Drawing on visual materials (film, art, graffiti, street-art, public advertisement, memorials), the essays of this collection offer detailed views on the cultural and political dynamics that preceded and emerged in the wake of the Yugoslav conflicts of the 1990s.

Drawing on visual materials (film, art, graffiti, street-art, public advertisement, memorials), the essays of this collection offer detailed views on the cultural and political dynamics that preceded and emerged in the wake of the Yugoslav conflicts of the 1990s.

Buddhist meditation, while attracting less popular attention than some other meditative disciplines, has given rise to a particularly rich literature in recent years. Despite differences in style and terminology, these modern writings on Buddhist meditation serve much the same purposes as did the manuals and commentaries of the classical masters: to explicate and interpret the Buddha's teachings on meditation, to clarify the nature and value of the various meditative techniques and attainments, and/or to offer advice on the actual practice of meditation. Meditators are increasingly inclined to compare and evaluate critically what the different contemporary meditation masters have to say, to weigh up the results of relevant scientific studies, or to consult translations of the primary texts in search of the Buddha's 'original' teachings on meditation. Writers on meditation are also increasingly adopting an appropriately critical approach, particularly as regards the reliability of textual accounts. Relatively few still commit the old error of assuming that the Pali canon is a complete and faithful record of what the Buddha said on the subject, or that the classical commentators were infallible authorities. The present collection of twenty-eight readings is designed to give meditators, researchers, and general readers ready access to representative samples of those writings, and to the principal relevant texts.

Retracing is a research project about perception, memory, photography and the possibility of imagelessness. Rein Jelle Terpstra collaborates with people who are slowly losing their sight. He asked them about their most valuable visual memory and photographed these scenes on Kodachrome diapositive, thereby promising them to - years later - read out loud precise descriptions of the images, in an attempt to retrace these images in their minds. Retracing is about parting and loss. Perception lost its naturalness, with photography getting an ambiguous role in the conservation of images. Before turning the project into a book, Terpstra used the images of Retracing in a tripartite slide-installation, in which the images slowly fade into one another. This phenomenon is represented in the book by alternating pages showing photographs of projections in the dark with pages showing the slides. The paper is slightly transparent so to create the effect of fading.

Written from a Continental perspective, Retracing the Platonic Text reveals dimensions of the dialogues that are not addressed by traditional philosophy. These essays by prominent scholars focus on the texts' literary elements, in particular challenges to contemporary interpretations of the Platonic dialogue as a whole. The result illustrates the depth of Platonic thought and the debt of all philosophy to it. Retracing the Platonic Text is a pioneering effort in demonstrating how Continental philosophy both reflects and expands upon Greek philosophy.

Explores the nature of Buddha's enlightenment and the meaning of Buddhist symbolism, discussing the relationship between Buddhist meditative techniques and examples of Buddhist symbolism found in early Pali texts and in the twilight language of the tantras.

Socialist countries like Yugoslavia garnered legitimacy through appealing to social equality. Yet social stratification was characteristic of Yugoslav society and increased over the course of the state's existence. By the 1980s the country was divided on socio-economic as well as national lines. Through case studies from a range of social millieux, contributors to this volume seek to 'bring class back in' to Yugoslav historiography, exploring how theorisations of social class informed the politics and policies of social mobility and conversely, how societal or grassroots understandings of class have influenced politics and policy. Rather than focusing on regional differentiation between Yugoslav republics and provinces the emphasis is placed on social differentiation and discontent within particular communities. The contributing authors of these historical studies come from diverse disciplinary backgrounds, linking scholarship from the socialist era to contemporary research based on accessing newly available primary sources. Voices of a wide spectrum of informants are included in the volume; from factory workers and subsistence farmers to fictional television characters and pop-folk music superstars.

Turbo-folk music is the most controversial form of popular culture in the new states of former Yugoslavia. Theoretically ambitious and innovative, this book is a new account of popular music that has been at the centre of national, political and cultural debates for over two decades. Beginning with 1970s Socialist Yugoslavia, Uroš Čvoro explores the cultural and political paradoxes of turbo-folk: described as ’backward’ music, whose misogynist and Serb nationalist iconography represents a threat to cosmopolitanism, turbo-folk’s iconography is also perceived as a ’genuinely Balkan’ form of resistance to the threat of neo-liberalism. Taking as its starting point turbo-folk’s popularity across national borders, Čvoro analyses key songs and performers in Serbia, Slovenia and Croatia. The book also examines the effects of turbo on the broader cultural sphere - including art, film, sculpture and architecture - twenty years after its inception and popularization. What is proposed is a new way of reading the relationship of contemporary popular music to processes of cultural, political and social change - and a new understanding of how fundamental turbo-folk is to the recent history of former Yugoslavia and its successor states.

Memory in the Balkans has often been described as binding, authoritative, and non-negotiable, functioning as a banner of war. This book challenges such a one-dimensional representation and offers a more nuanced analysis that accommodates frequently ignored instances of transnational solidarity, dialogue, communal mourning and working through a difficult past. Exploring a broad range of memorial practices, the book focuses on the ways in which cultural memory is mediated, performed and critically reworked by literature and the arts in the former Yugoslavia. Against the methodological nationalism of works that study Serbian, Croatian, or Bosniak culture as self-contained, this book examines post-Yugoslav literature, film, visual culture, and politicized art practices from a supranational angle. Not solely focusing on traumatic memories, but also exploring how post-Yugoslav cultural practices mobilize memory for a politics of hope, this volume moves beyond the trauma paradigm that still dominates memory studies. In its scope and approach, the book shows the relevance of the cultural memory of Eastern European citizens and the contribution they can offer to the building of Europe’s shared cultural memory and transnational identity.