Paramahansa Yogananda presents an illuminating explanation of Lord Krishna's sublime Yoga message that he preached to the world - the way of right activity and meditation for divine communion.

    Opening with an introductory chapter on how to read philosophy, the book then moves into the basics of writing summaries and analyzing arguments. It provides step-by-step instructions for each phase of the writing process, from formulating a thesis, to creating an outline, to writing a final draft, supplementing this tutorial approach with model essays, outlines, introductions, and conclusions. Skills essential to evaluating arguments, citing sources, avoiding plagiarism, detecting fallacies, and formatting final drafts are dealt with in detail. The final two chapters serve as a reference guide to common mistakes and basic skills in sentence construction, writing style, and word choice. Employing a rulebook format similar to that of the classic Elements of Style (by Strunk, White, and Angell), Lewis Vaughn distills helpful writing advice into simple rules that students can easily remember and apply--and that instructors can refer to when reviewing student papers. These rules cover essay organization, sentence structure, documentation styles, plagiarism, grammar, usage, and more. Written in a clear and engaging style and incorporating samples of student writing, Writing Philosophy is an indispensable resource for virtually any philosophy course.

    It puts forward the view that our future depends on design. In a series of insightful essays on such ordinary "things" as wheels, carpets, pots, umbrellas and tents, Flusser emphasizes the interrelationships between art and science, theology and technology, and archaeology and architecture. Just as formal creativity has produced both weapons of destruction and great works of art, Flusser believed that the shape of things (and the designs behind them) represents both a threat and an opportunity for designers of the future.

    Why does everyone look like they’re smashing motherhood when she’s barely made it out of the house? She’s usually covered in sick, eating yet another beige freezer dinner, and relying on wet wipes to clean the baby, herself and the house. And coffee. All the coffee. Surely she can’t be the only new mum totally winging it?Emily’s about to discover that when you’re starting a family, what you really need are your friends...

    A vivid narration of events in the making of a Prophet and a World Teacher.

    Developing at the dawn of contemporary neoliberal consensus, the uneasy status of this impulse, between subversion and acquiescence, between theoretical purchase and aesthetic enjoyment, constitutes the core problematic of accelerationism.Since the 2013 publication of Williams's and Srnicek's #Accelerate: Manifesto for an Accelerationist Politics, the term has been adopted to name a set of new theoretical enterprises that aim to conceptualise non-capitalist futures outside of traditional marxist critiques and regressive, decelerative or restorative solutions. #ACCELERATE presents a genealogy of accelerationism, tracking the impulse through 90s UK darkside cyberculture and the theory-fictions of Nick Land, Sadie Plant, Iain Grant, and anonymous units like CCRU and SWITCH, across the cultural underground of the 80s (rave, acid house, Terminator and Bladerunner) and back to its sources in delirious post-68 ferment, in texts whose searing nihilistic jouissance would later be disavowed by their authors and the marxist and academic establishment alike.On either side of this largely unexplored central sequence, the book includes texts by Marx that call attention to his own 'Prometheanism' and key works from recent years document the recent extraordinary emergence of new accelerationisms steeled against the onslaughts of neoliberal capitalist realism, and retooled for the twenty-first century.At the forefront of the energetic contemporary debate around this disputed, problematic term, #ACCELERATE activates a historical conversation about futurality, technology, politics, enjoyment and Kapital. This is a legacy shot through with contradictions, yet urgently galvanized today by the poverty of 'reasonable' contemporary political alternatives.

    Through the notion of trauma, she contends, we come to a new understanding that permits history to arise where immediate understanding is impossible. In her wide-ranging discussion, Caruth engages Freud's theory of trauma as outlined in Moses and Monotheism and Beyond the Pleasure Principle; the notion of reference and the figure of the falling body in de Man, Kleist, and Kant; the narratives of personal catastrophe in Hiroshima mon amour; and the traumatic address in Lecompte's reinterpretation of Freud's narrative of the dream of the burning child.

    The Idea of Latin America is a geo-political manifesto which insists on the need to leave behind an idea which belonged to the nation-building mentality of nineteenth-century Europe.Charts the history of the concept of Latin America from its emergence in Europe in the second half of the nineteenth century through various permutations to the present day.Asks what is at stake in the survival of an idea which subdivides the Americas.Reinstates the indigenous peoples and migrations excluded by the image of a homogenous Latin America with defined borders.Insists on the pressing need to leave behind an idea which belonged to the nation-building mentality of nineteenth-century Europe.

