The author of the article explores philosophical preconditions of the Nobel Prize Winner Czeslaw Milosz' literary work with special reference to his essays. Milosz is often called a philosopher by critics; however, he is a writer first and foremost. Thus his bio-graph, or his own life's experience, deals with his own existential problems. It is not accidental then that all his essays are autobiograph ical. Milosz' relationship with philosophy is com plicated, and this is caused by licentia poetica. It is due to this reason that his essays are marked by a polyphonic discourse of evil. This type of discourse is one of the main types found in Milosz' writings. The discourse consists of different 'voices', repre sented by Thomas Aquinas, Simone Weil, William Blake, and Lev Shestov. All of them are dissonant voices, but such a unity of dissonance in discourse is brought about by the theme itself. Evil as a phenomenon is hard to explain, and only the ap parent diversity of voices enables us to speak about it as a real manifestation and not just an abstraction

This article deals with the strategy and tactics of Grand Hetman of the Grand Duchy of Lithuania, Jonušas Radvila, in the war with Cossacks and Moscow in the middle of the 17th century. Here the castles defense system is discussed, the scene of war, the military potential of armies and the nature of war. The strategic plan was to fight against the Cossacks only at the borders of the Grand Duchy of Lithuania. Jonušas Radvila avoided moving over the Dnepr. In this war Hetman fought with the voivodes, districts were involved in this rebellion, forces of the local gentry. Jonušas Radvila didn't plan to co-operate with the Polish Army. During the Cossack war there was only one united battle. In the war with Moscow the Duke always retreat- ed trying to escape the general battle.

Paprastai modernios vizualumo epochos pradžia siejama su fotografijos atsiradimu XIX amžiuje. Tačiau yra pagrindo manyti, kad „vizualinis posūkis“ Vakarų kultūroje prasideda gerokai anksčiau. Vienas svarbesnių tokios transformacijos komponentų yra teatras. Antikinis teatras, iš esmės, visuomet išlaikė savo pirmapradį sakralumo aspektą. Tuo tarpu Baroko teatre stebimas ryškus desakralizacijos momentas, kurį pirmiausia žymi tragedijos žanro pokyčiai (transcendencijos nykimas, pasaulietinės istorijos tematika, teatro repertuaras kaip reprodukavimo technika). Straipsnyje lyginamos antikinės tragedijos ir W.Benjamino barokinės Trauerspiel sampratos, bei jų santykis su modernybėje nykstančia sakralumo dimensija.

Lev Karsavin‘s teological metaphysics is based on the late Medieval thinker Nicolaus Cusanus concept of coincidentia oppositorum. This principle means the whole and its parts, unity and multitude („or the whole, or the part“) is conceived not as contrariesbut as the unity of contraries („and the whole, and the part“). The whole is participated in each its part and each part is the whole at the same time. The principle coincidentia oppositorum is realised in that way and it is a structure of reality. That hierarchical structure of reality is not statical but rather dynamical: dialectical movement of three concepts – the fundamental unity, self-divideness and self-joining. That ontological structure of reality Karsavin names as a person in theological sense. Lev Karsavin mostly wrote philosphical-theological treatises but there are and some poetical works, precisely lyrics. There is question: is such form (philosophical-theological treatise, poem) adequatte to content? What means this corealation between academical and „popular“ form of Karsavin‘s philosophy? The most interesting moment in Karsavin‘s personal theological metaphysics is his „Circle of Sonnets“, written in Soviet prison. This poem was created in prison orally and author wrote the poem on the sheat of paper later. Probably there is dialectical corelation between orality and literacy (similary to the principle coincidentia oppositorum). Such and other questions are investigated in the article.