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Solitude is Company, Love is a Crowd by Andre D Woods Pdf
Solitude is Company, Love is a Crowd: "Riddles of Realism Edition," is an accumalation of short stories poems and riddles divided into four different phases: A loan, Love; Oblivion as its Finest, Crowded by Love and Accompanied by Solitude. The steps to these phases describes the learning lessons of falling in and out of love. The author takes the synonms; Alone and Solitude; and demonstrates the diversity of the two, by sending the reader through the journey of every day experiences and dissecting them into relationship situations that most tend to feel when isolated inside their minds or emotions. Though most would like to hear, .."and they live happily ever after.," the reality of love; is that sometimes they do not. But it does not mean they cannot live happily; individually.
On Solitude, Conscience, Love and Our Inner and Outer Lives by Ron Haflidson Pdf
Ron Haflidson places the theology of Augustine in conversation with contemporary authors, who warn of the dangers of abandoning solitude for constant (often technological) connection. Haflidson addresses an essential question that has previously been neglected: What difference does it make to the practice of solitude if one believes that even in the absence of any human company, God is always intimately present? For Augustine, solitude is a moral necessity: he recommends that we regularly retreat from the crowd into the depths of our conscience, where we can dwell alone in the company of God, and enter into dialogue before and with God about who we are and how we love. Throughout this book, Haflidson pairs close readings of Augustine with those of noted cartographers of our inner lives, literary greats including Jane Austen, George Eliot, Marilynne Robinson and George Saunders. This book explores what undiscovered possibilities may lie in solitude.
In the Company of Friends by Llewellyn Vaughan-Lee Pdf
The work of The Golden Sufi Center is to make available the teachings of the Sufi path. Weaving together dreams and spiritual stories, this "wise, rich, deeply moving, and significant book" (Andrew Harvey) explores the inner journey and the group's role in facilitating it.
‘An elegant, thoughtful book . . . beautifully expresses the importance and experience of liberation from the battery-hen life of constant connection and crowds.’ Daily Mail ‘A compelling study of the subtle ways in which modern life and technologies have transformed our behaviour and sense of self.’ Times Literary Supplement In a world of social media and smartphones, true solitude has become increasingly hard to find. In this timely and important book, award-winning writer Michael Harris reveals why our hyper-connected society makes time alone more crucial than ever. He delves into the latest neuroscience to examine the way innovations like Google Maps and Facebook are eroding our ability to be by ourselves. He tells the stories of the remarkable people – from pioneering computer scientists to great nineteenth-century novelists – who managed to find solitude in the most unexpected of places. And he explores how solitude can bring clarity and creativity to each of our inner lives. Urgent, eloquent and beautifully argued, Solitude might just change the way you think about being alone. ‘Speaks to a long-overdue conversation we still haven’t properly had in our society.’ Vice ‘A timely, elegant provocation to daydream and wander.’ Nathan Filer, author of The Shock of the Fall ‘The leading thinker about technology’s corrupting influence on our collective psyche.’ Newsweek ‘A poetic, contemplative journey into the benefits of solo sojourning.’ Elle
This introduction to the art of rhetoric analyzes rhetorical concepts, problems, and methods and teaches practical inquiry through a series of classic rhetorical texts. An introduction to the art of rhetoric for those who are unacquainted with it and an argument about invention and tradition suitable for specialists Texts range from Cicero's De oratore and Augustine’s On Christian Doctrine to Jane Austen’s Persuasion and Stephen Greenblatt’s Marvellous Possessions Texts serve simultaneously as works of persuasion and considerations of how rhetoric works Engages readers in using rhetoric to deliberate about challenging issues.
The Bloomsbury Handbook of Solitude, Silence and Loneliness by Julian Stern,Christopher A. Sink,Wong Ping Ho,Malgorzata Walejko Pdf
The Bloomsbury Handbook of Solitude, Silence and Loneliness is the first major account integrating research on solitude, silence and loneliness from across academic disciplines and across the lifespan. The editors explore how being alone – in its different forms, positive and negative, as solitude, silence and loneliness – is learned and developed, and how it is experienced in childhood and youth, adulthood and old age. Philosophical, psychological, historical, cultural and religious issues are addressed by distinguished scholars from Europe, North and Latin America, and Asia.
