In the midst of the remarkable revival of interest and belief in angels comes this handsomely illustrated reference work--the fruit of 16 years of research in Talmudic, gnostic, cabalistic, apocalyptic, patristic, and legendary texts. "A wacky and wonderful compendium of angelic lore".--Time. Illustrations.
Debit and Credit" by using Gustav Freytag is a well-known tale set in mid-19th century Germany. The tale follows the lifestyles of Anton Wohlfart, a younger and ambitious protagonist who navigates the difficult worlds of commerce, morality, and interpersonal relationships. Anton, encouraged by way of a robust work ethic and a preference for fulfillment, starts his profession in finance. Freytag masterfully tells a story of financial intrigue, moral quandaries, and societal expectations. As Anton progresses thru the ranks, he faces ethical quandaries, makes private decisions, and experiences the highs and lows of his profession and private lifestyles. The paintings delves into topics of ambition, morality, and the anxiety between antique values and the burgeoning commercial length. Freytag's writing is rich in detail and mental intensity, imparting readers with an in depth portrait of the folks and society of the time. "Debit and Credit" is greater than only a monetary story; it additionally explores human nature and societal dynamics. Freytag's research of the complexity of human nature and the selections humans make inside the quest of fulfillment makes the unconventional a undying and idea-frightening piece of literature.
Of the volumes available to the English public, The Green Face, first published in 1916, is the most enjoyable. In an Amsterdam that very much resembles the Prague of The Golem, a stranger, Hauberisser, enters by chance a magician's shop. The name on the shop, he believes, is Chidher Green; inside, among several strange customers, he hears an old man, who says his name is Green, explain that, like the Wandering Jew, he has been on earth 'ever since the moon has been circling the heaven.' When Hauberisser catches sight of the old man's face, it makes him sick with horror. The face haunts him. The rest of the novel chronicles Hauberisser's quest for the elusive and horrible old man." Alberto Manguel in The Observer This translation of The Green Face evokes a brooding, pre-first world war Amsterdam of ghettos, refugees and religious cults. The novel can be be read on many levels, something which no doubt contributed to its longevity. Eric Hidrew in The Leeds Guide Gustav Meyrink's most mystical novel yet. First published in 1916 to critical and commercial acclaim, the book is set in the near future of post-war Amsterdam, and is an elating vision of apocalypse. A trait of Meyrink's novels, particularly The Green Face, is its depth of meanings, which go beyond one single interpretation. It deals with love, a galaxy of grotesque characters, but it has other hidden significances, like the mystic conception of life. Full of symbols and parables, it's a very complex novel that is difficult to understand, but certainly worth the trouble. DT in Buzz Magazine
One of the most important of Jung's longer works, and probably the most famous of his books, Psychological Types appeared in German in 1921 after a "fallow period" of eight years during which Jung had published little. He called it "the fruit of nearly twenty years' work in the domain of practical psychology," and in his autobiography he wrote: "This work sprang originally from my need to define the ways in which my outlook differed from Freud's and Adler's. In attempting to answer this question, I came across the problem of types; for it is one's psychological type which from the outset determines and limits a person's judgment. My book, therefore, was an effort to deal with the relationship of the individual to the world, to people and things. It discussed the various aspects of consciousness, the various attitudes the conscious mind might take toward the world, and thus constitutes a psychology of consciousness regarded from what might be called a clinical angle." In expounding his system of personality types Jung relied not so much on formal case data as on the countless impressions and experiences derived from the treatment of nervous illnesses, from intercourse with people of all social levels, "friend and foe alike," and from an analysis of his own psychological nature. The book is rich in material drawn from literature, aesthetics, religion, and philosophy. The extended chapters that give general descriptions of the types and definitions of Jung's principal psychological concepts are key documents in analytical psychology.
Written three years before his death, The Undiscovered Self combines acuity with concision in masterly fashion and is Jung at his very best. Offering clear and crisp insights into some of his major theories, such as the duality of human nature, the unconscious, human instinct and spirituality, Jung warns against the threats of totalitarianism and political and social propaganda to the free-thinking individual. As timely now as when it was first written, Jung's vision is a salutary reminder of why we should not become passive members of the herd. With a new foreword by Sonu Shamdasani.
In 'The Score, The Orchestra, and the Conductor', internationally-renowned conducting instructor Gustav Meier presents his practical approach to preparing an orchestral score for rehearsal and performance. The text is illustrated with numerous music examples, charts, figures, and tables.
An eye-opening biography of one of the most influential psychiatrists of the modern age, drawing from his lectures, conversations, and own writings. In the spring of 1957, when he was eighty-one years old, Carl Gustav Jung undertook the telling of his life story. Memories, Dreams, Reflections is that book, composed of conversations with his colleague and friend Aniela Jaffé, as well as chapters written in his own hand, and other materials. Jung continued to work on the final stages of the manuscript until shortly before his death on June 6, 1961, making this a uniquely comprehensive reflection on a remarkable life. Fully corrected, this edition also includes Jung's VII Sermones ad Mortuos.
