Rudolf Steiner describes how each person's combination of temperaments is shaped out of a particular kind of union between hereditary factors and the inner spiritual nature. Telling descriptions are provided for the inwardly comfortable phlegmatic, the fickle interest of the sanguine, the pained and gloomy melancholic, and the fiery, assertive choleric. Steiner also offers practical suggestions for guiding the temperaments educationally in childhood and for adult self-improvement.

    Paul. Now, in Once There Were Castles, he offers a richly illustrated look at another world of ghosts in our midst: the lost mansions and estates of the Twin Cities.Nobody can say for sure how many lost mansions haunt the Twin Cities, but at least five hundred can be accounted for in public records and archives. In Minneapolis and St. Paul, entire neighborhoods of luxurious homes have disappeared, virtually without a trace. Many grand estates that once spread out over hundreds of acres along the shores of Lake Minnetonka are also gone. The greatest of these lost houses often had astonishingly short lives: the lavish Charles Gates mansion in Minneapolis survived only nineteen years, and Norman Kittson’s sprawling castle on the site of the St. Paul Cathedral stood for barely more than two decades. Railroad and freeway building, commercial and institutional expansion, fires, and financial disasters all claimed their share of mansions; others succumbed to their own extravagance, becoming too costly to maintain once their original owners died.The stories of these grand houses are, above all else, the stories of those who built and lived in them—from the fantastic saga of Marion Savage to the continent-spanning conquests of James J. Hill, to the all-but-forgotten tragedy of Olaf Searle, a poor immigrant turned millionaire who found and lost a dream in the middle of Lake Minnetonka. These and many other mansion builders poured all their dreams, desires, and obsessions into extravagant homes designed to display wealth and solidify social status in a culture of ever-fluctuating class distinctions.The first book to take an in-depth look at the history of the Twin Cities’ mansions, Once There Were Castles presents ninety lost mansions and estates, organized by neighborhood and illustrated with photographs and drawings. An absorbing read for Twin Cities residents and a crucial addition to the body of work on the region’s history, Once There Were Castles brings these “ghost mansions” back to life.

    Wally Johnson spent half a century in Mozambique hunting white gold--ivory. Most men died at this hazardous trade. He's the last one able to tell his story.In hours of conversations by mopane fired in the African bush, Wally described his career--how he survived the massive bite of a Gaboon viper, buffalo gorings, floods, disease, and most dangerous of all, gold fever. He bluffed down 200 armed poachers almost single-handedly, and survived rocket attacks from communist revolutionaries during Mozambique's plunge into chaos in 1975. In Botswana, at age 63, Wally continued his career. Though the great tuskers have largely gone and most of Wally's colleagues are dead, Wally has survived. His words are rugged testimony to an Africa that is now a distant dream.

    She chronicles the deaths of both her fathers, and the survival of P-22, a mountain lion in Griffith Park, Los Angeles; contemplates the loneliness of Ranee, the first elephant in Australia; celebrates the iconic eucalyptus and explores its international status as an invasive species. City of Trees is a powerful collection of nature, travel and memoir writing set in the context of global climate change. It meanders through, circles around and sometimes faces head on the most pressing issues of the day. It never loses sight of the trees.

    Have you ever lit a Marlboro from the ignited gas of a bloated dead man's belly? Joseph Scott Morgan has. Have you ever wept over a dead dog while not giving a shit about the dead owner laying next him? Morgan did. Were you named after a murder victim? Joseph Scott Morgan was.This isn't Hollywood fantasy—it's the true story of a boy born into the deprivations of a white trash trailer park who as an adult gets further involved in the desperate backdoor sagas of the "new South." No hot blondes here, just maggots, grief, and the truth about forensics and death investigation.Joseph Scott Morgan became a death investigator with the Jefferson Parish Coroner's Office in suburban New Orleans in 1987, the youngest medicolegal death investigator in the country. During the day, Morgan worked in the morgue, and at night investigated for the coroner. In 1992 Morgan became senior investigator with the Fulton County Medical Examiner's Office in Atlanta. Morgan is now a college professor at North Georgia College and State University, where he teaches a death investigation course based on the national standards which he helped develop. He and his family reside in the Blue Ridge Mountains of north Georgia.

