“There is no greater gift to man than to understand nothing of his fate”, declares poet-philosopher Paul Valery. And yet the searching human being seeks ceaselessly to disentangle the networks of experiences, desires, inward promptings, personal ambitions, and elevated strivings which directed his/her life-course within changing circumstances in order to discover his sense of life. Literature seeks in numerous channels of insight the dominant threads of “the sense of life”, “the inward quest”, “the frames of experience” in reaching the inward sources of what we call ‘destiny’ inspired by experience and temporality which carry it on. This unusual collection reveals the deeper generative elements which form sense of life stretching between destiny and doom. They escape attention in their metamorphic transformations of the inexorable, irreversibility of time which undergoes different interpretations in the phases examining our life. Our key to life has to be ever discovered anew.

Literature seeks threads of the sense of life, the inward quest, the frames of experience in reaching the inward sources of destiny . This unusual collection reveals the deeper generative elements which form a sense of life stretching between destiny and doom.

“There is no greater gift to man than to understand nothing of his fate”, declares poet-philosopher Paul Valery. And yet the searching human being seeks ceaselessly to disentangle the networks of experiences, desires, inward promptings, personal ambitions, and elevated strivings which directed his/her life-course within changing circumstances in order to discover his sense of life. Literature seeks in numerous channels of insight the dominant threads of “the sense of life”, “the inward quest”, “the frames of experience” in reaching the inward sources of what we call ‘destiny’ inspired by experience and temporality which carry it on. This unusual collection reveals the deeper generative elements which form sense of life stretching between destiny and doom. They escape attention in their metamorphic transformations of the inexorable, irreversibility of time which undergoes different interpretations in the phases examining our life. Our key to life has to be ever discovered anew.

This volume presents discussions on a wide range of topics focused on eco-phenomenology and the interdisciplinary investigation of contemporary environmental thought. Starting out with a Tymieniecka Memorial chapter, the book continues with papers on the foundations, theories, readings and philosophical sources of eco-phenomenology. In addition, it examines issues of phenomenological anthropology, ecological perspectives of the human relationship to nature, and phenomenology of the living body and the virtual body. Furthermore, the volume engages in a dialogue with contemporary behavioral sciences on topics such as eco-alienation, sustainability, and the human relationship to the earth in the context of the cosmos.

Although somewhat marginal in relation to the other senses, smell is the most potent way of anchoring ourselves to the world. We subconsciously find our place in it by sniffing our body, the body of the one next to us, the room in which we are, the culture with which we are familiar. There is an incessant olfactory flow consisting of bodies, human and nonhuman, that are agents of generation, consumption, diffusion, reproduction and dissolution of odours. As they move or pause, as they cluster with others or try to move away, these bodies constantly partake in this olfactory flow, this dense planetary swirl that leaves nothing outside. The law aims at presenting itself as rational and objective. Smell, on the other hand, is one of the least integrated senses in the legal edifice, in comparison to, say, seeing and hearing. This can be attributed mainly to the fact that sense-making of smell and law are different, even antithetical. Smell operates undercurrent, tickling the olfactory antennas of individual and collective bodies while habitually hiding behind other sensory volumes. Law, on the other hand, has an interest in appearing present, universal, constant. Olfactory sense-making relies on its elusiveness; legal sense-making invests in its obviousness. Yet, the two can interact in most unexpected ways, as this volume amply shows. If anything, smell airs the way in which law conceptualises and contextualises its own actuality. Smell brings law forth by allowing it to show its underbelly, its elusive sense-making that is invariably sacrificed in preference to the necessity of legal impressions of constancy. However, smell’s fragmentary, discontinuous and unstable nature, despite all the ordering that goes to it, poses a peculiar challenge to the law. This volume sets out to investigate this juncture.

Doing Performative Social Science: Creativity in Doing Research and Reaching Communities focuses, as the title suggests, on the actual act of doing research and creating research outputs through a number of creative and arts-led approaches. Performative Social Science (PSS) embraces the use of tools from the arts (e.g., photography, dance, drama, filmmaking, poetry, fiction, etc.) by expanding—even replacing—more traditional methods of research and diffusion of academic efforts. Ideally, it can include forming collaborations with artists themselves and creating a professional research, learning and/or dissemination experience. These efforts then include the wider community that has a meaningful investment in their projects and their outputs and outcomes. In this insightful volume, Kip Jones brings together a wide range of examples of how contributing authors from diverse disciplines have used the arts-led principles of PSS and its philosophy based in relational aesthetics in real-world projects. The chapters outline the methods and theory bases underlying creative approaches; show the aesthetic and relational constructs of research through these approaches; and show the real and meaningful community engagement that can result from projects such as these. This book will be of interest to all scholars of qualitative and arts-led research in the social sciences, communication and performance studies, as well as artist-scholars and those engaging in community-based research.

Cognition, Literature, and History models the ways in which cognitive and literary studies may collaborate and thereby mutually advance. It shows how understanding of underlying structures of mind can productively inform literary analysis and historical inquiry, and how formal and historical analysis of distinctive literary works can reciprocally enrich our understanding of those underlying structures. Applying the cognitive neuroscience of categorization, emotion, figurative thinking, narrativity, self-awareness, theory of mind, and wayfinding to the study of literary works and genres from diverse historical periods and cultures, the authors argue that literary experience proceeds from, qualitatively heightens, and selectively informs and even reforms our evolved and embodied capacities for thought and feeling. This volume investigates and locates the complex intersections of cognition, literature, and history in order to advance interdisciplinary discussion and research in poetics, literary history, and cognitive science.