A fiatal író első nagyobb műve volt a Bovaryné. A regény hősnője Emma egy érzékeny lelkű finom ízlésű asszony. A falusi orvoshoz megy feleségül, de férje nem tudja megérteni Emma lelkivilágát, problémáit és folyamatos hisztérikáit. Emma megpróbál kitörni a sivár egyhangú falusi életből, mivel úgy érzi házastársával egymást kergetik az őrületbe. De hiába váltogatja szeretőit, próbálja a hőn áhított életét élni a sors, mindig közbeszól. Bár realista regény nem rendelkezik váratlan fordulatokkal, de Gustave Falubert lebilincselő ábrázolásmódja az olvasókat így is ámulatba ejti.
When Carl Jung and Carl Kerenyi got together to collaborate on this book, their aim was to elevate the study of mythology to a science. Kerenyi wrote on two of the most ubiquitous myths, the Divine Child and The Maiden, supporting the core 'stories' with both an introduction and a conclusion. Jung then provided a psychological analysis of both myths. He defined myth as a story about heroes interacting with the gods. Having long studied dreams and the subconscious, Jung identified certain dream patterns common to everyone. These 'archetypes' have developed through the centuries, and enable modern people to react to situations in much the same way as our ancestors. From nuclear annihilation to AIDS and Ebola, we continue to engage the gods in battle. Science of Mythology provides an account of the meaning and the purpose of mythic themes that is linked to modern life: the heroic battles between good and evil of yore are still played out, reflected in contemporary fears.
The landmark text about the inner workings of the unconscious mind—from the symbolism that unlocks the meaning of our dreams to their effect on our waking lives and artistic impulses—featuring more than a hundred images that break down Carl Jung’s revolutionary ideas “What emerges with great clarity from the book is that Jung has done immense service both to psychology as a science and to our general understanding of man in society.”—The Guardian “Our psyche is part of nature, and its enigma is limitless.” Since our inception, humanity has looked to dreams for guidance. But what are they? How can we understand them? And how can we use them to shape our lives? There is perhaps no one more equipped to answer these questions than the legendary psychologist Carl G. Jung. It is in his life’s work that the unconscious mind comes to be understood as an expansive, rich world just as vital and true a part of the mind as the conscious, and it is in our dreams—those personal, integral expressions of our deepest selves—that it communicates itself to us. A seminal text written explicitly for the general reader, Man and His Symbolsis a guide to understanding the symbols in our dreams and using that knowledge to build fuller, more receptive lives. Full of fascinating case studies and examples pulled from philosophy, history, myth, fairy tales, and more, this groundbreaking work—profusely illustrated with hundreds of visual examples—offers invaluable insight into the symbols we dream that demand understanding, why we seek meaning at all, and how these very symbols affect our lives. By illuminating the means to examine our prejudices, interpret psychological meanings, break free of our influences, and recenter our individuality, Man and His Symbols proves to be—decades after its conception—a revelatory, absorbing, and relevant experience.
Gustav Klimt (Baumgarten, 1862 – Vienne, 1918) «Faire un autoportrait ne m'intéresse pas. Les sujets de peinture qui m'intéressent ? Les autres et en particulier les femmes... » Aucune référence au monde extérieur ne vient contrarier le charme des allégories, portraits, paysages et autres personnages que l'artiste peint. Des couleurs et des motifs d'inspiration orientale (Klimt a été très influencé par le Japon, l'ancienne Egypte et la Ravenne byzantine), un espace bidimentionnel dépourvu de profondeur et une qualité souvent stylisée de l'image, autant d'éléments utilisés par le peintre pour créer une oeuvre séduisante, où le corps de la femme s'expose dans toute sa volupté. A 14 ans, il obtient une bourse d'Etat pour entrer à la Kunstgewerbeschule (l'Ecole viennoise des Arts et Métiers). Très vite, ses talents de peintre et de dessinateur s'affirment. Ses toutes remières oeuvres lui valent un succès inhabituellement précoce. Sa première grande initiative date de 1879 : il crée cette année-là la Künstlerkompagnie (la compagnie des artistes) avec son frère Ernst, et Franz Matsch. A Vienne, la fin du XIXe siècle est une période d'effervescence architecturale. L'empereur François- Joseph décide, en 1857, de détruire les remparts entourant le coeur médiéval de la ville. Le Ring, financé par l'argent du contribuable, est alors construit : de magnifiques résidences y côtoient de superbes parcs. Ces changements profitent à Klimt et à ses associés, leur fournissant de multiples occasions de faire montre de leur talent. En 1897, Klimt, accompagné de quelques amis proches, quitte la très conservatrice Künstlerhausgenossenschaft (Société coopérative des artistes autrichiens) ; il fonde le mouvement Sécession et en prend la présidence. La reconnaissance est immédiate. Au-dessus du porche d'entrée de l'édifice, conçu par José Maria Olbrich est inscrite la devise du mouvement : «A chaque âge son art, à l'art sa liberté. » A partir de 1897, Klimt passa pratiquement tous ses étés sur l'Attersee, en compagnie de la famille Flöge. Durant ces périodes de paix et de tranquillité, il eut l'occasion de peindre de nombreux paysages qui constituent un quart de son oeuvre complète. Klimt exécute des croquis préparatoires à la plus grande partie de ses réalisations. Parfois, il exécute plus de cent études pour un seul tableau. Le caractère exceptionnel de l'oeuvre de Klimt tient peut-être à l'absence de prédécesseurs et de réels disciples. Il admirait Rodin et Whistler sans les copier servilement. En retour, il fut admiré par les peintres viennois de la jeune génération, tels Egon Schiele et Oskar Kokoschka.
