Humanismo II: Tareas del espíritu (Vértice) descargar en pdf

Humanismo II: Tareas del espíritu (Vértice) descargar en pdf gratis

En este libro, continuación de Humanismo: los bienes invisibles, el autor analiza dos dimensiones complementarias en el armónico desarrollo del fellow: la formación personal (resortes interiores, disciplina slant trabajo) slant la dimensión social (el arte de educar, el arte de gobernar, la familia). Finalmente, ofrece al lector una interesante reflexión sobre el sentido religioso, indispensable para ese equilibrado crecimiento como personas. Para la mentalidad humanista, el desarrollo de la wack no es un bien privado ni tiene como fin la autocomplacencia. Es miembro de una sociedad slant, como tal, ha de buscar la propia mejora bamboozle el fin de ofrecer a los demás un mejor servicio: tener para dar. Así lo testimonia una larga tradición de fellows sabios, recogida también en estas páginas.

Humanismo II: Tareas del espíritu (Vértice) descargar en pdf gratis o leer en línea

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Humanismo II: Tareas del espíritu (Vértice)


i don't have this yet, but read this review in the nation 8.29.11: "Published on The Nation ( Shelf Life Elias Muhanna | August 10, 2011 So many anthologies exude a weary air, devoted as they are to tracing the outlines of a canon or a career. Perhaps the best thing about Tablet and Pen: Literary Landscapes From the Modern Middle East (Norton; $35), which samples 100 years’ worth of fiction, poetry and memoir from four major world languages, is its devout and unapologetic eclecticism. There are a few familiar names, such as Orhan Pamuk and Naguib Mahfouz, but the vast majority of the collection’s sixty-nine authors will be unfamiliar to most Anglophone readers. Among them are Parvin E’tesami and Forugh Farrokhzad, who gave voice to the quiet miseries of many women in midcentury Iran long before the West was smitten with Marjane Satrapi and Azar Nafisi. And there’s the fiction of Ismat Chughtai, an Indian feminist whose stories treated themes of lesbianism and sexual awakening in colonial society, scandalizing India’s British overseers. Tablet and Pen is a pleasant surprise from its editor, Reza Aslan, an Iranian-American writer whose previous two books, No god but God and How to Win a Cosmic War, covered different ground. The former, a lucid introduction to Islamic history and religion, was published in 2005 to critical acclaim, and has become an international bestseller and a staple of college courses. Tablet and Pen, the fruit of a collaboration between Norton and Words Without Borders, a nonprofit committed to promoting literature in translation, seems similarly tailored to the higher-education market. It is not hard to imagine that professors of world literature and Islamic civilization will view this capacious and thoughtfully arranged collection as a godsend. The anthology is divided into three major periods (1910–50, 1950–80 and 1980–2010) and contains several short essays and author biographies by its three regional editors (Michael Beard, Sholeh Wolpé and Zeenut Ziad). While recognizing the enormous diversity exhibited by the many countries and territories represented in the anthology, Aslan argues that what unites their literatures is “a common experience of Western imperialism and colonial domination: the disrupted histories and ravaged lands, the depletion of resources and inequities in wealth and status, the long struggles for sovereignty, and the vacuums of power and identity that so often followed independence from foreign rule.” Such preoccupations, he suggests, represent a common “Middle Eastern” condition, and one not shared by Hebrew literature, which “reflects certain social and historical realities that do not align with themes of imperialism, colonialism, and Western cultural hegemony.” Many of the anthology’s selections fit snugly into a postcolonial paradigm. Ghassan Kanafani’s “Letter From Gaza” and the poems of Mahmoud Darwish contend with the saga of Palestinian dispossession, while the blistering verses of the Iraqi poet Mozaffar al-Nawwab mock the West and its Arab puppets, who sit “beneath the square-root sign on the sand,” with testicles like “impotent castanets…clicking and jangling all the way to the White House.” The purest expression of the collection’s theme is the excerpt from the Iranian thinker Jalal Al-e Ahmad’s Gharbzadegi (“Westoxification”), a political tract that portrays the rise of the West as a fundamental confrontation between rich and poor, in which every conflict and coup d’état is motivated by “the expansionist aims of mechanized industry.” Yet the anthology frequently strains against its organizing conceit. The poetry of Forugh Farrokhzad contemplates not a civilizational Other but a far more intimate one: “I have sinned a rapturous sin/beside a body quivering and spent/I do not know what I did O God,/In that quiet vacant dark.” While many twentieth-century Iranian intellectuals have been critical of Western interference in their national politics, Parvin E’tesami and Nader Naderpour were no less disparaging of Iran’s religious establishment. Consider Naderpour’s scandalous description of Shiism’s holy city of Qom as “a joyless garden/with sparse trees/empty of laughter/silent of speech.” Similarly, many of the Turkish writers in the collection direct their gaze inward, focusing less on Western imperialism than on their own historical traditions. Aziz Nesin’s humorous and heartbreaking reflections about his childhood in Istanbul during the 1920s summon images of a society teetering between tradition and modernity. Recounting his experience as a young boy of an important rite of passage, the memorization of a chapter of the Koran, Nesin describes how his mother lamented that she could afford to prepare only a plate of börek (cheese pastry) rather than the more expensive helva (honeycake) to celebrate the occasion. “Somehow,” he writes, “I can’t make my own children understand now what that sadness meant.” Other writers reflect on the position of the West vis-à-vis their traditions, but they characterize the relationship in unexpected ways. In “The Future of the Arabic Language,” Khalil Gibran explains that while the East once held sway over the West, it now lacks the means to imitate the West effectively: “Whereas the Westerners in the past consumed what we cooked, partaking of our food, swallowing it, and transforming what was useful to their very being, the Easterners, at present, consume what the Westerners cook; they swallow their food, but it does not become part of their being.” For Gibran, Western imperialism is less the principal agent of Eastern submission than a beneficiary and facilitator of it. The influence of Western political, economic and cultural hegemony on writers and poets in the modern Islamic world (or, as Aslan puzzlingly insists on calling it, the “Middle East”) is undeniable. But the sheer variety of Tablet and Pen makes one wonder whether that influence is the best prism through which this literature can be read. Source URL:

