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Flatland is a satirical novella by the English schoolmaster Edwin Abbott Abbott. Written pseudonymously by "A Square", the book used the fictional two-dimensional world of Flatland to comment on the hierarchy of Victorian culture, but the novella's more enduring contribution is its examination of dimensions. Several films have been made from the story, including the feature film Flatland (2007). Other efforts have been short or experimental films, including one narrated by Dudley Moore and the short films Flatland: The Movie (2007) and Flatland 2: Sphereland (2012). The story describes a two-dimensional world occupied by geometric figures, whereof women are simple line-segments, while men are polygons with various numbers of sides. The narrator is a square named A Square, a member of the caste of gentlemen and professionals, who guides the readers through some of the implications of life in two dimensions. The first half of the story goes through the practicalities of existing in a two-dimensional universe as well as a history leading up to the year 1999 on the eve of the 3rd Millennium.
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Self Discovery is a translation into English of the first part of Svatmanirupanam, a work attributed tb the great spiritual teacher Sankara. The text teaches how veils may be removed to discover one’s own true Self as unlimited bliss.
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Aesop's Fables is a collection of fables credited to Aesop, a slave and storyteller believed to have lived in ancient Greece between 620 and 564 BCE. The fables originally belonged to the oral tradition and were not collected for some three centuries after Aesop's death. By that time a variety of other stories, jokes and proverbs were being ascribed to him, although some of that material was from sources earlier than him or came from beyond the Greek cultural sphere. The process of inclusion has continued until the present, with some of the fables unrecorded before the later Middle Ages and others arriving from outside Europe. The process is continuous and new stories are still being added to the Aesop corpus, even when they are demonstrably more recent work and sometimes from known authors.
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Dieses Buch soll als Arbeitsbuch dienen - es sieht sich als einführender und einfacher Beitrag zum Verständnis der 99 Göttlichen Namen des Sufismus. Es möchte dazu beitragen, einen Raum in den Herzen der Menschen zu öffnen und darin die Samen der Sehnsucht und Liebe für die Schönheit und Majestät dieser Namen zu pflanzen, um so letztendlich die Schönheit und Würde dieser Welt zu kosten, die majestätische Schönheit des Schöpfers zu sehen und den Mitmenschen nahezubringen. Durch die Verwendung der Göttlichen Namen wird der Spiegel des Herzens, der vom Rost weltlicher Gedanken und Beschäftigungen überlagert ist, poliert, damit sich unsere Essenz, das Göttliche Licht, unverzerrt und ungedämpft zeigen kann. Gott tritt aus dem Verborgenen, enthüllt sich in der Welt und zeigt sich durch die Göttlichen Namen. "Lass Liebe die Grundlage deines Lebens sein, gehe anders mit deiner Umgebung um, behalte eine liebevolle Einstellung gegenüber dem Leben und den Geschöpfen dieses Universums bei und alles wird zu dir zurückfließen. Denn was immer wir für andere tun, tun wir für uns - und alles, was wir für uns tun, tun wir für andere. Das ist das Gesetz der Einheit. Habe Vertrauen und Zuversicht." (Dr. Fawzia-Rosina Al-Rawi)
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Ein Begleitbuch mit Reflexionen, Übungen und Gebete für jeden Tag des Ramadan. Allah beschreibt diesen Monat als den Monat, in dem der Koran offenbart wurde. Er zeigt uns damit, dass uns das Fasten hilft, die Führung und Leitung des Korans tiefer zu erfahren. In der Erfahrung unserer Schwäche durch das Fasten, im Erleben unserer Abhängigkeit von allen Gaben Allahs, erfahren wir Seine Liebe, Seine Nähe und Fürsorge für uns. Die Worte des Korans treffen alle Suchenden genau dort, wo sie sich auf ihrer spirituellen Reise befinden. Dieses Begleitbuch zum heiligen Monat Ramadan soll allen auf dem Weg zu Allah, allen aufrichtig Suchenden, allen aus Liebe Fastenden eine Inspiration und Stütze sein. "Dieses kleine Buch schöpft einen Tropfen aus dem einen reichen Ozean des Islam - ohne Unterscheidung oder Trennung."
