CD Compilation on Sundazed Records by Various Artists - My Goodness, Yes ! - The SSS Soul CollectionNashville was a whole lot more than the country music capital of the world during the late ´60s and early ´70s. When he wasn´t busy reviving the long-dorma
Chicken Soup for Little Souls: The Goodness Gorillas: Jack Canfield, Mark Victor Hansen
CD Compilation on SUNDAZED RECORDS by Various Artists - My Goodness, Yes ! - The SSS Soul Collection Nashville was a whole lot more than the country music capital of the world during the late ´60s and early ´70s. When he wasn´t busy reviving the long-dormant Sun logo (and enjoying considerable success doing so), Music Row vet Shelby Singleton unleashed a torrent of sizzling southern soul singles on his SSS International label and its affiliate Silver Fox imprint during that same prolific era. These two jam-packed anthologies feature the very best that the two labels had to offer by well-known names such as the seductive Bettye LaVette, New Orleanians Johnny Adams, Danny White and Robert Parker, the well-traveled Wilbert Harrison, Peggy Scott and Jo Jo Benson (separately!) and a revitalized Hank Ballard tackling Kris Kristofferson´s ´Sunday Morning Comin´ Down´ as well as revered deep soul soldiers Eddy Giles, Reuben Bell, Mickey Murray, Clifford Curry, George Perkins & the Silver Stars, Big John Hamilton, Sam Dees and Willie Hobbs. This is stone southern soul at its most righteous, with a tinge of country frequently permeating the proceedings to let you know precisely where these greats were coming from!
'Sorcery and sanctity;' said Ambrose, 'these are the only realities. Each is an ecstasy, a withdrawal from the common life.' Cotgrave listened, interested. He had been brought by a friend to this mouldering house in a northern suburb, through an old garden to the room where Ambrose the recluse dozed and dreamed over his books. 'Yes;' he went on, 'magic is justified of her children. There are many, I think, who eat dry crusts and drink water, with a joy infinitely sharper than anything within the experience of the ´´practical´´ epicure.' 'You are speaking of the saints?' 'Yes; and of the sinners, too. I think you are falling into the very general error of confining the spiritual world to the supremely good; but the supremely wicked, necessarily, have their portion in it. The merely carnal, sensual man can no more be a great sinner than he can be a great saint. Most of us are just indifferent, mixed-up creatures; we muddle through the world without realizing the meaning and the inner sense of things, and, consequently, our wickedness and our goodness are alike second-rate, unimportant.'
This book argues that McCarthys works convey a profound moral vision, and use intertextuality, moral philosophy, and questions of genre to advance that vision. It focuses upon the ways in which McCarthys fiction is in ceaseless conversation with literary and philosophical tradition, examining McCarthys investment in influential thinkers from Marcus Aurelius to Hannah Arendt, and poets, playwrights, and novelists from Dante and Shakespeare to Fyodor Dostoevsky and Antonio Machado. The book shows how McCarthys fiction grapples with abiding moral and metaphysical issues: the nature and problem of evil; the idea of God or the transcendent; the credibility of heroism in the modern age; the question of moral choice and action; the possibility of faith, hope, love, and goodness; the meaning and limits of civilization; and the definition of what it is to be human. This study will appeal alike to readers, teachers, and scholars of Cormac McCarthy. Russell M. Hillier is Associate Professor of English at Providence College, Rhode Island, USA. He is the author of Miltons Messiah (2011) and has published numerous scholarly articles on William Shakespeare, John Milton, John Donne, George Herbert, Samuel Taylor Coleridge, John Keats, Fyodor Dostoevsky, and Cormac McCarthy.
Traherne wrote against a background of scepticism as well as a growing atheism. These four works show him to be profoundly aware of the currents of his age, theological, political, sociological and scientific, to which he responded with thoughtful and imaginative insights. They show him also to be a compelling apologist for the Christian religion and for the goodness of the church. This much needed and important edition of the works of Thomas Traherne makes a valuable contribution not only to Traherne studies but also to seventeenth-century studies in general.
