense not rulers. Thrasymachus gives up, and is silent from then on. Socrates has trapped Thrasymachus into admitting the strong man who makes a mistake is not the strong man in the precise sense, and that some type of knowledge is required to rule perfectly. However, it is far from a satisfactory definition of justice.