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El objetivo de este libro es que sea utilizado como un manual de trabajo, una introducción y una simple contribución para la comprensión de los 99 Nombres Divinos del sufismo. Su intención es contribuir a abrir un espacio fértil en el corazón de los seres humanos, sembrando allí las semillas del anhelo y el amor por la belleza y majestuosidad de esos Nombres, conduciéndonos en última instancia a saborear la hermosura y dignidad de este mundo, vislumbrando la majestuosa belleza del Creador y acercándonos así a nuestros semejantes.Al repetir los Nombres Divinos, dhikr, el espejo del corazón se pule del óxido con que lo han cubierto los pensamientos y actividades mundanas, de este modo nuestra esencia, nuestra luz Divina, puede mostrarse, libre de distorsiones en su total refulgencia.Dios sale de lo oculto, Se desvela a Sí mismo en el mundo y Se muestra a Sí mismo a través de los Nombres Divinos.
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A companion to the Holy Month of RAMADAN. Reflections, meditations and prayers for each day. Allah describes this month as the one in which the Qur'an was revealed, thus showing us that fasting helps us to a deeper experience of the guidance of the Qur'an. Through fasting, we come to realise our weaknesses and how we depend on all of Allah's gifts, and we experience His love, His closeness and His care for us. The words of the Qur'an meet every seeker precisely where they find themselves on their spiritual journey. May this companion to the Holy month of Ramadan bring support and inspiration to all those who are on the path to Allah, all the sincere seekers and all those who fast out of love.
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Among green New England hills stood an ancient house, many-gabled, mossy-roofed, and quaintly built, but picturesque and pleasant to the eye; for a brook ran babbling through the orchard that encompassed it about, a garden-plat stretched upward to the whispering birches on the slope, and patriarchal elms stood sentinel upon the lawn, as they had stood almost a century ago, when the Revoiution rolled that way and found them young. One summer morning, when the air was full of country sounds, of mowers in the meadow, black-birds by the brook, and the low of kine upon the hill-side, the old house wore its cheeriest aspect, and a certain humble history began.
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Little Men is a novel by American author Louisa May Alcott. The novel reprises characters from Little Women and is considered by some the second book in an unofficial Little Women trilogy, which is completed with Alcott's 1886 novel Jo's Boys, and How They Turned Out: A Sequel to "Little Men". It tells the story of Jo Bhaer and the children at Plumfield Estate School. It was inspired by the death of Alcott's brother-in-law, which reveals itself in one of the last chapters, when a beloved character from Little Women passes away. The book recounts six months in the life of the students at Plumfield, a school run by Professor Friedrich and Mrs. Josephine Bhaer. The idea of the school is first suggested at the very end of part two of Little Women, when Jo inherited the estate from her Aunt March. The story begins with the arrival of Nat Blake, a shy young orphan who used to earn a living playing the violin. We are introduced to the majority of the characters through his eyes. There are ten boys at the school already; Nat, and later his friend Dan, join them, and soon after Nan arrives as companion for Daisy, the only girl. Jo's sons Rob and Teddy are younger than the others and are not counted among the pupils, nor are the two girls, Daisy and Nancy. The school is not run on conventional lines. All the children have their own gardens and their own pets, and are encouraged to experiment with running businesses. Pillow fights are permitted on Saturdays, subject to a time limit. Children are treated as individuals, with a strong emphasis on gently molding their characters. Daisy Brooke, Meg's daughter, is at the school with her twin brother Demi, but is somewhat isolated with no other girls her age, until Nan's arrival. Nan is even more of a tomboy than Jo was as a child, while Daisy is interested mainly in dolls and in her own mini kitchen, purchased by Jo's brother-in-law, Laurie.
