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A Autora espiritual faz uma profunda análise psicológica dos aspectos do sofrimento, propondo a solução espírita, convidativa ao autodescobrimento, à vivência evangélica e ao comportamento lúcido, requisitos essenciais para a conquista da plenitude. Os vários tipos de sofrimentos, físicos e morais, empurram multidões para os vícios, as fugas e o desespero. Considerando a problemática humana, existente no próprio indivíduo – o desconhecimento de si mesmo – e tendo em vista os urgentes fatores que desencadeiam o sofrimento, a Autora espiritual resolveu aprofundar estudos em torno dele, ora reunidos no presente livro, que traz ao conhecimento do prezado leitor.

It's the holiday season year round with the Jolly Plenitude 7.5 in. Snowman Cookie Jar by Gibson Home. This cute and bubbly hand painted cookie jar could not have named better. It's bright colors and friendly face will bring you Christmas joy no matter the season. A stoneware staple with a tight lid for fresh cookies at all times. Color: White. Material: Earthenware.

Plenitude Oneirogen - LP 4024572859510

Lessons from and for the creative professions of art, science, design, and engineering: how to live in and with the Plenitude, that dense, knotted ecology of human-made stuff that creates the need for more of itself.We live with a lot of stuff. The average kitchen, for example, is home to stuff galore, and every appliance, every utensil, every thing, is compound―composed of tens, hundreds, even thousands of other things. Although each piece of stuff satisfies some desire, it also creates the need for even more stuff: cereal demands a spoon; a television demands a remote. Rich Gold calls this dense, knotted ecology of human-made stuff the "Plenitude." And in this book―at once cartoon treatise, autobiographical reflection, and practical essay in moral philosophy―he tells us how to understand and live with it.Gold writes about the Plenitude from the seemingly contradictory (but in his view, complementary) perspectives of artist, scientist, designer, and engineer―all professions pursued by him, sometimes simultaneously, in the course of his career. "I have spent my life making more stuff for the Plenitude," he writes, acknowledging that the Plenitude grows not only because it creates a desire for more of itself but also because it is extraordinary and pleasurable to create.Gold illustrates these creative expressions with witty cartoons. He describes "seven patterns of innovation"―including "The Big Kahuna," "Colonization" (which is illustrated by a drawing of "The real history of baseball," beginning with "Play for free in the backyard" and ending with "Pay to play interactive baseball at home"), and "Stuff Desires to Be Better Stuff" (and its corollary, "Technology Desires to Be Product"). Finally, he meditates on the Plenitude itself and its moral contradictions. How can we in good conscience accept the pleasures of creating stuff that only creates the need for more stuff? He quotes a friend: "We should be careful to make the world we actually want to live in."

How the creative abundance of today's media culture was made possible by the decline of elitism in the arts and the rise of digital media.Media culture today encompasses a universe of forms―websites, video games, blogs, books, films, television and radio programs, magazines, and more―and a multitude of practices that include making, remixing, sharing, and critiquing. This multiplicity is so vast that it cannot be comprehended as a whole. In this book, Jay David Bolter traces the roots of our media multiverse to two developments in the second half of the twentieth century: the decline of elite art and the rise of digital media. Bolter explains that we no longer have a collective belief in “Culture with a capital C.” The hierarchies that ranked, for example, classical music as more important than pop, literary novels as more worthy than comic books, and television and movies as unserious have broken down. The art formerly known as high takes its place in the media plenitude. The elite culture of the twentieth century has left its mark on our current media landscape in the form of what Bolter calls “popular modernism.” Meanwhile, new forms of digital media have emerged and magnified these changes, offering new platforms for communication and expression.Bolter outlines a series of dichotomies that characterize our current media culture: catharsis and flow, the continuous rhythm of digital experience; remix (fueled by the internet's vast resources for sampling and mixing) and originality; history (not replayable) and simulation (endlessly replayable); and social media and coherent politics.

This book is in good condition. The cover has minor creases or bends. The binding is tight and pages are intact. Some pages may have writing or highlighting.

Book is in NEW condition. 1.06

Absolutism in Renaissance Milan shows how authority above the law, once the preserve of pope and emperor, was claimed by the ruling Milanese dynasties, the Visconti and the Sforza, and why this privilege was finally abandoned by Francesco II Sforza (d. 1535), the last duke. As new rulers, the Visconti and the Sforza had had to impose their regime by rewarding supporters at the expense of opponents. That process required absolute power, also known as "plenitude of power," meaning the capacity to overrule even fundamental laws and rights, including titles to property. The basis for such power reflected the changing status of Milanese rulers, first as signori and then as dukes. Contemporary lawyers, schooled in the sanctity of fundamental laws, were at first prepared to overturn established doctrines in support of the free use of absolute power: even the leading jurist of the day, Baldo degli Ubaldi (d. 1400), accepted the new teaching. However, lawyers came eventually to regret the new approach and to reassert the principle that laws could not be set aside without compelling justification. The Visconti and the Sforza too saw the dangers of absolute power: as legitimate princes they were meant to champion law and justice, not condone arbitrary acts that disregarded basic rights. Jane Black traces these developments in Milan over the course of two centuries, showing how the Visconti and Sforza regimes seized, exploited and finally relinquished absolute power.