Many writers in early modern England drew on the rhetorical tradition to explore affective experience. In The Imperfect Friend, Wendy Olmsted examines a broad range of Renaissance and Reformation sources, all of which aim to cultivate 'emotional intelligence' through rhetorical means, with a view to understanding how emotion functions in these texts. In the works of Sir Philip Sidney (1554-1586), John Milton (1608-1674), and many others, characters are depicted conversing with one another about their emotions. While counselors appeal to objective reasons for feeling a certain way, their efforts to shape emotion often encounter resistance. This volume demonstrates how, in Renaissance and Reformation literature, failures of persuasion arise from conflicts among competing rhetorical frameworks among characters. Multiple frameworks, Olmsted argues, produce tensions and, consequently, an interiorized conflicted self. By situating emotional discourse within distinct historical and socio-cultural perspectives, The Imperfect Friend sheds new light on how the writings of Sidney, Milton, and others grappled with problems of personal identity. From their innovations, the study concludes, friendship emerges as a favourite site of counseling the afflicted and perturbed.
The Best of the World's Classics prose Volume 7 by Henry Cabot Lodge Pdf
Volume VII (of X) - Continental Europe Ever since civilized man has had a literature he has apparently sought to make selections from it and thus put his favorite passages together in a compact and convenient form. Certain it is, at least, that to the Greeks, masters in all great arts, we owe this habit. They made such collections and named them, after their pleasant imaginative fashion, a gathering of flowers, or what we, borrowing their word, call an anthology. So to those austere souls who regard anthologies as a labor-saving contrivance for the benefit of persons who like a smattering of knowledge and are never really learned, we can at least plead in mitigation that we have high and ancient authority for the practise. In any event no amount of scholarly deprecation has been able to turn mankind or that portion of mankind which reads books from the agreeable habit of making volumes of selections and finding in them much pleasure, as well as improvement in taste and knowledge. With the spread of education and with the great increase of literature among all civilized nations, more especially since the invention of printing and its vast multiplication of books, the making of volumes of selections comprizing what is best in one's own or in many literatures is no longer a mere matter of taste or convenience as with the Greeks, but has become something little short of a necessity in this world of many workers, comparatively few scholars, and still fewer intelligent men of leisure. Anthologies have been multiplied like all other books, and in the main they have done much good and no harm. The man who thinks he is a scholar or highly educated because he is familiar with what is collected in a well-chosen anthology, of course, errs grievously. Such familiarity no more makes one a master of literature than a perusal of a dictionary makes the reader a master of style. But as the latter pursuit can hardly fail to enlarge a man's vocabulary, so the former adds to his knowledge, increases his stock of ideas, liberalizes his mind and opens to him new sources of enjoyment. The Greek habit was to bring together selections of verse, passages of especial merit, epigrams and short poems. In the main their example has been followed. From their days down to the "Elegant Extracts in Verse" of our grandmothers and grandfathers, and thence on to our own time with its admirable "Golden Treasury" and "Oxford Handbook of Verse," there has been no end to the making of poetical anthologies and apparently no diminution in the public appetite for them. Poetry indeed lends itself to selection. Much of the best poetry of the world is contained in short poems, complete in themselves, and capable of transference bodily to a volume of selections. There are very few poets of whose quality and genius a fair idea can not be given by a few judicious selections. A large body of noble and beautiful poetry, of verse which is "a joy forever," can also be given in a very small compass. And the mechanical attribute of size, it must be remembered, is very important in making a successful anthology, for an essential quality of a volume of selections is that it should be easily portable, that it should be a book which can be slipt into the pocket and readily carried about in any wanderings whether near or remote. An anthology which is stored in one or more huge and heavy volumes is practically valueless except to those who have neither books nor access to a public library, or who think that a stately tome printed on calendered paper and "profusely illustrated" is an ornament to a center-table in a parlor rarely used except on solemn or official occasions. I have mentioned these advantages of verse for the purposes of an anthology in order to show the difficulties which must be encountered in making a prose selection. Very little prose is in small parcels which can be transferred entire, and therefore with the very important attribute of completeness, to a volume of selections. From most of the great prose