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Little Women is a novel by American author Louisa May Alcott. The novel follows the lives of four sisters.Meg, Jo, Beth, and Amy March.detailing their passage from childhood to womanhood, and is loosely based on the author and her three sisters. Little Women was an immediate commercial and critical success, and readers demanded to know more about the characters. Alcott quickly completed a second volume (entitled Good Wives in the United Kingdom, although this name originated from the publisher and not from Alcott). It was also successful. The two volumes were issued in 1880 in a single work entitled Little Women. Alcott wrote two sequels to her popular work, both of which also featured the March sisters: Little Men (1871) and Jo's Boys (1886). Although Little Women was a novel for girls, it differed notably from the current writings for children, especially girls. The novel addressed three major themes: "domesticity, work, and true love, all of them interdependent and each necessary to the achievement of its heroine's individual identity." Little Women "has been read as a romance or as a quest, or both. It has been read as a family drama that validates virtue over wealth", but also "as a means of escaping that life by women who knew its gender constraints only too well". According to Sarah Elbert, Alcott created a new form of literature, one that took elements from Romantic children's fiction and combined it with others from sentimental novels, resulting in a totally new format. Elbert argued that within Little Women can be found the first vision of the "All-American girl" and that her multiple aspects are embodied in the differing March sisters.
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The Conspirators is a novel written by Alexandre Dumas. It was adapted into an opera Le chevalier d'Harmental by Paul Ferrier. The novel is set around 1718, and its subject is a conspiracy against the regency rule of Philippe d'Orléans, who led France during the infancy of Louis XV. A section of the novel involving a street named "rue du Temps-Perdu" (street of wasted time) may have inspired the title of Marcel Proust's À la recherche du temps perdu.
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The Count of Monte Cristo is an adventure novel by French author Alexandre Dumas (père) completed in 1844. It is one of the author's most popular works, along with The Three Musketeers. Like many of his novels, it was expanded from plot outlines suggested by his collaborating ghostwriter Auguste Maquet. The story takes place in France, Italy, and islands in the Mediterranean during the historical events of 1815–1839: the era of the Bourbon Restoration through the reign of Louis-Philippe of France. It begins just before the Hundred Days period (when Napoleon returned to power after his exile). The historical setting is a fundamental element of the book, an adventure story primarily concerned with themes of hope, justice, vengeance, mercy, and forgiveness. It centres on a man who is wrongfully imprisoned, escapes from jail, acquires a fortune, and sets about getting revenge on those responsible for his imprisonment. However, his plans have devastating consequences for the innocent as well as the guilty. In addition, it is a story that involves romance, loyalty, betrayal, and selfishness, shown throughout the story as characters slowly reveal their true inner nature. The book is considered a literary classic today. According to Luc Sante, "The Count of Monte Cristo has become a fixture of Western civilization's literature, as inescapable and immediately identifiable as Mickey Mouse, Noah's flood, and the story of Little Red Riding Hood."
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A true sequel to "La Dame de Monsoreau." It concerns the revenge of Diane de Méridor upon the Duc d'Anjou for his base betrayal of Bussy d'Amboise. Historically it commences with the execution of Salcède and the arrival of the Forty-Five at Paris, and deals with the Guise intrigues, the campaign of Anjou in Flanders and his death. Period 1584-85. Maquet was again the collaborator. During the fête held at Villers-Cotterets in 1902 the original MS. of this romance was exhibited, half being in the hand of Dumas père, and the remainder, the latter moiety, in that of his son, with a note signed by this latter to the effect that his father, being confined to his bed by sickness, had dictated it to the younger man. Yet in face of this it has been repeatedly affirmed that Maquet finished it alone.
