By Charles S. Prebish
Crucial examine instrument for vinaya experiences. Covers either basic and secondary assets in Sanskrit, Pali, Tibetan, and chinese language in addition to sleek resources in English, French, German and eastern.
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Over a rare twenty-year profession, Jane Smiley has written every kind of novels: secret, comedy, old fiction, epic. “Is there whatever Jane Smiley can't do? ” raves Time journal. yet within the wake of 9-11, Smiley faltered in her hitherto unflagging impulse to write down and determined to process novels from a special attitude: she learn 100 of them, from classics reminiscent of the thousand-year-old story of Genji to contemporary fiction by way of Zadie Smith, Nicholson Baker, and Alice Munro.
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Advance compliment for Kathryn Kay and The Gilder
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German literature in all genres and from all old sessions has exerted an incredible impression at the heritage of western suggestion. From Martin Luther, Frederick Schiller, and Johann Wolfgang von Goethe to Karl Marx, Sigmund Freud, Thomas Mann, Bertolt Brecht, and Gunter Grass, Germany has produced a powerful variety of nice writers and nice works.
Additional info for A Survey of Vinaya Literature (The Dharma Lamp Serie) Vol. I
Although Jancˇar generalizes in his original formulation, I am certainly not attempting to gather all post1989 east European literary production under the skirt of Trümmerliteratur Redux. ) Neither do the works by Ugrešic´ and others discussed here in any way constitute an exhaustive list of post-1989 east European writing in which ruins appear as a prominent trope. The present study offers a conceptual framework within which other works may be placed – and whose later inclusion may of course challenge, adjust, expand or refine the parameters and arguments it sets out.
150 Evoking the magnificent statue of Victoria, the Roman goddess of war on whom angels gather in Wim Wenders’ film Der Himmel über Berlin (1987, Wings of Desire in anglophone markets), Brockmann’s image of ‘melancholy angels’ is beautifully romantic, his invocation of ‘custodians of the nation’s lost conscience’ an echo of Solzhenitsyn’s claims for literature as protector of the soul and living memory of a nation. While the geographically and generationally diverse group of writers I discuss in Chapter 4 in no way constitute a literary circle, their shared thematic concerns nevertheless illustrate the significant suggestive power of a ‘literature of the east European ruins’.
131 With a ‘zero hour’ declared in both 1945 and 1989, among the ruins of the literary past, the zeitgeist of both eras was one of declared new beginnings. Gustav Rene Hocke spoke for many when dismissing the post-Second World War literary efforts of the older generation of German writers as ‘calligraphy’,132 many of these ‘calligraphers’ having been part of the so-called innere Emigration. 134 Fast-forwarding four and a half decades, in newly reunified Germany a feuilleton-driven debate originally spawned by the publication of Christa Wolf’s novella What Remains (1990, Was bleibt) saw conservative commentators launch an assault on both post-war German literatures as Gesinnungskitsch (‘moralizing kitsch’).