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We tend to accept that German cities and states run their own cultural institutions (concert halls, theatres, museums). This book shows how this now “self-evident” fact became a reality in the course of the long nineteenth century.
In this unique blend of self-help and moral philosophy, perfect for fans of Gretchen Rubin’s The Happiness Project or Dan Harris’ 10% Happier, talk-radio host Dennis Prager shows us that happiness isn’t just a value—it’s a moral obligation. When you ask people about their most cherished values, “happiness” is always at the top of the list. In this enduring happiness manifesto, Prager examines how happiness not only makes us better people, but has an effect on the lives of everyone around us—providing them with a positive environment in which to thrive and be happy themselves. Achieving that happiness won't be easy, though: to Prager, it requires a continuing process of counting your blessings and giving up any expectations that life is supposed to be wonderful. "Can we decide to be satisfied with what we have?" he asks. "A poor man who can make himself satisfied with his portion will be happier than a wealthy man who does not allow himself to be satisfied." Prager echoes other political commentators in complaining that too many people today see themselves as victims; he submits that the only way to achieve your desires is to take responsibility for your life rather than blaming others. If you're willing to put some thought into achieving a happier outlook, you will find plenty to mull over in Happiness Is a Serious Problem.
The book examines the early history of music theatre in Romania in the nineteenth century and how it was instrumentalised as a vehicle for the overall modernization and Europeanization of the country. It deals with the complex interaction between the aristocrats, who imported the opera, the local public, the foreign power holders in the time of the Russian Protectorate and the opera companies and musicians who came to Romania and shaped the musical life of the country.
The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The carefully selected sources range from landmark essays in the history of criticism to journalism and contemporary opinion, and little published documentary material such as letters and diaries. Significant pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation. Each volume contains an introduction to the writer's published works, a selected bibliography, and an index of works, authors and subjects. The Collected Critical Heritage set will be available as a set of 68 volumes and the series will also be available in mini sets selected by period (in slipcase boxes) and as individual volumes.
On the surface, stoicism and emotion seem like contradictory terms. Yet the Stoic philosophers of ancient Greece and Rome were deeply interested in the emotions, which they understood as complex judgments about what we regard as valuable in our surroundings. Stoicism and Emotion shows that they did not simply advocate an across-the-board suppression of feeling, as stoicism implies in today's English, but instead conducted a searching examination of these powerful psychological responses, seeking to understand what attitude toward them expresses the deepest respect for human potential.
Both our view of Seneca’s philosophical thought and our approach to the ancient consolatory genre have radically changed since the latest commentary on the Consolatio ad Marciam was written in 1981. The aim of this work is to offer a new book-length commentary on the earliest of Seneca’s extant writings, along with a revision of the Latin text and a reassessment of Seneca’s intellectual program, strategies, and context. A crucial document to penetrate Seneca’s discourse on the self in its embryonic stages, the Ad Marciam is here taken seriously as an engaging attempt to direct the persuasive power of literary models and rhetorical devices toward the fundamentally moral project of healing Marcia’s grief and correcting her cognitive distortions. Through close reading of the Latin text, this commentary shows that Seneca invariably adapts different traditions and voices – from Greek consolations to Plato’s dialogues, from the Roman discourse of gender and exemplarity to epic poetry – to a Stoic framework, so as to give his reader a lucid understanding of the limits of the self and the ineluctability of natural laws.
From the Author: C. S. Lewis’ Mere Christianity is the obvious inspiration for the title of this book. In that book, Lewis uses the example of a person standing in a hall that is lined on both sides by rooms: Each room represents a different Christian tradition. He wanted to get readers into the hallway and let them choose for themselves whether to enter Christianity by the door of Anglicanism, Catholicism, and so forth. Mere Christianity brilliantly focuses on what essentially all Christians agree upon; namely the Creed, the canon of the New Testament, etc. However, many of the great controversies between Protestants and Catholics are purposely not discussed. There were ecumenical reasons for avoiding topics like papal primacy, purgatory, Marian devotions, and so forth. But, by avoiding these sorts of topics, Mere Christianity can be read as Mere Protestantism. I wrote Mere Catholicism to address some of those missing topics. Even though I am both intellectually and emotionally convinced of the truth of Catholic Christianity, I am indebted to C. S. Lewis (an Anglican) for helping me better understand how Christianity offers the most compelling raison d’être. His work and I hope my own is an exploration of “faith seeking understanding,” to quote St. Anselm of Canterbury. Contents: PrefaceIntroduction: Christianity in the Third Millennium1. Faith and Reason2. Freedom and Responsibility3. Work and Prayer4. Sin and Salvation (Hamartiology and Soteriology)5. Suffering and Love6. God (Theology)7. Jesus (Christology)8. Mary (Mariology)9. Saints and Angels (Hagiology and Angelology)10. The Church (Ecclesiology)11. The Bible (Bibliology)12. Humankind, Creation, and Last Things (Anthropology and Eschatology)NotesAbout the Author
For two centuries, Gesamtkunstwerk—the ideal of the “total work of art”—has exerted a powerful influence over artistic discourse and practice, spurring new forms of collaboration and provoking debates over the political instrumentalization of art. Despite its popular conflation with the work of Richard Wagner, Gesamtkunstwerk’s lineage and legacies extend well beyond German Romanticism, as this wide-ranging collection demonstrates. In eleven compact chapters, scholars from a variety of disciplines trace the idea’s evolution in German-speaking Europe, from its foundations in the early nineteenth century to its manifold articulations and reimaginings in the twentieth century and beyond, providing an uncommonly broad perspective on a distinctly modern cultural form.
This volume offers translations of the twelfth-century Latin vitae of four monks of the Monastery of Savigny: Abbot Vitalis, Abbot Godfrey, Peter of Avranches, and Blessed Hamo. Founded in 1113 by Vitalis of Mortain, an influential hermit-preacher, Savigny expanded to a congregation of thirty monasteries under his successor Godfrey (1122-1138). In 1147, the entire congregation joined the Cistercian Order. Around 1172, two monks of Savigny, Peter of Avranches and Hamo, friends but very different personalities, died. Their stories were told in two further vitae. The vitae of these four men exemplify the variety of people and movements found in the monastic ferment of the twelfth century.