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The Man in the Iron Mask is the name given to an unidentified prisoner who was arrested in 1669 or 1670 and subsequently held in a number of French prisons, including the Bastille and the Fortress of Pignerol (modern Pinerolo, Italy). Recent research suggests that his name might have been "Eustache Dauger", but this still has not been completely proven. He was held in the custody of the same jailer, Bénigne Dauvergne de Saint-Mars, for a period of 34 years. He died on 19 November 1703 under the name "Marchioly", during the reign of Louis XIV of France (1643–1715). Since no one ever saw his face because it was hidden by a mask of black velvet cloth, the true identity of the prisoner remains a mystery even today; it has been extensively debated by historians, and various theories have been expounded in numerous books and films. Writer and philosopher Voltaire claimed in the second edition of his Questions sur l'Encyclopédie (published in 1771) that the prisoner wore a mask made of iron rather than of cloth, and that he was the older, illegitimate brother of Louis XIV. In the late 1840s, writer Alexandre Dumas elaborated on the story in the novel The Vicomte of Bragelonne: Ten Years Later, the final installment of his classic D'Artagnan saga: here the prisoner is forced to wear an iron mask and is Louis XIV's identical twin. Dumas also presented a review of the popular theories about the prisoner extant in his time in the chapter "L'homme au masque de fer" in the sixth volume of his Crimes Célèbres. What little is known about the historical Man in the Iron Mask is based mainly on correspondence between Saint-Mars and his superiors in Paris. [...]
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The Three Musketeers is a historical novel by Alexandre Dumas. Set in 1625–1628, it recounts the adventures of a young man named d'Artagnan (based on Charles de Batz-Castelmore d'Artagnan) after he leaves home to travel to Paris, to join the Musketeers of the Guard. Although D'Artagnan is not able to join this elite corps immediately, he befriends the three most formidable musketeers of the age: Athos, Porthos and Aramis and gets involved in affairs of the state and court. In genre, The Three Musketeers is primarily a historical and adventure novel. However, Dumas also frequently works into the plot various injustices, abuses, and absurdities of the old regime, giving the novel an additional political aspect at a time when the debate in France between republicans and monarchists was still fierce. The story was first serialised from March to July 1844, during the July Monarchy, four years before the French Revolution of 1848 violently established the Second Republic. The author's father, Thomas-Alexandre Dumas, had been a well-known General in France's Republican army during the French Revolutionary Wars. The story of d'Artagnan is continued in Twenty Years After and The Vicomte of Bragelonne: Ten Years Later.
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Twenty Years After is a novel by Alexandre Dumas, first serialized from January to August 1845. A book of the D'Artagnan Romances, it is a sequel to The Three Musketeers and precedes The Vicomte de Bragelonne (which includes the sub-plot Man in the Iron Mask). The novel follows events in France during the Fronde, during the childhood reign of Louis XIV, and in England near the end of the English Civil War, leading up to the victory of Oliver Cromwell and the execution of King Charles I. Through the words of the main characters, particularly Athos, Dumas comes out on the side of the monarchy in general, or at least the text often praises the idea of benevolent royalty. His musketeers are valiant and just in their efforts to protect young Louis XIV and the doomed Charles I from their attackers.
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Paradise is the third and final part of Dante's Divine Comedy, following the Inferno and the Purgatory. It is an allegory telling of Dante's journey through Heaven, guided by Beatrice, who symbolises theology. In the poem, Paradise is depicted as a series of concentric spheres surrounding the Earth, consisting of the Moon, Mercury, Venus, the Sun, Mars, Jupiter, Saturn, the Fixed Stars, the Primum Mobile and finally, the Empyrean. It was written in the early 14th century. Allegorically, the poem represents the soul's ascent to God. The Paradise begins at the top of Mount Purgatory, called the Earthly Paradise (i.e. the Garden of Eden), at noon on Wednesday, March 30 (or April 13), 1300, following Easter Sunday. Dante's journey through Paradise takes approximately twenty-four hours, which indicates that the entire journey of the Divine Comedy has taken one week, Thursday evening (Inferno I and II) to Thursday evening. After ascending through the sphere of fire believed to exist in the earth's upper atmosphere (Canto I), Beatrice guides Dante through the nine celestial spheres of Heaven, to the Empyrean, which is the abode of God. The nine spheres are concentric, as in the standard medieval geocentric model of cosmology, which was derived from Ptolemy. The Empyrean is non-material. As with his Purgatory, the structure of Dante's Heaven is therefore of the form 9+1=10, with one of the ten regions different in nature from the other nine. During the course of his journey, Dante meets and converses with several blessed souls. He is careful to say that these all actually live in bliss with God in the Empyrean: "But all those souls grace the Empyrean; and each of them has gentle life though some sense the Eternal Spirit more, some less." However, for Dante's benefit (and the benefit of his readers), he is "as a sign" shown various souls in planetary and stellar spheres that have some appropriate connotation.