writers it is necessary to take extracts, and the chosen passage is broken off from what comes before and after. The fame of a great prose writer as a rule rests on a book, and really to know him the book must be read and not merely passages from it. Extracts give no very satisfactory idea of "Paradise Lost" or "The Divine Comedy," and the same is true of extracts from a history or a novel. It is possible by spreading prose selections through a series of small volumes to overcome the mechanical difficulty and thus make the selections in form what they ought above all things to be—companions and not books of reference or table decorations. But the spiritual or literary problem is not so easily overcome. What prose to take and where to take it are by no means easy questions to solve. Yet they are well worth solving, so far as patient effort can do it, for in this period of easy printing it is desirable to put in convenient form before those who read examples of the masters which will draw us back from the perishing chatter of the moment to the literature which is the highest work of civilization and which is at once noble and lasting. Upon that theory this collection has been formed. It is an attempt to give examples from all periods and languages of Western civilization of what is best and most memorable in their prose literature. That the result is not a complete exhibition of the time and the literatures covered by the selections no one is better aware than the editors. Inexorable conditions of space make a certain degree of incompleteness inevitable when he who is gathering flowers traverses so vast a garden, and is obliged to confine the results of his labors within such narrow bounds. The editors are also fully conscious that, like all other similar collections, this one too will give rise to the familiar criticism and questionings as to why such a passage was omitted and such another inserted; why this writer was chosen and that other passed by. In literature we all have our favorites, and even the most catholic of us has also his dislikes if not his pet aversions. I will frankly confess that there are authors represented in these volumes whose writings I should avoid, just as there are certain towns and cities of the world to which, having once visited them, I would never willingly return, for the simple reason that I would not voluntarily subject myself to seeing or reading what I dislike or, which is worse, what bores and fatigues me. But no editor of an anthology must seek to impose upon others his own tastes and opinions. He must at the outset remember and never afterward forget that so far as possible his work must be free from the personal equation. He must recognize that some authors who may be mute or dull to him have a place in literature, past or present, sufficiently assured to entitle them to a place among selections which are intended above all things else to be representative. To those who wonder why some favorite bit of their own was omitted while something else for which they do not care at all has found a place I can only say that the editors, having supprest their own personal preferences, have proceeded on certain general principles which seem to be essential in making any selection either of verse or prose which shall possess broader and more enduring qualities than that of being a mere exhibition of the editor's personal taste. To illustrate my meaning: Emerson's "Parnassus" is extremely interesting as an exposition of the tastes and preferences of a remarkable man of great and original genius. As an anthology it is a failure, for it is of awkward size, is ill arranged and contains selections made without system, and which in many cases baffle all attempts to explain their appearance. On the other hand, Mr. Palgrave, neither a very remarkable man nor a great and original genius, gave us in the first "Golden Treasury" a collection which has no interest whatever as reflecting the tastes of the editor, but which is quite perfect in its kind. Barring the disproportionate amount of Wordsworth which includes some of his worst things—and which, be it said in passing, was due to Mr. Palgrave's giving way at that point to his personal enthusiasm—the "Golden Treasury" in form, in scope, and in arrangement, as well as in almost unerring taste, is the best model of what an anthology should be which is to be found in any language.
Abba, give me a word!' So young monks and visitors to desert monasteries would often address an 'elder' at the beginning of the fourth century. These seekers believed that a word originating outside oneself would descend into the heart and give direction to one's inner life. Enzo Bianchi has tried to let himself be guided by the biblical and patristic tradition in Words of Spirituality, his response to the requests of those who ask him for 'a reason for his hope'. These 'words' of Fr Bianchi are not listed alphabetically or by theme. Rather they are arranged to take us on a journey. Through the use of a method of allusions and cross-references, one term evokes another, explains it in part, and sets aside some elements of its definition to be taken up further on. At the heart of the book is the conviction that our life has meaning: it is not our task to invent or determine that meaning, but simply to discover it - present and active - in and around us.