    Previously, writing had operated by way of symbolic mediation—all data had to pass through the needle's eye of the written signifier—but phonography, photography, and cinematography stored physical effects of the real in the shape of sound waves and light. The entire question of referentiality had to be recast in light of these new media technologies; in addition, the use of the typewriter changed the perception of writing from that of a unique expression of a literate individual to that of a sequence of naked material signifiers.Part technological history of the emergent new media in the late nineteenth century, part theoretical discussion of the responses to these media—including texts by Rilke, Kafka, and Heidegger, as well as elaborations by Edison, Bell, Turing, and other innovators—Gramophone, Film, Typewriter analyzes this momentous shift using insights from the work of Foucault, Lacan, and McLuhan. Fusing discourse analysis, structuralist psychoanalysis, and media theory, the author adds a vital historical dimension to the current debates over the relationship between electronic literacy and poststructuralism, and the extent to which we are constituted by our technologies. The book ties the establishment of new discursive practices to the introduction of new media technologies, and it shows how both determine the ways in which psychoanalysis conceives of the psychic apparatus in terms of information machines.Gramophone, Film, Typewriter is, among other things, a continuation as well as a detailed elaboration of the second part of the author's Discourse Networks, 1800/1900 (Stanford, 1990). As such, it bridges the gap between Kittler's discourse analysis of the 1980's and his increasingly computer-oriented work of the 1990's.

    The note, found at the domain http://www.suicidenote.info/ , is over 1,905 pages long, and divided into complicated subsections. In its totality, the document sketches Heisman’s dense, heavily-cited social, political, and ethical philosophy, and promotes his book, heretofore unpublished. Heisman worked in several bookstores throughout the area, and consulted with Harvard professors in the process of writing the document.Most arresting of all: the note — tome, really — is probing, deeply researched, and often humorous. Heisman personality and erudition shine through every page, as he traces the philosophical steps that have led him to suicide: not really desperation or depression, but rather, intellectual curiosity, and a desire to test the limits of the unknown. After a quick read, comparisons to Albert Camus’ “The Myth of Sisyphus” abound. All the more sad that such a deeply intelligent young man would choose to cut his scholarly output off at one, interesting book.

    In The Dialectics of Seeing, Susan Buck-Morss offers an inventive reconstruction of the Passagen Werk, or Arcades Project, as it might have taken form. Working with Benjamin's vast files of citations and commentary which contain a myriad of historical details from the dawn of consumer culture, Buck-Morss makes visible the conceptual structure that gives these fragments philosophical coherence. She uses images throughout the book to demonstrate that Benjamin took the debris of mass culture seriously as the source of philosophical truth. The Paris Arcades that so fascinated Benjamin (as they did the Surrealists whose materialist metaphysics he admired) were the prototype, the 19th century ur-form of the modern shopping mall. Benjamin's dialectics of seeing demonstrate how to read these consumer dream houses and so many other material objects of the time--from air balloons to women's fashions, from Baudelaire's poetry to Grandville's cartoons--as anticipations of social utopia and, simultaneously, as clues for a radical political critique. Buck-Morss plots Benjamin's intellectual orientation on axes running east and west, north and south--Moscow Paris, Berlin-Naples--and shows how such thinking in coordinates can explain his understanding of dialectics at a standstill. She argues for the continuing relevance of Benjamin's insights but then allows a set of afterimages to have the last word.

    So-called illiberal democracy and authoritarian populism are in the political ascendant; the shelves of our bookshops groan with the work of attention-grabbing thinkers insisting that permissiveness, multiculturalism and 'identity politics' have failed us and that we must now fall back on some notion of tradition. We have had our fun, and now it's time to get serious, to shore our fragments against the ruin of postmodernist meaninglessness. It's not only the usual, conservative suspects who have got on board with this argument. Authentocrats critiques the manner in which post-liberal ideas have been mobilised underhandedly by centrist politicians who, at least notionally, are hostile to the likes of Donald Trump and UKIP. It examines the forms this populism of the centre has taken in the United Kingdom and situates the moderate withdrawal from liberalism within a story which begins in the early 1990s. Blairism promised socially liberal politics as the pay-off for relinquishing commitments to public ownership and redistributive policies: many current centrists insist New Labour's error was not its capitulation to the market, but its unwillingness to heed the allegedly natural conservatism of England's provincial working classes. In this book, we see how this spurious concern for 'real people' is part of a broader turn within British culture by which the mainstream withdraws from the openness of the Nineties under the bad-faith supposition that there's nowhere to go but backwards. The self-anointing political realism which declares that the left can save itself only by becoming less liberal is matched culturally by an interest in time-worn traditional identities: the brute masculinity of Daniel Craig's James Bond, the allegedly 'progressive' patriotism of nature writing, a televisual obsession with the World Wars. Authentocrats charges liberals themselves with fuelling the post-liberal turn, and asks where the space might be found for an alternative.

