Daring to Speak of Darkness is a review of anti-cult literature by cult whistleblower Pierre S. Freeman. Freeman was trapped in the religious cult, AMORC, for twenty-six years. As a poor immigrant with most of his family still living in Haiti, Freeman could not afford professional counseling and was alone in his battle to break free from AMORC. Desperately torn when he discovered the French government had labeled AMORC a cult, Freeman began searching the Internet for help. He found a group of authors who had written lucid, clear, anti-cult literature. By reading their works, Freeman was able to slowly and painfully piece together the main cause of his lack of clarity: for decades he had been subject to covert mind control. Daring to Speak of Darkness pays homage to Margaret Thaler Singer and Stephen Hassan, as well as other writers like Janja Lalich, Robert Jay Lifton, and Madeline Tobias. It reviews some of the world's best anti-cult literature and applies their insights to AMORC. The book also highlights principles of indoctrination that cults of all kinds use. The authors of these anti-cult books risked much to take on powerful organizations and stop the tyranny of cult activities, including harassment, verbal and potential physical abuse, and even their own lives. They are truly those who dared to speak of darkness.
Never before available in English, this classic work is a major contribution to the art and technique of violin playing and an important document in the history of performance practice. A contemporary of Kreutzer and Rode, Pierre Marie Francois de Sales Baillot provides in his treatise many insights into the style of nineteenth-century fingering, bowing, ornamentation, and expressiveness that are not apparent from the directions and markings found in scores of that time. Such information will be invaluable for performers interested in understanding the intentions of composers such as Viotti, Haydn, Mozart, Beethoven, and Mendelssohn. This complete, unabridged translation, which includes an extensive introduction by the translator, Louise Goldberg, and a foreword by Zvi Zeitlin, will be indispensable for musicologists, performers, and lovers of eighteenth- and nineteenth-century classical music.
This 1995 book by Pierre Macherey was his first dealing with literature and theory since his seminal A Theory of Literary Production. Continuing the project of Althusserian theory, Macherey engages in a series of close exegeses of classical texts in French literature and philosophy, from the late eighteenth century down to the 1970s, that explore the historically variable but thematically similar ways in which literary texts represent philosophical ideas. Rejecting the simple notion that literature deploys philosophical topoi in an unmediated manner, Macherey shows the conceptual sophistication - and broad intellectual influence - that literary art has displayed in the modern period. At once a theoretical meditation of great originality and a historical work of scrupulous scholarship, The Object of Literature will entrench Pierre Macherey's already considerable reputation as one of the most significant contemporary theoreticians of literature.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.