Vladimir Wozniuk – författare

Vladimir S. Soloviev (1853–1900), moral philosopher, social and literary critic, theologian, and poet, is considered one of Russia's greatest philosophers. But Soloviev is relatively unknown in the West, despite his close association with Fyodor Dostoevsky, who modeled one of his most famous literary characters, Alyosha Karamazov, on Soloviev. In The Heart of Reality, Vladimir Wozniuk offers lucid translations, a substantive introduction, and careful annotations that make many of Soloviev's writings accessible for the first time to an English-speaking audience. Soloviev worked tirelessly in the name of the mystical body of the Universal Church. The vast bulk of his writings can be construed as promoting, in one way or another, the cause of ecumenism. His essays also display the influence of Platonic and German Idealism and strands of Thomistic thinking. Wozniuk demonstrates the consistency of Soloviev's biblically based thought on the subjects of aesthetics, love, and ethics, while at the same time clarifying Soloviev's concept of vseedinstvo (the unity of spiritual and material), especially as applied to literature. Containing many previously untranslated essays, The Heart of Reality situates Soloviev more clearly in the mainstream of Western religious philosophy and Christian thought.

Vladimir S. Soloviev (1853–1900), moral philosopher, social and literary critic, theologian, and poet, is considered one of Russia's greatest philosophers. But Soloviev is relatively unknown in the West, despite his close association with Fyodor Dostoevsky, who modeled one of his most famous literary characters, Alyosha Karamazov, on Soloviev. In The Heart of Reality, Vladimir Wozniuk offers lucid translations, a substantive introduction, and careful annotations that make many of Soloviev's writings accessible for the first time to an English-speaking audience. Soloviev worked tirelessly in the name of the mystical body of the Universal Church. The vast bulk of his writings can be construed as promoting, in one way or another, the cause of ecumenism. His essays also display the influence of Platonic and German Idealism and strands of Thomistic thinking. Wozniuk demonstrates the consistency of Soloviev's biblically based thought on the subjects of aesthetics, love, and ethics, while at the same time clarifying Soloviev's concept of vseedinstvo (the unity of spiritual and material), especially as applied to literature. Containing many previously untranslated essays, The Heart of Reality situates Soloviev more clearly in the mainstream of Western religious philosophy and Christian thought.

Considered one of Russia’s greatest philosophers, Vladimir Soloviev (1853–1900) was also a theologian, historian, poet, and social and political critic. His works have emerged to enjoy renewed attention in post–Soviet Russia, and his concerns echo in contemporary discussions of politics, law, and morality. In this collection of Soloviev’s essays—many translated into English for the first time—the philosopher explores an array of social issues, from the death penalty to nationalism to women’s rights.Soloviev reacts against the tradition of European rationalist thought and seeks to synthesize religious philosophy, science, and ethics in the context of a universal Christianity. In these writings he reveals the centrality of human rights in his Christian worldview, not only as an abstract theory but also as an inspiration in everyday life. In a substantive introduction and copious annotations to the essays, Vladimir Wozniuk points out distinctive and often overlooked features of Soloviev’s works while illuminating his place within both the Russian and Western intellectual traditions.

"This volume addresses an important aspect in the political life of most societies today: limitations on freedom of expression and the existence of censorship. As a topic for research, study, and reflection-particularly in its comparative dimension-freedom of expression is a somewhat neglected area. The vast majority of studies in this field focus either on a specific aspect of freedom of expression or on a specific country. The current volume, however, assumes that there is much to be gained by studying freedom of expression and censorship practices broadly and comparatively. In a world grown small, global perspective is possible and beneficial, particularly when it is applied to an issue of great relevance for all societies."

From "political correctness" on U.S. college campuses to political imprisonment of writers in Latin America, censorship remains a pervasive and persistent political force in nations the world over. This collection of essays explores the many faces of censorship, placing them in a theoretical and comparative context. The contributors—who include law

A collection of works by nineteenth-century Russian religious philosopher V. S. Soloviev, critic of secularization, anti-Semitism, and the religious life of his time.Often remembered for his association with the Russian novelist Fyodor Dostoevsky, V. S. Soloviev (1853–1900) remains the foremost representative of ecumenism in nineteenth-century Russia. Working in the name of the Universal Church, with the goal of restoring its unity, he often criticized the institutional churches severely for their contradictions and imperfections.Freedom, Faith, and Dogma is Vladimir Wozniuk's fourth volume of translations of Soloviev's writings. These essays display the Christian philosopher's concerns about the obstacles that religious and political dogma present to the free pursuit of faith. Many of them explore the reasons why neither Judaism nor Christianity was ever able to establish a truly just "kingdom of God." Several also reflect Soloviev's steadfast and outspoken championing of full religious and civic rights for Jews throughout Russia and all of Europe. Wozniuk's introduction places Soloviev squarely in the mainstream of Christian thought and highlights the concerns that dominate this collection: the meaning of church unification, the proper relationship between church and state, and how to deal with the tendency of the powerful to exploit the powerless, concerns that remain relevant to this day.

The AnnotatedWe represents the first fully annotated translation of Evgeny Zamiatin’s classic novel in English. Generally recognized as the first modern anti-utopian novel, Zamiatin’s We has puzzled scholars and critics alike, for it is both serious and playful, full of games. Long considered to be enigmatic, it stands out as unique among his works, and its importance is beyond doubt, for it not only holds the distinction of being the first work of its kind, but is also widely believed to have provided thematic elements for the two most famous dystopian works of the twentieth century, Aldous Huxley's Brave New World and George Orwell's Nineteen Eighty-Four. This new English translation employs language and syntax that mirror the precision and economy of Zamiatin’s Russian in his“poem in prose.” The commentary that accompanies the text sheds light on Zamiatin’s use of language as well as on the broad array of allusions that mark it, while at the same time suggesting many previously unacknowledged sources for the novel’s playfulness.

The AnnotatedWe represents the first fully annotated translation of Evgeny Zamiatin’s classic novel in English. Generally recognized as the first modern anti-utopian novel, Zamiatin’s We has puzzled scholars and critics alike, for it is both serious and playful, full of games. Long considered to be enigmatic, it stands out as unique among his works, and its importance is beyond doubt, for it not only holds the distinction of being the first work of its kind, but is also widely believed to have provided thematic elements for the two most famous dystopian works of the twentieth century, Aldous Huxley's Brave New World and George Orwell's Nineteen Eighty-Four. This new English translation employs language and syntax that mirror the precision and economy of Zamiatin’s Russian in his“poem in prose.” The commentary that accompanies the text sheds light on Zamiatin’s use of language as well as on the broad array of allusions that mark it, while at the same time suggesting many previously unacknowledged sources for the novel’s playfulness.