Absolutism in Renaissance Milan shows how authority above the law, once the preserve of pope and emperor, was claimed by the ruling Milanese dynasties, the Visconti and the Sforza, and why this privilege was finally abandoned by Francesco II Sforza (d. 1535), the last duke. As new rulers, the Visconti and the Sforza had had to impose their regime by rewarding supporters at the expense of opponents. That process required absolute power, also known as "plenitude of power," meaning the capacity to overrule even fundamental laws and rights, including titles to property. The basis for such power reflected the changing status of Milanese rulers, first as signori and then as dukes. Contemporary lawyers, schooled in the sanctity of fundamental laws, were at first prepared to overturn established doctrines in support of the free use of absolute power: even the leading jurist of the day, Baldo degli Ubaldi (d. 1400), accepted the new teaching. However, lawyers came eventually to regret the new approach and to reassert the principle that laws could not be set aside without compelling justification. The Visconti and the Sforza too saw the dangers of absolute power: as legitimate princes they were meant to champion law and justice, not condone arbitrary acts that disregarded basic rights. Jane Black traces these developments in Milan over the course of two centuries, showing how the Visconti and Sforza regimes seized, exploited and finally relinquished absolute power.

Neuware - Neste livro você encontra reflexões sobre valores essenciais da alma, onde a comunicação se mostra como reflexo das nossas atitudes, pensamentos e sentimentos, sendo um elo poderoso para trazer a consciência para a superfície.

Vinyl LP pressing. Inside In/Inside Out is the debut album from young Brighton four piece The Kooks, produced by Tony Hoffer (Beck, Air, Supergrass) and recorded at Ray Davies' Konk Studios in North London. The Kooks fully demonstrate their plenitude of clever guitar hooks and jerk-pop antics, with fourteen quirky and energetic tunes including 'Nave,' 'Seaside' and 'She Moves In Her Own Way.' After they had signed to Virgin Records, The Kooks were reluctant to record an album straight away, sta

Drawing on the work of Georg Misch, this work seeks to give back to the Word its original fullness of meaning. Misch’s notion of a logic of life considers the Word in the plenitude of its great powers. The question of life leads the inquiries undertaken in this study via Misch’s anthropological conception on to the phenomenological ontology of Martin Heidegger and Josef Koenig’s investigation of ‘Being and Thought’. Heidegger’s quest for the meaning of Being calls for a close inspection of its linguistic foundation. ‘Being’ reveals itself as the original truth. It is the verbum demonstrativum in its verbal form. Solely to Indo-European languages is this form immanent. Thus, the established basis may be the starting point from which to reconsider the question of tradition as well as constructs of higher levels.

Saint Bonaventure's great Marian work. The saint expounds the Hail Mary, Mary's holy name, the graces of Mary, her nine plenitudes, the gifts she shares with Our Lord and much more. This book also contains Bonaventure's "Psalter of Our Lady" in which the saint reworks the 150 psalms in praise of Mary.

Science fiction imagines a universe teeming with life and thrilling possibility, but also hidden and hideous dangers. Christian theology, often a polemical target for science fiction, reflects on the plenitude out of which and for which the universe exists. In Science Fiction Theology, Alan Gregory investigates the troubled relationship between science fiction and Christianity and, in particular, how both have laid claim to the modern idea of sublimity.To the extent that science fiction has appropriated―and reveled―in the sublime, it has persisted in a sometimes explicit, sometimes subterranean, relationship with Christian theology. From its seventeenth-century beginnings, the sublime, with its representations of immensity, has informed the imagining of God. When science fiction critiques or reinvents religion, its writers have engaged in a literary guerrilla war with Christianity over what is truly sublime and divine.Gregory examines the sublime and its implicit theologies as they appear in early American pulp science fiction, the horror writing of H. P. Lovecraft, science fiction narratives of evolution and apocalypse, and the work of Philip K. Dick. Ironically, science fiction’s tussle with Christianity hides the extent to which the sublime, especially in popular culture, serves to distort the classical Christian understanding of God, secularizing that God and rendering God’s transcendence finite. But by turning from the sublime to a consideration of the beautiful, Gregory shows that both Christian and science-fictional imaginations may discover a new and surprising conversation.

We are only beginning to appreciate the true dimensions of Odilon Redon. Misunderstood in his time, he strove with his intuition to see art regain some sort of plenitude. Historically, he belongs to the Impressionist generation, born in 1840, the same year as Monet and a year earlier than Renoir. And yet, he reaches far beyond. He has been linked to Symbolism, in the wake of Gustave Moreau.

