What is the Soul? Do you have a Soul? Will your Soul go to heaven after you die? Haven’t you heard such questions about the Soul? But what is the truth that remains unknown to humanity? The myth of the Soul is one of the greatest mysteries in the world and one that most people have not been able to unravel. We live and die thinking that we have a Soul. Most of us believe that our Soul will be reborn. We also think that there are ‘good’ Souls and ‘bad’ Souls, but we have not realized the truth about the Soul. When a person dies, we say, “May his Soul rest in peace”, or “Let us pray for the departed Soul.” Little do we realize that we are completely ignorant about the truth of the Soul! This book will help us overcome the mystery of the Soul and help us realize that we don’t have a Soul, we are the Soul! This realization will liberate us from all the misery and suffering of the world.
Delve into the life of a man who did not speak for a career, but who found his voice in the middle of an empty stage, on the pages of notebooks, the lines of poetry and lyrics, paint on canvases, and voice-overs for radio. Read the humorous and poignant stories of mime and actor turned full time father.
Many of us do not realize that it is our Ego that is the cause for us not realizing God within. The Ego distances our self from God. God actually lives in the temple of our heart as per the Bible, the Quran, the Bhagavad Gita, the Upanishads. Still, we are unable to find God, to realize God. Why? It is because of the Ego. If we remove the ‘E’ or the ‘I’ from the Ego, then the ‘D’, the ‘Divine’ will appear. If we remove the Ego, we will find God! This powerful book will transform your life. It will show you the way to God, just as it will guide you on how to let go of your Ego. It will open the door to eternal peace and everlasting joy!
Silver Universe explores the topic of aging through an interdisciplinary lens while promoting their new idea of “active living” which incorporates exercise alongside a healthy diet and the implementation of disease prevention. The diverse group of contributors shed light on the connections between the psychological, emotional, and physical aspects of aging. From psychology (both clinical and social), through neurology, neurogenetics, gerontology, nutrition, economics, communication, law, tourism and theology, this book offers complimentary views on active living to ensure a high quality of life.
One of the few studies covering the historical flow of mime from its beginnings to postmodern movement theatre, this book explores the evolution of mime and pantomime from the Greeks to the 20th Century, depicting the role of mime in dance, clowning, the cinema, and verbal theatre throughout the centuries. With over sixty illustrations, this worldwide study is indispensable for the student, teacher, or fan of mime.
"Threading the subtle seam between what lives and what remains, A Twenty Minute Silence Followed by Applause succeeds in conjuring the poetry of Marcel Marceau's performance as both a character on stage and in history. . . . Like pulling a ghost from a dark room, this is an accomplished work of historical portraiture: precise in its objects, complex in its melancholy, and insightful in its humor." —Thalia Field Part biographic inquiry, part lyric portraiture, radio producer Shawn Wen reanimates world-renowned mime Marcel Marceau's silent art. The book opens in darkness, a single figure standing in the spotlight. It's Marceau in his signature hat, painted face, black clothes, and ballet slippers. Over time, the text accumulates objects: dolls, paintings, icons, wives, children, cities, and performances. By turns whimsical and melancholic, this spare volume takes shape through capsule histories, interview clips, vivid scenes, and archival research. Shawn Wen is a writer, radio producer, and multimedia artist. Her writing has appeared in The New Inquiry, The Seneca Review, The Iowa Review, The White Review, and the anthology City by City: Dispatches from the American Metropolis (Faber and Faber, 2015). Her radio work broadcasts regularly on This American Life, Freakonomics Radio, and Marketplace. She is the recipient of numerous fellowships, including the Ford Foundation Professional Journalism Training Fellowship and the Royce Fellowship.
By "literary criticism" we usually mean a self-conscious act involving the technical and aesthetic appraisal, by individuals, of autonomous works of art. Aristotle and Plato come to mind. The word "social" does not. Yet, as this book shows, it should--if, that is, we wish to understand where literary criticism as we think of it today came from. Andrew Ford offers a new understanding of the development of criticism, demonstrating that its roots stretch back long before the sophists to public commentary on the performance of songs and poems in the preliterary era of ancient Greece. He pinpoints when and how, later in the Greek tradition than is usually assumed, poetry was studied as a discipline with its own principles and methods. The Origins of Criticism complements the usual, history-of-ideas approach to the topic precisely by treating criticism as a social as well as a theoretical activity. With unprecedented and penetrating detail, Ford considers varying scholarly interpretations of the key texts discussed. Examining Greek discussions of poetry from the late sixth century B.C. through the rise of poetics in the late fourth, he asks when we first can recognize anything like the modern notions of literature as imaginative writing and of literary criticism as a special knowledge of such writing. Serving as a monumental preface to Aristotle's Poetics, this book allows readers to discern the emergence, within the manifold activities that might be called criticism, of the historically specific discourse on poetry that has shaped subsequent Western approaches to literature.
The epoch of representation is as old as the West. Indeed, representation is the West, understood as what at once designates and expands its own limits. But what comes after the West? What comes after representation's disclosure of its own limit? The central problem posed in these essays, collected from over a decade of work, is how in the wake of Western ontologies to conceive the coming, the birth that characterizes being. We are now at the limit of representation, where objects as we experience them have been show to be merely objects of representation--or rather, of presentation, since there is nothing to (re)present. The first part of this book, "Existence," asks how, today, one can give sense of meaning to existence as such, arguing that existence itself, as it comes nude into the world, must now be our "sense." In examining what this birth to presence might be, we should not ask what presence "is"; rather we should conceive presence as presence to someone, including to presence itself. This birth is not the constitution of an identity, but the endless departure of an identity from, and from within, its other, or others. Its coming is not desire but jouissance, the joy of averring oneself to be continually in the state of being born--a rejoicing of birth, a birth of rejoicing. The second section, "Poetry," asks: What art exposes this? In writing, in the voice, in painting? And what if art is exposed to it? How does it inscribe (or rather, "exscribe," in a term the book develops) the coming existence as such? The author's trajectory in this book crosses those of Hegel, Schlegel, Baudelaire, Nietzsche, Freud, and Heidegger, in their comments on art and politics, existence and corporeality, everyday life and its modes of existence and ecstasy. An analysis that dares this crossing involves all the varied accounts of existence, political as well as philosophical, and all the realms of poverty.
This volume addresses the teaching of satire written in English over the past three hundred years. For instructors covering current satire, it suggests ways to enrich students' understanding of voice, irony, and rhetoric and to explore the questions of how to define satire and how to determine what its ultimate aims are. For instructors teaching older satire, it demonstrates ways to help students gain knowledge of historical context, medium, and audience, while addressing more specific literary questions of technique and form. Readers will discover ways to introduce students to authors such as Swift and Twain, to techniques such as parody and verbal irony, and to the difficult subject of satire's offensiveness and elitism. This volume also helps teachers of a wide variety of courses, from composition to gateway courses and surveys, think about how to use modern satire in conceiving and structuring them.
