Listening to pop music—like the rest of modernity—marks an education in unreality, which is no education at all. Folk music, on the other hand, is invariably rooted in the concrete reality of life.
“The world is full of devouring wolves, and you, unfaithful dog, know not how to bark.”
If these four companies—WeWork, Uber, Airbnb, and DoorDash—were representative of what American capitalism had to offer, there would be reasons for grave concern about the future of our economic system.
Is there a proper way to differentiate between true refugees and opportunists? It is a hard question to answer. But one thing is sure: it is never a loss when the Church gets actively involved in a refugee’s life. While the system can be cheated, God cannot.
It is very difficult to argue for the Burkean Contract. If one sees oneself as a morally isolated, radical individual for whom history means nothing and for whom nothing is owed to the future, no amount of disputation will let in the light.
In the arena of the culture war, ideas become political brands, stitched into the terrible body of the news cycle, until they share in that sickly bloodstream. Instead of building civic participation, they get their oxygen from media attention.
While distinguishing between good and bad taste undoubtedly smells like an elitist activity, the conditions that Hume attaches to it do not, at first glance, seem to be.
Beneath the tales of Almanzor’s campaigns is an intriguing subtext which seems to subvert preconceived modern Muslim and Christian notions of what medieval warfare between the two great religions was actually like in Al-Andalus.
The Bible recommends that kings be anointed after the conquest of their realm. Institutions are not to be founded in the throes of a crisis, which would result in their legitimising themselves through that crisis and so perpetuating it.
President Vladimir Putin has vowed to “de-Nazify” Ukraine. To understand the Kremlin’s propaganda, we must go back to the Second World War and even earlier.
The final in a three-part series exploring Shakespeare’s engagement with pagan/Roman morality in Julius Caesar, this essay looks at suicide in the play.
When I first heard Elendil’s line in the third teaser trailer, “The past is dead, we either move forward or die with it,” I became fixated with the whole carnival surrounding Amazon’s billion dollar creative venture—how could it be that J.R.R. Tolkien, a Tridentine-Mass-loving skeptic of modernity was providing the aesthetic and imaginative fuel of woke intersectionalists and activist ideologues in Hollywood?