This book, authored by a multi-national team, draws a complicated, yet logically evolving picture of the problems in the security sector reform field of South-East Europe, examining the post-totalitarian and post-conflict challenges to be faced.
A WORLD APART by GUSTAV HERLING. Contents include: PREFACE, k PART I CHAP. PAGE 1 VITEBSK LENINGRAD VOLOGDA 1 2 HUNTING BY NIGHT 20 3 WORK 1 DAY AFTER DAY 32 2 THROWN TO THE WOLVES 45 3 STALINS MURDERER 50 4 DREI KAMERADEN 56 5 THE ICE-BREAKER 65 6 THE HOUSE OF MEETINGS 86 7 RESURRECTION 97 8 THE DAY OF REST 113 PART II 9 HUNGER 131 10 NIGHTFALL 143 11 THE HOUSE OF THE DEAD 152 12 N THE REAR OF THE WAR FOR THE FATHERLAND 1 A GAME OF CHESS 174 2 HAYMAKING 183 13 MARTYRDOM FOR THE FAITH 190 14 THE MORTUARY 210 15 IN THE URALS, 1942 227 EPILOGUE THE FALL OF PARIS 242 APPENDIX 249 ILLUSTRATIONS THE AUTHORS PHOTOGRAPH TAKEN IN GRODNO PRISON IN 1940, AND STOLEN BY HIM FROM HIS DOSSIER ON THE DAY OF HIS RELEASE FROM KARGOPOL CAMP frontispiece A PHOTOGRAPH OF ONE OF THE CAMP-SECTIONS OF THE KARGOPOL CAMP, TAKEN ORIGINALLY BY A CAMP GUARD AS A SOUVENIR, AND LATER SOLD BY HIM TO ONE OF THE PRISONERS facing page 24 A PHOTOGRAPH OF THE HANDKERCHIEF MADE AND EMBROI DERED BY Miss Z. facing page 220 IGANOVS POSTCARD facing page 228 AN EXTRACT FROM THE AUTHORS DIARY, KEPT AFTER HIS RELEASE FROM THE CAMP facing page 234. PREFACE by BERTRAND RUSSELL: OF the many books that I have read relating the experiences of victims in Soviet prisons and labour camps, Mr. Gustav Herlings A World Apart is the most impressive and the best written. He possesses in a very rare degree the power of simple and vivid description, and it is quite impossible to question his sincerity at any point. In the years 1940-42 he was first in prison and then in a forced labour camp near Archangel. The bulk of the book relates what he saw and suffered in the camp. The book ends with letters from eminent Communists saying that no such camps exist. Those who write these letters and those fellow-travellers who allow themselves to believe them share responsibility for the almost unbelievable horrors which are being inflicted upon millions of wretched men and women, slowly done to death by hard labour and starvation in the Arctic cold. Fellow-travellers who refuse to believe the evidence of books such as Mr. Herlings are necessarily people devoid of humanity, for if they had any humanity they would not merely dismiss the evidence, but would take some trouble to look into it. Communists and Nazis alike have tragically demonstrated that in a large proportion of mankind the impulse to inflict torture exists, and requires only opportunity to display itself in all its naked horror. But I do not think that these evils can be cured by blind hatred of their perpetrators. This will only lead us to become like them. Although the effort is not easy, one should attempt, in reading such a book as this one, to understand the circumstances that turn men into fiends, and to realise that it is not by blind rage that such evils will be prevented. I do not say that to understand is to pardon there are things which for my part I find I cannot pardon. But I do say that to understand is absolutely necessary if the spread of similar evils over the whole world is to be prevented. I hope that Mr...
Carl Gustav Carus (1789-1869)--court physician to the king of Saxony--was a naturalist, amateur painter, and theoretician of landscape painting whose Nine Letters on Landscape Painting is an important document of early German romanticism and an elegant appeal for the integration of art and science. Carus was inspired by and had contacts with the greatest German intellectuals of his day. Carus prefaced his work with a letter from his correspondence with Johann Wolfgang von Goethe, who was his primary mentor in both science and art. His writings also reflect, however, the influence of the German natural philosopher Friedrich Wilhelm Joseph Schelling, especially Schelling's notion of a world soul, and the writings of the naturalist and explorer Alexander von Humboldt. Carus played a role in the revolution in landscape painting taking place in Saxony around Caspar David Friedrich. The first edition appears here in English for the first time.
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