H. Tawney addresses the question of how religion has affected social and economic practices. He tracks the influence of religious thought on capitalist economy and ideology since the Middle Ages, shedding light on the question of why Christianity continues to exert a unique role in the marketplace. In so doing, the book offers an incisive analysis of the morals and mores of contemporary Western culture.Religion and the Rise of Capitalism is more pertinent now than ever, as today the dividing line between the spheres of religion and secular business is shifting, blending ethical considerations with the motivations of the marketplace. By examining the period that saw the transition from medieval to modern theories of social organization, Tawney clarifies the most pressing problems of the end of the century. In tough, muscular, richly varied prose, he tells an absorbing and meaningful story. And in his new introduction, which may well be a classic in its own right, Adam Seligman details Tawney's background and the current status of academic thought on these issues, and he provides a comparative analysis of Tawney with Max Weber that will at once delight and inform readers.

    In this book Evola considers the spiritual aspects of war in different spiritual traditions, including the Vedic, Iranian, Islamic and Catholic. In so doing he concludes that war can, in certain circumstances, have a ‘sacred character’ through which man may achieve self-realisation. In the second edition we have added a large number of new footnotes and a comprehensive index.This collection of essays is about war from a spiritual and heroic perspective. Evola selects specific examples from the Aryan and Islamic traditions to demonstrate how traditionalists can prepare themselves to experience wars in a way that could allow them to transcend the limited possibilities of life in our materialistic age, entering the world of heroism, i.e., achieving a higher state of consciousness, an effective realisation of the meaning of life. His call to action, however, is not that of today’s armies, which ask nothing more of their soldiers than to become mercenaries in the service of a decadent class. Rather, Evola presents the warrior as one who lives a cohesive and integrated way of life – one who adopts a specifically Aryan view of the world, which sees the political aims of a war not as war’s ultimate justification, but as being merely a means through which the warrior realizes his calling to a higher form of existence.

    Using quintessential figures from classical literature--Don Quixote, Hamlet, and Faust--Robert Johnson shows us three clearly defined stages of consciousness development. He demonstrates how the true work of maturity is to grow through these levels to the self-realized state of completion and harmony.In Johnson's view, we all reach the stages depicted by Don Quixote, Hamlet, and Faust at various times of our lives. The three represent levels of consciousness within us, each vying for dominance. Don Quixote portrays the innocent child, while Hamlet stands for our self-conscious need to act and feel in control though we have no real connection to our inner selves. Faust embodies the master of the true self, who has gained awareness by working through the stages.

    In this excellent reprint of a rare volume of essays, he reveals the essence of the Indian experience, rooted in "a constant intuition" of the unity and harmony of all life. Everything has its place, every being its function and all play a part in the divine concert led by Natarājā (Śiva), Lord of Dancers.In a series of 14 stimulating and provocative essays, Coomaraswamy unfolds the vast metaphysic of India: the magnificent revelation of its art; its conception of the universe; social organization; attitudes toward feminism; problems of family; romantic love, and marriage. His sweeping commentary considers the "intellectual fraternity" of mankind; the venerable past as it survives side by side with emerging modern India; and the individual, autonomy, and repudiation of "the will to govern."Enhancing the text are 27 black-and-white photographs — mostly of masterpieces of painting and sculpture from the second century B.C. to the eighteenth century, and including the glorious "Cosmic Dance of Nàtaraja." This handsome volume offers rich insight into the art, philosophy, and culture of a fascinating forty-centuries-old civilization.

    His original and suggestive approach opens new doors in the study of comparative philosophy and mysticism.Izutsu begins with Ibn 'Arabi, analyzing and isolating the major ontological concepts of this most challenging of Islamic thinkers. Then, in the second part of the book, Izutsu turns his attention to an analysis of parallel concepts of two great Taoist thinkers, Lao-tzu and Chuang-tzu. Only after laying bare the fundamental structure of each world view does Izutsu embark, in the final section of the book, upon a comparative analysis. Only thus, he argues, can he be sure to avoid easy and superficial comparisons. Izutsu maintains that both the Sufi and Taoist world views are based on two pivots—the Absolute Man and the Perfect Man—with a whole system of oncological thought being developed between these two pivots. Izutsu discusses similarities in these ontological systems and advances the hypothesis that certain patterns of mystical and metaphysical thought may be shared even by systems with no apparent historical connection. This second edition of Sufism and Taoism is the first published in the United States. The original edition, published in English and in Japan, was prized by the few English-speaking scholars who knew of it as a model in the field of comparative philosophy. Making available in English much new material on both sides of its comparison, Sufism and Taoism richly fulfills Izutsu's motivating desire "to open a new vista in the domain of comparative philosophy."