Seminar paper from the year 2012 in the subject Psychology - Media Psychology, Liverpool John Moores University (Art and Design Academy), course: Academic Conference, language: English, abstract: Beauty takes our breath away. We come to rest, are silenced, and in awe. When beauty opens our hearts, our capacity to care for what is just and true enlarges. The triumvirate of western values - truth, beauty, and goodness - has long served as the foundation for positive human development. The experience of beauty takes us deep within ourselves to the most intimate sense of who we are and what we have endured. Beauty is the ultimate attractor and healer. It transcends us by pulling us out of ourselves and generates us to heal, repair, and move forward. Beauty in its many forms has profound neurological and psychological impact upon us. Artistic expression, and flow stimulate the growth of new brain cells in the cerebral cortex. Such experiences raise physiological levels in the immune, the endocrine, and the nervous systems. Emotions play out in the theatre of the body. Feelings play out in the theatre of the mind. As a significant psychologically transcendent experience, this arousal increases well-being, optimism, and resilience. Optimism is directly correlated with improved health. Drama, music, and art have the capacity to build and sustain resilience because creative engagement and participation is directly correlated with an overall positive impact on health, morale, and loneliness. This essays draws on some theoretical perspectives and research as they inform an understanding of the power of beauty and its transformational affect on the human psyche and development. Cyrus Manasseh is an essayist, philosopher, historian and musician. He teaches in universities and privately as a higher education consultant. He is an international scholar and has presented his ideas in a number of countries. Dr Cyrus Manasseh PhD is also a Freelance Researcher, Novelist and author of the books The Lead Guitarist and The Problematic of Video Art in the Museum 1968-90. He is also author of numerous essays and articles in the field of art history, film, architecture, video, museums, evolving media and drama. His published essays and articles include: Art without the Aesthetics? Defining Conceptual & Post-Conceptual Practices, From Passive White Cube Viewer to Active Black Cube User: Tracking Changes in Museum Environments via Installation Art (Analogue to Digital 1968-2008), Art, Language & Machines: Marcel Duchamp, Francis Picabia & Raymond Roussel. He has presented his research at international academic forums which include those in London, Sydney, Perth, Venice, Prague and Harvard where he was session chair and has lectured and taught extensively in Australian Universities. He was a finalist for the International Award for Excellence in the Constructed Environment Journal Writers Award Annual Prize for the academic essay An Inquiry into the Design and the Aesthetics of the Venice Biennale Pavilions and Film.
The monologue of Romans 7 has proved central to the Christian West, where interpreters such as Augustine and Martin Luther have made the text into a paradigm for the plight of mankind, torn between the demands of Gods goodness and its own sinful nature. Emma Wasserman argues that the monologue can be better contextualized within certain intellectual discourses alive in Pauls day. In light of certain Platonic traditions about the soul, the monologue emerges as the voice of reason or mind describing its defeat at the hands of passions and desires represented as sin. Especially as developed by Philo of Alexandria, Platonic traditions of representing extreme cases of immorality account for a number of difficult features of the text. Such traditions can account for the metaphors of enslavement, imprisonment, warfare, and death; the representation of the passions as sin and the association with the body, members, and flesh; the Platonic language about mind and the speakers role in reasoning, reflecting, and judging; the problem of the law in the first part of the monologue (verses 7-13) and the plight of self-contradiction in the second (14-25). The reading thus finds that the speaker is reason or mind, recounting its discovery that it cannot put any of its good judgments into action because of the dominance of the passions.
Animals bring out the goodness, humanity, and optimism in people and speak directly to our souls. This joyous, inspiring, and entertaining Chicken Soup collection relates the unique bonds between animals and the people whose lives they´ve changed: such as the dolphins who helped a paralyzed woman heal when doctors offered little hope; the dog who brought life into a failing marriage; the kitten who helped a mother mourn; and the flying squirrel who taught a man the power of laughter.Packed with celebrity pet-lore, Chicken Soup for the Soul relates the unconditional love, loyalty, courage, and companionship that only animals possess. Just like our furry, feathered, and four-legged friends, this enchanting book will bring a smile to any pet lover´s face, and it´s housebroken! 1. Language: English. Narrator: Jack Canfield, Mark Victor Hansen. Audio sample: http://samples.audible.de/bk/hcom/000022de/bk_rhde_002536_sample.mp3. Digital audiobook in aax.
We too often forget that not only is there a soul of goodness in things evil, but very generally also, a soul of truth in things erroneous. While many admit the abstract probability that a falsity has usually a nucleus of reality, few bear this abstract probability in mind, when passing judgment on the opinions of others. A belief that is finally proved to be grossly at variance with fact, is cast aside with indignation or contempt; and in the heat of antagonism scarcely any one inquires what there was in this belief which commended it to mens minds. Yet there must have been something. And there is reason to suspect that this something was its correspondence with certain of their experiences: an extremely limited or vague correspondence perhaps; but still, a correspondence. Even the absurdest report may in nearly every instance be traced to an actual occurrence; and had there been no such actual occurrence, this preposterous misrepresentation of it would never have existed. Though the distorted or magnified image transmitted to us through the refracting medium of rumour, is utterly unlike the reality; yet in the absence of the reality there would have been no distorted or magnified image. And thus it is with human beliefs in general. Entirely wrong as they may appear, the implication is that they germinated out of actual experiences-originally contained, and perhaps still contain, some small amount of verity...