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In Roman Catholic theology, Purgatory is an intermediate state after physical death in which some of those ultimately destined for heaven must first "undergo purification, so as to achieve the holiness necessary to enter the joy of heaven," holding that "certain offenses can be forgiven in this age, but certain others in the age to come." And that entrance into Heaven requires the "remission before God of the temporal punishment due to [venial] sins whose guilt has already been forgiven," for which indulgences may be given which remove "either part or all of the temporal punishment due to sin," such as an "unhealthy attachment" to sin. Only those who die in the state of grace but have not yet fulfilled the temporal punishment due to their sin can be in Purgatory, and therefore no one in Purgatory will remain forever in that state nor go to hell. The notion of Purgatory is associated particularly with the Latin Rite of the Catholic Church (in the Eastern sui juris churches or rites it is a doctrine, though it is not often called "Purgatory", but the "final purification" or the "final theosis"); Anglicans of the Anglo-Catholic tradition generally also hold to the belief. Eastern Orthodox Churches believe in the possibility of a change of situation for the souls of the dead through the prayers of the living and the offering of the Divine Liturgy, and many Orthodox, especially among ascetics, hope and pray for a general apocatastasis. Judaism also believes in the possibility of after-death purification and may even use the word "purgatory" to present its understanding of the meaning of Gehenna. However, the concept of soul "purification" may be explicitly denied in these other faith traditions. The word Purgatory has come to refer also to a wide range of historical and modern conceptions of postmortem suffering short of everlasting damnation, and is used, in a non-specific sense, to mean any place or condition of suffering or torment, especially one that is temporary.
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The Banquet is a work written by Dante Alighieri roughly between 1304 and 1307. This unfinished work of Dante consists of four trattati, or "books": a prefatory one, plus three books that each include a canzone (long lyrical poem) and a prose allegorical interpretation or commentary of the poem that goes off in multiple thematic directions. The Banquet is a major stage of development for Dante, very different from the visionary world of the Vita nuova (although like the earlier work it too is a medium for the author's evolving sense of artistic vocation and philosophical-spiritual quest). This difference is reflected in how the two works use the prosimetrum format: in the Vita Nova there is a complex interrelation and intertwining between the prose and the poetry, while in the Banquet large blocks of prose have an autonomous existence apart from the poems; the content of the poetry is not amplified or edited in the prose so much as commented upon prosaically, to serve as points of departure for the various subjects that the Banquet discusses. Dante himself tells us that the prose of the Banquet is "temperate and virile," in contrast to the "fervid and passionate" prose of the Vita Nova; and that while the approach to this in the work of his youth was "like dreaming" the Banquet approaches it subjects soberly and wide awake, often modeling its style on Scholastic authors. The Banquet is a kind of vernacular encyclopedia of the knowledge of Dante's time; it touches on many areas of learning, not only philosophy but also politics, linguistics, science, and history. The treatise begins with the prefatory book, or proem, which explains why a book like the Banquet is needed and why Dante is writing it in the vernacular instead of Latin. It is one of Dante's early defenses of the vernacular, expressed in greater detail in his (slightly earlier) linguistic treatise De vulgari eloquentia (On Eloquence in the Vernacular).
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