    

    tr Rosmarie Waldrop, second of 2-vol set

    Bob Smith, founded Alcoholics Anonymous in 1935, his hope was that AA would become a safe haven for those who suffered from this disease. Thirty years after his death, AA continues to help millions of alcoholics recover from what had been commonly regarded as a hopeless addiction. Still, while Wilson was a visionary for millions, he was no saint. After cofounding Alcoholics Anonymous, he stayed sober for over thirty-five years, helping countless thousands rebuild their lives. But at the same time, Wilson suffered form debilitating bouts of clinical depression, was a womanizer, and experimented with LSD.Francis Hartigan, the former secretary and confidant to Wilson's wife, Lois, has exhaustively researched his subject, writing with a complete insider's knowledge. Drawing on extensive interviews with Lois Wilson and scores of early members of AA, he fully explores Wilson's organizational genius, his devotion to the cause, and almost martyr-like selflessness. That Wilson, like all of us, had to struggle with his own personal demons makes this biography all the more moving and inspirational. Hartigan reveals the story of Wilson's life to be as humorous, horrific, and powerful as any of the AA vignettes told daily around the world.

    Half of the readings are written by our own philosophy teachers of the country, and the rest are chosen on the basis of their reliability, essentiality, and depth. Needless to say, this book is the fruit of eighteen years of experience in teaching this course."

    This book contains the first published results of Schwaller's 12 years of research at the temple of Luxor and its implications for interpreting the symbolic and mathematical processes of the Egyptians through their sacred architecture.?

    Introduces some of Saint Germain's key teachings, including the Science of the Spoken Word, the violet flame and the tube of light.

    I n this new book, philosopher Jacob Needleman? whose voice and ideas have done so much to open the West to esoteric and Eastern religious ideas in the twentieth and twenty-first centuries?intimately considers humanity?s most vital question: What is God? Needleman begins by taking us more than a half century into the past, to his own experience as a brilliant, promising, Ivyeducated student of philosophy?atheistic, existential, and unwilling to blindly accept childish religiosity. But an unsettling meeting with the venerated Zen teacher D. T. Suzuki, combined with the sudden need to accept a dreary position teaching the philosophy of religion, forced the young academician to look more closely at the religious ideas he had once thought dead. Within traditional religious texts the scholar discovered a core of esoteric and philosophical ideas, more mature and challenging than anything he had ever associated with Judaism, Christianity, and the religions of the East. At the same time, Needleman came to realize?as he shares with the reader?that ideas and words are not enough. Ideas and words, no matter how profound, cannot prevent hatred, arrogance, and ultimate despair, and cannot prevent our individual lives from descending into violence and illusion. And with this insight, Needleman begins to open the reader to a new kind of understanding: The inner realization that in order to lead the lives we were intended for, the very nature of human experience must change, including the very structure of our perception and indeed the very structure of our minds. In What Is God?, Needleman draws us closer to the meaning and nature of this needed change?and shows how our present confusion about the purpose of religion and the concept of God reflects a widespread psychological starvation for this specific quality of thought and experience. In rich and varied detail, the book describes this inner experience?and how almost all of us, atheists and ?believers? alike, actually have been visited by it, but without understanding what it means and why the intentional cultivation of this quality of experience is necessary for the fullness of our existence.

    In this newest translation of The Art of War readers will benefit from the interpretations from other translators and strategist, as well as the 50 strategic rules, including: -- How to look for strategic turns to meet the competition-- How to attain strategic superiority and crush the competition-- How to plan surprise and stay ahead of the game-- And more timeless wisdom that will allow you to compete and win in the dynamic business environment!Business managers around the world have tapped into this ancient wisdom; it is time to master The Art of War for Manager for the existence and growth of your business!

    The author brings to light recently uncovered evidence about ancient Pythagoreanism and its influence on Plato, and reconstructs thefascinating esoteric transmission of Pythagorean ideas from the Greek West down to the alchemists and magicians of Egypt, and from there into the world of Islam.

    Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery. Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease. I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.