Chispas De Humor Y Reflexi N

Resumir una filosofía de vida en una frase es tan complicado como hacer todo un tratado. Todos tenemos pensamientos, opiniones y valores de acuerdo a los cuales vivimos; por ello cada uno de nosotros somos filósofos y expresamos esa configuración de ideas y sentimientos en palabras. Las frases incluidas en este trabajo las retomé de las clases universitarias, películas, amigos, desconocidos, publicidad, redes sociales; provienen de cualquier lugar, momento o persona. Muchas son humorísticas, paradójicas, también hay juegos de palabras. Cada quien podrá estar de acuerdo o no con lo que cada una expresa. La idea es que nos reafirmen o nos cuestionemos al leerlas. Esta recopilación de frases, poco conocidas y rara vez publicadas, está dispuesta para el disfrute y la reflexión de quien se detenga a pensarlas. No llevan un orden establecido, sólo esperan ser descubiertas y provocar desde una sonrisa hasta un cambio de actitud ante la vida.

Sven Hassel's iconic war novel about the Russian Front. 'An extraordinary book, which has captured the attention of all of Europe' - NEW YORK TIMES 'LEGION OF THE DAMNED is an incredible picture of totalitarianism, of stupefying injustice ... He is graphic, at times brilliantly so, but never brutal or bitter. He is, too, a first-rate storyteller' - WASHINGTON POST Convicted of deserting the German army, Sven Hassel is sent to a penal regiment on the Russian Front. He and his comrades are regarded as expendable, cannon fodder in the battle against the implacable Red Army. Outnumbered and outgunned, they fight their way across the frozen steppe... This iconic anti-war novel is a testament to the atrocities suffered by the lone soldier in the fight for survival. Sven Hassel's unflinching narrative is based on his own experiences in the German Army. He began writing his first novel, LEGION OF THE DAMNED in a prisoner of war camp at the end of the Second World War.

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.

This study examines a varied corpus of documentary and literary texts produced during the Miners revolution of October 1934 in Asturias.

Take control of your past, your memory, your emotions, your life! While in medical school, Dr. Augusto Cury became fascinated with the impact a healthy mind can have on emotions and life. After many years of research and founding The Intelligence Institute, he concluded: Every person is a genius because everyone has the power to think. Harnessing "mind power" has been scientifically proven to enhance a person's physical, mental, and spiritual well-being. The human act of thinking is the greatest wonder of the universe. In Think, and Make It Happen, Dr. Cury unveils the multifocal intelligence process showing readers how to master their emotions, stress, thoughts, and relationships, as well as how to become creative thinkers and revolutionary leaders. Complete with a 12-week program, participants will learn to apply the universal laws for quality of life to their own lives: authorship, beauty, creativity, sleep, thoughts, emotions, memory, listening, dialogue, drive, and spirituality and celebration and start experiencing the life they desire.

Recent books and exhibitions have shown that Victorians were not so straitlaced about sexual matters as has been popularly assumed. Ellen Bayuk Rosenman's engrossing and enlightening book proves that the Victorians were extraordinarily articulate and resourceful when it came to expressing their sexual desires. Narratives of erotic experience were written, justified to the conservative culture, and circulated for the pleasure of readers. Rosenman's exploration of masculinity and femininity in Victorian sexual storytelling includes an account of the "spermatorrhea panic" that terrified the men of Britain, tells of Theresa Longworth's erotic revisions of the romance plot, and takes up the exhaustive, even exhausting, pornographic epic My Secret Life. Drawing on social history, court cases, medical literature, popular novels, and the diaries and letters of everyday life, Rosenman looks beyond the usual sexual suspects—homosexuals and prostitutes, for example—to address a range of pleasures that emerged from the ideological structures meant to contain them. She asserts that, however powerful ideology is, it does not script erotic repertoires in definitive or predictable ways, and that individuals can find ways of evading or easing its constraints.