2020-08-11 15:59


La juventud británica sin nombre, después de haber completado su educación, se inclina sobre su habitación, creyendo que el mundo no tiene nada que ofrecerle, y de todos modos todo no tiene sentido. Alentado por sus padres para hacer algo, hace autostop a un país totalitario del este de Europa sin nombre donde el gobierno y la oposición ilegal parecen desear superarse mutuamente en brutalidad. Nuestro 'héroe' finalmente se encuentra con un tercer grupo intelectual no violento, basado en un libro filosófico escrito por su líder, 'A Society of Others', un libro dentro de un libro. A través de una serie de encuentros dramáticos y a menudo violentos, nuestro viajero británico se 'encuentra' a sí mismo y aprende el significado del amor, los valores humanos, etc. a través de sueños en lugar de eventos reales; Es algo surrealista. Sin embargo, la transformación es demasiado repentina y trillada para ser creíble; Un tema profundo cubierto de manera superficial. Agradable, interesante y bastante estimulante al leerlo, pero no dejó una impresión duradera.

2020-01-06 15:56


Rico Slade lee como "Falling Down" con sentido del humor en lugar de injusticia. Excepto, por supuesto, que en lugar de un reservado y frustrado Michael Douglas tenemos a Rico F’n Slade, la estrella de acción más increíble que Hollywood haya visto jamás. La historia comienza cuando el hombre detrás de la rudeza de Rico, Chip Johnston, tiene un pequeño colapso. A medida que su estabilidad mental disminuye, Chip / Rico corta una franja de caos cómico en Hollywood seguido por su psicólogo Harold Schwartzman. Es cierto que el único marco de referencia que tengo para el trabajo de Sands es su historia Cheesequake Smash-Up del Blue Bizarro Starter Kit, pero personalmente siento que Rico Slade Will Fucking Kill You es una oferta fantástica de un autor que está madurando en el género bizarro. Esta es una historia extraña llena de personajes extraños que hacen cosas raras. Existe la aleatoriedad por la que Sands se ha hecho conocido, pero de ninguna manera lo llamaría una tontería. No, no, esto es una locura literaria bien elaborada. La escritura de Sands aquí es rápida, inteligente y posee un ingenio lo suficientemente agudo como para castrar Hollywood. Muy recomendable para los fanáticos de los bizarros, la comedia y los fanáticos de la acción de alto octanaje que pueden tomar bromas (muchas, muchas bromas).

2020-01-01 16:17

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