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The article presents the aesthetic and ideological concept of liberal criticism, which was expressed by a leading Galician critic, literary scholar, journalist and cultural figure of the interwar period Mykhailo Rudnytsky. His main scientific works were interpreted as a kind of postulate of "worldlessness" and "liberal criticism" focused on Western European intellectual models. Much of Rudnytsky's publications were written in the ideological vein of a resonant discussion, provoked by the critic and formulated by him under the slogan "Should a writer have a worldview?". In this discussion, M. Rudnytsky argued that it is not important for a writer to have a worldview. The main thing is the aesthetic criterion, which should also be decisive in the literary-critical evaluation of the writer's work. This thesis was quite ambiguous and controversial, as it sharply contradicted the general tendencies of the Galician society of that time. So the discussion provoked a polemical wave. The literary liberalism focused on issues of pure art, the search of Beauty, a kind of aesthetic ideal, non-involvement in politics, the predominance of form and style over content and ideas – founded in the Galician cultural environment of the interwar period more resistance than support. In anticipation of war, amid economic and political instability, in conditions of statelessness, the rejection of any ideology in Ukrainian society was interpreted as an ethical danger, ideological and political nihilism. Article focused also on the scientific and aesthetic problems of Rudnytsky's literary-critical scientific creativity, the specific eclectic stylistics of his works, the influence of the aesthetics and ideology of the Moloda Muza (Young Muse) group and modernism of 19 century on his philosophy and literary theory, the common and different in scientific theories of Mykhailo Rudnytsky and the Polish critic and literary theorist Ostap Ortwin, the cultural europocentrism of literary-critical assessments of Mykhailo Rudnytsky, reception of his ...

Wat hebben het Jodendom, Christendom en de Islam gemeen? Het zijn niet alleen monotheïstische religies, maar ook religies van het boek. Men gelooft in het bestaan van één God, die de wereld heeft geschapen en zich in zijn worden heeft geopenbaard aan de mens. Die woorden, dat zijn de openbaringen in een heilig boek, dat zich vanwege diezelfde goddelijke oorsprong onderscheidt van alle andere boeken: de Tanach, de Bijbel en de Koran

Preliminary Material -- Translating The Prince by Many Hands /Jacob Soll -- Translation and Circulation: Introduction to a research project /Roberto De Pol -- La première traduction française /Nella Bianchi Bensimon -- The first Latin translation /Caterina Mordeglia -- A Florentine Prince in Queen Elizabeth's court /Alessandra Petrina -- La primera traducción española /María Begoña Arbulu Barturen -- The first Dutch translation /Francesca Terrenato -- The first German translation /Serena Spazzarini -- The first translation in Scandinavia /Paolo Marelli -- The first Arabic translation /Arap El Ma'ani -- Chronological Summary -- Distribution of Manuscripts and Printings -- Comparison of Selected Passages -- The Introduction to the first Arabic translation -- Index.

In "No future nu" plaatst Jonker de punkjaren in een breed cultureel kader en blikt ze terug op de tegencultuur en controversiële kunst van de naoorlogse jaren en volgt ze de doorwerking van het punkerfgoed in de jaren tachtig, negentig en in het nieuwe millennium