Hardcover. The ten essays in Literature and the Arts explore the intermedial plenitude of eighteenth-century English culture, honoring the memory of James Anderson Winn, whose work demonstrated how seeing that interplay of the arts and literature was essential to a full understanding of Restoration and eighteenth-century English culture. Scenery, machinery, music, dance, and texts transformed one another, both enriching and complicating generic distinctions. Artists were alive to the power of the arts to reflect and shape reality, and their audience was quick to turn to the arts as performative pleasures and critical lenses through which to understand a changing world. This collection's eminent authors discuss estate design, musicalized theater, the visual spectacle of musical performance, stage machinery and set designs, the social uses of painting and singing, drama's reflection of a transformed military infrastructure, and the arts of memory and of laughter. The ten essays in Literature and the Arts explore the intermedial plenitude of eighteenth-century English culture, honoring the memory of James Anderson Winn, whose work demonstrated how seeing that interplay of the arts and literature was essential to a full understanding of Restoration and eighteenth-century English culture. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

"Life has to have the plenitude of art," Edward Hirsch affirms in his fifth volume of poems, On Love, which further establishes him as a major artist. From its opening epigraph by Thomas Hardy and an initiating prayer for transformation, On Love takes up the subjects of separateness and fusion, autonomy and blur. The initial progression of fifteen shapely and passionate lyrics (including a sonnet about the poet at seven, a villanelle about the loneliness of a pioneer woman on the prairie, and an elegy for Amy Clampitt) opens out into a sequence of meditations about love. These arresting love poems are spoken by a gallery of historical figures from Denis Diderot, Heinrich Heine, Charles Baudelaire, and Ralph Waldo Emerson to Gertrude Stein, Federico Garcia Lorca, Zora Neale Hurston, and Colette. Each anatomizes a different aspect of eros in poems uttered by a chorus of historical authorities that is also a lone lover's yearning voice. Personal, literary, On Love offers the most formally adept and moving poetry by the author Harold Bloom hails as utterly fresh, canonical, and necessary.

Guidés par la huppe de Salomon, les oiseaux, métaphore de l'âme, partent en quête de l'Etre suprême, Sîmorgh, oiseau mythique, manifestation visible du Divin. Par-delà sept vallées, du Désir, de l'Amour, de la Connaissance, de la Plénitude, de l'Unicité, de la Perplexité, du Dénuement et de l'Anéantissement, seuls trente oiseaux parviennent au bout du chemin. Ils ne trouvent en Sîmorgh que le reflet d'eux-mêmes (sî morgh signifie " trente oiseaux " en persan), car la divinité, en réalité invisible, se manifeste dans le coeur, miroir de l'âme. Les âmes oiseaux comprennent alors qu'il faut s'anéantir soi-même, mourir pour renaître, devenir rien pour devenir Tout.

The spiritual laws of the universe are waiting to work for you-once you know how to apply them. With Life Visioning, Michael Bernard Beckwith offers a complete kit to help you consciously manifest your soul's highest potential, and unfold a life of plenitude, purpose, creativity, and lasting fulfillment. Life Visioning includes:- Two CDs with guided practices for expressing and receiving infinite love, wisdom, and beauty through the Life Visioning Process- A 56-page workbook covering the four stages of spiritual growth; seven Life Structures and how to balance them; and how to use the spiritual technologies of meditation, affirmative prayer, and visualization- 30 cards grouped in two sets: one to guide your evolutionary journey, and one to inspire you on-the-spot with Michael's profound teachings. "What the Divine wants from you is unprecedented," teaches Michael Bernard Beckwith, "and literally beyond your imagination." With Life Visioning, he offers you an immediate way to align your life with the ultimate source of creation.

Balanço da Bossa e Outras Bossas é um livro pioneiro. Porém mais do que um debate, de um discurso e de uma avaliação, que chegariam a sua plenitude somente no curso de seu desenvolvimento, estão aqui reunidos, nos textos de Augusto de Campos, mas também nos de Brasil Rocha Brito, Júlio Medaglia e Gilberto Mendes, uma pauta cuja instigante abordagem retém o vigor de sua atualidade. A moderna música popular brasileira se faz ler aqui na reflexão a seu respeito e, não menos, nos depoimentos de algumas de suas vozes mais expressivas, como as de Caetano Veloso e Gilberto Gil. E este percurso, que é uma antevisão de uma realidade hoje plenamente visível, completa-se com alguns destaques pontuais, mas significativos, das ressonâncias da música contemporânea de vanguarda na arte da MPB. Misturando Charles Ives e Lupicínio Rodrigues, Anton Webern e João Gilberto, Augusto de Campos avança, com a audácia e a profundidade que lhe são características, a tese, então polêmica e hoje amplamente acolhida, sobre a interação entre a música popular e a música erudita, antes e depois da queda das barreiras de formalismos cultuados até recentemente. J.G.