The paper raises questions concerning conventional meanings and non-conventional meanings in everyday language and poetical language alike and examines the nature of creativity and humor in various linguis-tic and social contexts. More concretely, the paper investigates our ability to use and to switch between conventional and non-conventional mean-ings at ease in a variety of contexts.

In the eulogy that Ralph Waldo Emerson delivered at Thoreau’s funeral in May 1862, Emerson notes that Thoreau once claimed to be able to look around the Walden environs and “tell by the plants what time of year it was within two days.” [1] This intimate familiarity with the cycles of local plants and animals reflects Thoreau’s deep knowledge of the local environment and the years of intensive study that produced it. Thoreau’s famed nature walks had made him an encyclopedia of environmental knowledge.

This paper is part of a much larger project that examines the cohort of Ukrainian (or Ruthenian) clerical hierarchs who were trained at the Kyivan Academy and abroad n the late seventeenth and early eighteenth centuries, but who went on to serve in the Muscovite Church. Collectively they constituted the backbone of diocesan administration in Russia during the first four decades of the eighteenth century as well as participating actively in important monastic institutions.

The Multiplicity of Being

in Amelia Rosselli’s English Poetry

O were I one in Three! Just like the Holy Ghost,

the Father and the Son, I’d reunite my scattered souls and string them in from all the seas abroad;

no longer climb upon perdition’s mast and wave a banner crying God, at last! [1]

In this paper we analyze a short film Queer (Croatia, 2007) as an example of growing visibility of queer narratives in the context of the building of new nation states in the former Yugoslavia. We ask what it means for such queer narratives to disrupt the flow of reproductive heteronormative ideology at a critical moment of political, economic, and historical transition born out of violent conflicts and wars.

One of the crucial aspects of Russia’s cultural positioning has always been its relationship with its internal and external others. While critical literature examining representations of national and ethnic difference in Soviet and Russian cinema has grown significantly in recent years, the critics’ attention has been focused on ways in which Russian filmmakers have defined/redefined the country’s wartime enemies (Germans, Finns, Chechens) [1].