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  1. Tyrus Miller (2012). Paradise Now: From Sexual Liberation to Aesthetic Revolution in the US During the 1960s. Filozofski Vestnik 33 (3).
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  2. Tyrus Miller (2010). Weimar on the Pacific: German Exile Culture in Los Angeles and the Crisis of Modernism. Common Knowledge 16 (1):156-156.
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  3. Tyrus Miller (2008). AIDS and Artistic Politics. Filozofski Vestnik 29 (1):131 - +.
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  4. Tyrus Miller (2008). Eternity No More : Walter Benjamin on the Eternal Return. In , Given World and Time: Temporalities in Context. Ceu Press.
     
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  5. Tyrus Miller (ed.) (2008). Given World and Time: Temporalities in Context. Ceu Press.
    The volume's essays, divided into four main topical groups question critically the key problem of context, connecting it to the problem of time.
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  6. Tyrus Miller (2008). Introduction. In , Given World and Time: Temporalities in Context. Ceu Press.
     
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  7. Tyrus Miller (2007). Enacted Time. Journal of Philosophy: A Cross-Disciplinary Inquiry 3 (7):14-21.
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  8. Tyrus Miller (2007). Retro-Avant-Garde: Aesthetic Revival and the Con/Figuration of Twentieth-Century Time. Filozofski Vestnik 2.
    The concept of retro-avant-garde was first advanced by artists working in the late socialist and post-socialist contexts of Eastern Europe, Central Europe, and the territories of the ex-Yugoslavia. In general, its semantic field has been defined by a range of post-modern and mostly post-socialist art practices that draw formal, philosophical, and social inspiration from the politicized, powerfully utopian avant-gardes of the early decades of the twentieth-century, especially in the USSR and East-Central Europe. However, its paradoxical reference forward and backward in (...)
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  9. Tyrus Miller (1996). From City-Dreams to the Dreaming Collective: Walter Benjamin's Political Dream Interpretation. Philosophy and Social Criticism 22 (6):87-111.
    This essay discusses Walter Benjamin's development of 'dream' as a model for understanding 19th- and 20th-century urban culture. Following Bergson and surrealist poetics, Benjamin used 'dream' in the 1920s as an heuristic analogy for investigating child hood memories, kitsch art and literature; during the early 1930s, he also developed it into an historiographic concept for studying 19th- century Parisian culture. Benjamin's interpretative use of the dream cuts across Ricoeur's distinction between the hermeneutics of 'recol lection' and the hermeneutics of 'suspicion'. (...)
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