James Joyce S Mandala

The Sanskrit word mandala can be translated as "sacred circle." Within the circle sits a microcosm of the universe and/or consciousness, repre-sented by icons. Eastern civilizations developed the spiritual-artistic practice of creating mandalas—with sand, paint, and architecture—to high technical sophistication, making manifest a geometry with layers of esoteric meaning for both the mandala artist and the initiated spectator. James Joyce’s Mandala outlines and explains this iconic sacred geometry, and assesses to what extent Joyce’s works of literature, in particular Finnegans Wake, can be understood as mandalic constructs. Using exam-ples from Dubliners to the Wake, we see how fundamental to Joyce’s fiction is the issue of spiritual paralysis (a problem the mandala attempts to dissolve) and also how fascinated he was by geometric imagery and symmetry, the technical devices employed in mandala construction. This is the first book-length comparison of Joyce’s work with the mythic structure of the mandala. Never discounting the richness of Joyce’s genius, it uses his "collideorscape" to explore the secrets of the mandala principle as much as it uses mandala theory to illuminate his famed book of the night.

This is the first book-length comparison of Joyce's work with the mythic structure of the mandala, using his "collideorscape" to explore the secrets of the mandala principle as much as it uses mandala theory to illuminate his famed book of the night.

A selectively comprehensive bibliography of the vast literature about Samuel Beckett's dramatic works, arranged for the efficient and convenient use of scholars on all levels.

Labyrinths of Love is an interdisciplinary examination of the self, psyche, and soul, providing a comparative analysis from religious, paranormal research and transpersonal theory perspectives. The book addresses ontological questions regarding the nature of the self in relationship to both psyche and soul, each differentiated to reveal attributes that are transphysical and commonly recognized in most religious traditions. The role of dreams, imagination, and paranormal perceptions, as well, contribute to a more fully realized sense of identity. A constructive use of pansentient ontology illuminates how human identity can incorporate transphysical aspects of self into a meaningful theory of self-development and evolutionary becoming.The work creates a unique synthesis that unfolds what it means to be human and demonstrates a visionary epistemology of the self.

«Hiromi Yoshida's innovative approach to 'A Portrait of the Artist as a Young Man' demonstrates how Joyce's Stephen Dedalus reaches a heightened state of creativity through his gradual integration of feminine elements into his psyche. This illuminating and stunning analysis presents a valuable contribution to psychoanalytic feminist theory as well as to Joyce studies.» (Nancy Bombaci, Assistant Professor of Writing and Literature, Mitchell College, New London, Connecticut).

In May 1956, in his eighty-second year, Jung first discussed with Gerhard Adler the question of the publication of his letters. Over many years, Jung had often used the medium of letters to communicate his ideas to others and to clarify the interpretation of his work, quite apart from answering people who approached him with genuine problems of their own and simply corresponding with friends and colleagues. Many of his letters thus contain new creative ideas and provide a running commentary on his work. From some 1,600 letters written by Jung between the years 1906-1961, the editors have selected over 1,000. Volume 2 contains 460 letters written between 1951 and 1961, during the last years of Jung's life, when he was in contact with many people whose names are familiar to the English reader. These include Mircea Eliade, R.F.C. Hull, Ernest Jones, Herbert Read, J.B. Rhine, Upton Sinclair and Fr. Victor White. Volume 2 also contains an addenda with sixteen letters from the period 1915-1946 and a subject index to both volumes. The annotation throughout is detailed and authoritative.

In many ways, Buddhism has become the global religion of the modern world. For its contemporary followers, the ideal of enlightenment promises inner peace and worldly harmony. And whereas other philosophies feel abstract and disembodied, Buddhism offers meditation as a means to realize this ideal. If we could all be as enlightened as Buddhists, some imagine, we could live in a much better world. For some time now, however, this beatific image of Buddhism has been under attack. Scholars and practitioners have criticized it as a Western fantasy that has nothing to do with the actual experiences of Buddhists. Avram Alpert combines personal experience and readings of modern novels to offer another way to understand modern Buddhism. He argues that it represents a rich resource not for attaining perfection but rather for finding meaning and purpose in a chaotic world. Finding unexpected affinities across world literature—Rudyard Kipling in colonial India, Yukio Mishima in postwar Japan, Bessie Head escaping apartheid South Africa—as well as in his own experiences living with Tibetan exiles, Alpert shows how these stories illuminate a world in which suffering is inevitable and total enlightenment is impossible. Yet they also give us access to partial enlightenments: powerful insights that become available when we come to terms with imperfection and stop looking for wholeness. A Partial Enlightenment reveals the moments of personal and social transformation that the inventions of modern Buddhism help make possible.

Surreal Beckett situates Beckett‘s writings within the context of James Joyce and Surrealism, distinguishing ways in which Beckett forged his own unique path, sometimes in accord with, sometimes at odds with, these two powerful predecessors. Beckett was so deeply enmeshed in Joyce’s circle during his early Paris days (1928 - late 1930s) that James Knowlson dubbed them his "Joyce years." But Surrealism and Surrealists rivaled Joyce for Beckett’s early and continuing attention, if not affection, so that Raymond Federman called 1929-45 Beckett’s "surrealist period." Considering both claims, this volume delves deeper into each argument by obscuring the boundaries between theses differentiating studies. These received wisdoms largely maintain that Beckett’s Joycean connection and influence developed a negative impact in his early works, and that Beckett only found his voice when he broke the connection after Joyce’s death. Beckett came to accept his own inner darkness as his subject matter, writing in French and using a first-person narrative voice in his fiction and competing personal voices in his plays. Critics have mainly viewed Beckett’s Surrealist connections as roughly co-terminus with Joycean ones, and ultimately of little enduring consequence. Surreal Beckett argues that both early influences went much deeper for Beckett as he made his own unique way forward, transforming them, particularly Surrealist ones, into resources that he drew upon his entire career. Ultimately, Beckett endowed his characters with resources sufficient to transcend limitations their surreal circumstances imposed upon them.