    Wise, rhapsodic, exalted – Island Home is not just a brilliant, moving insight into the life and art of one of our finest writers, but a compelling investigation into the way our country shapes us.

    The work of Yagyῡ Munenori from 1632 concerns martial arts and military science. It is translated by Thomas Cleary and can be found tucked behind Miyamoto Musashi‘s “the Book of five rings” from 1643. Both these texts analyse conflict between two men armed with swords and scale this up bigger battles. These important treaties on swordsmanship, and have been taken as giving lessons on life in general.

    In the tradition of unsolved historical mysteries like David Grann's Killers of the Flower Moon and Douglas Preston's The Lost City of the Monkey God, Brian Muraresku’s 10-year investigation takes the reader through Greece, Germany, Spain, France and Italy, offering unprecedented access to the hidden archives of the Louvre and the Vatican along the way.In The Immortality Key, Muraresku explores a little-known connection between the best-kept secret in Ancient Greece and Christianity. This is the real story of the most famous human being who ever lived (Jesus) and the biggest religion the world has ever known. Today, 2.4 billion people are Christian. That's one third of the planet. But do any of them really know how it all started?Before Jerusalem, before Rome, before Mecca—there was Eleusis: the spiritual capital of the ancient world. It promised immortality to Plato and the rest of Athens's greatest minds with a very simple formula: drink this potion, see God. Shrouded in secrecy for millennia, the Ancient Greek sacrament was buried when the newly Christianized Roman Empire obliterated Eleusis in the fourth century AD.Renegade scholars in the 1970s claimed the Greek potion was psychedelic, just like the original Christian Eucharist that replaced it. In recent years, vindication for the disgraced theory has been quietly mounting in the laboratory. The rapidly growing field of archaeological chemistry has proven the ancient use of visionary drugs. And with a single dose of psilocybin, the psycho-pharmacologists at Johns Hopkins and NYU are now turning self-proclaimed atheists into instant believers. No one has ever found hard, scientific evidence of drugs connected to Eleusis, let alone early Christianity. Until now.Armed with key documents never before translated into English, convincing analysis, and a captivating spirit of quest, Muraresku mines science, classical literature, biblical scholarship and art to deliver the hidden key to eternal life, bringing us to what clinical psychologist William Richards calls "the edge of an awesomely vast frontier."Featuring a Foreword by Graham Hancock, the New York Times bestselling author of America Before: The Key to Earth's Lost Civilization.

    HEY, NIETZSCHE! is the first book to uncover the hidden roots of rock and roll in the romantic movement. Schuftan picks up a clue in My Chemical Romance's 'Welcome the Black Parade', and follows it into a world where Keats meets the Cure, Wordsworth hangs with Weezer, and Byron exchanges haughty glances with Bowie. From Schopenhauer's darkest days to Queen's greatest hits, HEY, NIEtZSCHE! is a wild ride through the nineteenth century with the best mix-tape in the world on the car stereo.

    From patents that should still be pending to hairdos that attract vermin, these horrors will leave you thankful you didn't have to struggle to live through them. Brace yourself as the truth hits you like an ice-cold Victorian-era shower with enough pressure to knock you unconscious. Get ready to shudder with laughter (or horror) at these funny moments in history that are not to be forgotten.

    Dense urban living has been prescribed as a panacea for the environmental and resource crises of our time. But is it better or worse for our happiness? Are subways, sidewalks and condo towers an improvement on the car-dependence of sprawl?The award-winning journalist Charles Montgomery finds answers to such questions at the intersection between urban design and the emerging science of happiness, during an exhilarating journey through some of the world’s most dynamic cities. He meets the visionary mayor who introduced a “sexy” bus to ease status anxiety in Bogotá; the architect who brought the lessons of medieval Tuscan hill towns to modern-day New York City; the activist who turned Paris’s urban freeways into beaches; and an army of American suburbanites who have hacked the design of their own streets and neighborhoods.Rich with new insights from psychology, neuroscience and Montgomery’s own urban experiments, Happy City reveals how our cities can shape our thoughts as well as our behavior. The message is as surprising as it is hopeful: by retrofitting cities and our own lives for happiness, we can tackle the urgent challenges of our age. The happy city can save the world--and all of us can help build it.