    A book which should appeal to both literary theorists and to readers of the novel, this study invites the reader to consider how the plot reflects the patterns of human destiny and seeks to impose a new meaning on life.

    A family of five held hostage in their home. A frantic police manhunt across the snowbound Derbyshire moors. Just one survivor. The definitive account of the terrifying 1977 Pottery Cottage murders that shocked Britain. For three days, escaped prisoner Billy Hughes played macabre psychological games with Gill Moran and her family, keeping them in separate rooms of their home while secretly murdering them one by one. On several occasions Hughes ordered Gill and her husband, Richard, to leave the house for provisions, confident that they would return without betraying him in order to protect their loved ones. Blizzards hampered the desperate police search, but they learned where the dangerous convict was hiding and closed in on the cottage. A high-speed car chase on icy roads ended with a crash and the killer being shot as he swung a newly sharpened axe at his final victim. This was Britain's first instance of police officers committing 'justifiable homicide' against an escapee. The story of these terrible events is told here by Carol Ann Lee and Peter Howse, the former Chief Inspector who saved Gill Moran's life more than 40 years ago. Peter's professional role has permitted access to witness statements, crime-scene photographs and police reports. Peter Howse and Carol Ann Lee have made use of these, along with fresh interviews with many of those directly involved, to tell a fast-paced and truly shocking story with great insight and empathy.

    In a world that is overflowing with man's traditions, that often put a dark cloud over God's truth, you will be astonished by the answers that now await you concerning the mysteries of death.

    Extensively revised and updated, this sixth edition highlights both classic texts and cutting edge essays from more than a century of thought and writing about the movies. Editors Leo Braudy and Marshall Cohen have reformulated the book's sections and their introductions in order to lead students into a rich understanding of what the movies have accomplished, both as individual works and as contributions to what has been called "the art form of the twentieth [and now twenty-first] century." Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. The sixth edition features several new essays that discuss the impact of digital technology on the traditional conceptions of what films do and how they manage to do it. Additional selections from the important works of Gilles Deleuze round out sections dealing with the theories of such writers as Sergei Eisenstein, Andre Bazin, and Christian Metz, among others. New essays also strengthen sections dealing with the idea of "excess" in film, film spectatorship, the horror genre, and feminist criticism. Film Theory and Criticism, 6/e, is ideal for undergraduate and graduate courses in film theory and criticism."

    It tells the basic beliefs, short history, important aspects, and it identifies the religions in pop culture-all in a teen-magazine style of writing. The goal of this book is to educate teens to be able to identify the religions they come in contact with daily. All content has been reviewed by experts in Christian theology.

    Liberty is to deploy a space defense system satellite created with the latest American technology. The shuttle crash-lands in the uncharted, mountainous frontier between North Korea and China. As the ranking able-bodied officer, Kate takes charge, evacuating the crew from the crash site. A mountain warlord captures the Liberty’s crew, intending to sell the shuttle and its cargo to the highest bidder. On the world stage, this crisis rapidly escalates. The North Koreans forbid an American search and rescue operation, sending their own troops into the region instead. The technology on board Liberty is invaluable to both the North Koreans and the Chinese. The U.S. President orders American armed forces to full alert, preparing for a military incursion to locate the shuttle. This could be the flashpoint for the long-feared nuclear showdown between North Korea and the U.S. Monitoring these spiraling events with a personal interest is Major Trev Galt, Kate Daniels’ estranged husband. Since his breakup with Kate, Galt has become romantically involved with Meiko Kurita, White House correspondent for a Japanese news agency. Galt had thought he was over his wife, but Kate and the shuttle disappearing without a trace re-ignites his unresolved feelings for her. While Kate and her crew struggle to survive, Galt and Meiko risk their lives to untangle the Korean Intercept; a race against time that pitches them into a labyrinth of treachery reaching from the corridors of Japanese corporate power to the blood-splattered back alleys of Tokyo, from the White House to the barren, hostile mountains of North Korea.

    Byrne wanted the book to be the size and shape of a portable Bible, and thus The New Sins resembles the sort of book a strange person in a robe would try to give you in an airport. Bizarre and profound, the book includes 80 color photographs taken by the author.