Character Entities Quotes

When we speak of man, we have a conception of humanity as a whole, and before applying scientific methods to the investigation of his movement we must accept this as a physical fact. But can anyone doubt to-day that all the millions of individuals and all the innumerable types and characters constitute an entity, a unit? Though free to think and act, we are held together, like the stars in the firmament, with ties inseparable. These ties cannot be seen, but we can feel them. I cut myself in the finger, and it pains me: this finger is a part of me. I see a friend hurt, and it hurts me, too: my friend and I are one. And now I see stricken down an enemy, a lump of matter which, of all the lumps of matter in the universe, I care least for, and it still grieves me. Does this not prove that each of us is only part of a whole? For ages this idea has been proclaimed in the consummately wise teachings of religion, probably not alone as a means of insuring peace and harmony among men, but as a deeply founded truth. The Buddhist expresses it in one way, the Christian in another, but both say the same: We are all one. Metaphysical proofs are, however, not the only ones which we are able to bring forth in support of this idea. Science, too, recognizes this connectedness of separate individuals, though not quite in the same sense as it admits that the suns, planets, and moons of a constellation are one body, and there can be no doubt that it will be experimentally confirmed in times to come, when our means and methods for investigating psychical and other states and phenomena shall have been brought to great perfection. Still more: this one human being lives on and on. The individual is ephemeral, races and nations come and pass away, but man remains. Therein lies the profound difference between the individual and the whole.

Don't separate the mind from the body. Don't separate even character - you can't. Our unit of existence is a body, a physical, tangible, sensate entity with perceptions and reactions that express it and form it simultaneously. Disease is one of our languages. Doctors understand what disease has to say about itself. It's up to the person with the disease to understand what the disease has to say to her.

You are the spiritual entity that emerges out of the material networks in your head.

When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.

it is presupposed that no entity can be conceived in complete abstraction from the system of the universe, and that it is the business of speculative philosophy to exhibit this truth. This character is its coherence.

Being' cannot be derived from higher concepts by definition, nor can it be presented through lower ones. But does this imply being no longer offers a problem? Not at all. We can infer only that 'Being' cannot have the character of an entity. Thus we cannot apply to Being the concept of 'definition' as presented in traditional logic, [...] which, within certain limits, provides a justifiable way of characterizing 'entities'.

I had to first overcome the nightmares: my dreams were populated by menaces, shadows, murderous persecutions, disgusting events and objects, ambiguous sexual relations that excited me while also making me feel guilty. Here, I was a character inferior to my level of consciousness in the real world, capable of misdeeds that I would never have allowed myself to perpetrate while awake. I repeated many times, like a litany, “It is I who dream, just as it is I who am awake, and not a perverse and vulnerable child. The dreams happen in me; they are part of me. All that appears is myself. These monsters are aspects of me that have not been resolved. They are not my enemies. The subconscious is my ally. I must confront the terrible images and transform them.” I often had the same nightmare: I was in a desert, and a psychic entity determined to destroy me would come from the horizon as a huge cloud of negativity. I would wake up screaming and soaked in sweat. Now, tired of this undignified flight, I decided to offer myself in sacrifice. At the climax of the dream, in a state of lucid terror, I said, “Enough, I will stop wanting to wake up! Abomination, destroy me!” The entity approached threateningly. I stood still, calm. Then, the immense threat dissolved. I woke up for a few seconds, then peacefully went back to sleep. I realized it was I myself who had fed my terrors. I now knew that what terrifies us loses all its power in the moment that we stop fighting it. I began a long period during which whenever I had dreams, instead of running I would face my enemies and ask them what they wanted to tell me. Gradually, the images transformed before me and began to offer me presents: sometimes a ring, other times a golden sphere or a pair of keys. I now understood that just as every devil is a fallen angel, every angel is also a demon that has risen.

As a historian, I found myself all too often treating my historical subjects like fictional characters, malleable entities that could be made to do one thing or another, whose motivations could be speculated upon endlessly, and whose missing actions could be reconstructed and approximated based on assessments of prior and later behaviors. It was one of the hazards with working a fragmentary source base. You had little scraps, like puzzle pieces, and you could put them together as best you could. But no matter how faithful you tried to be to the historical record, there would always be that element of guesswork, of imagination, of (if we're being totally honest) fiction.

It seems to be difficult if not impossible for human beings to avoid thinking of government as mystical entity with a nature and a history all its own. It constitutes for them a creature somehow interposed between themselves and the great flow of cosmic events, and they look to it to think for them and to protect them. In democratic countries it is theoretically their agent, but there seems to be a strong tendency to convert the presumably free citizen into its agent, or at all events, its client. This exalted view of its scope, character, powers and autonomy is fundamentally false. A government at bottom is nothing more than a group of men, and as a practical matter most of them are inferior men…. Yet these nonentities, by the intellectual laziness of men in general, have come to a degree of puissance in the world that is unchallenged by that of any other group. Their fiats, however preposterous, are generally obeyed as a matter of duty, they are assumed to have a kind of wisdom that is superior to ordinary wisdom, and the lives of multitudes are willingly sacrificed in their interest.

Once the primary bonds which gave security to the individual are severed, once the individual faces the world outside of himself as a completely separate entity, two courses re-open to him since he has to overcome the unbearable state of powerlessness and aloneness. By one course he can progress to “positive freedom”; he can relate himself spontaneously to the world in love and work, in the genuine expression of his emotional, sensuous and intellectual capacities; he can thus become one again with man, nature, and himself, without giving up the independence and integrity of his individual self. The other course open to him is to fall back, to give up his freedom, and to try to overcome his aloneness by eliminating the gap that has arisen between his individual self and the world. This second course never reunites him with the world in the way he was related to it before he merged as an “individual,” for the fact of his separateness cannot be reversed; it is an escape from an unbearable situation which would make life impossible if it were prolonged. This course of escape, therefore, is characterized by its compulsive character, like every escape from threatening panic; it is also characterized by the more or less complete surrender of individuality and the integrity of the self. Thus it is not a solution which leads to happiness and positive freedom; it is, in principle, a solution which is to be found in all neurotic phenomena. It assuages an unbearable anxiety and makes life possible by avoiding panic; yet it does not solve the underlying problem and is paid for by a kind of life that often consists only of automatic or compulsive activities.

Here it comes,” I say gleefully. “The levelheaded reason for why they stay in the house.” “Watch, the ghost won’t let them leave,” Logan guesses. He guesses wrong. On the screen, the characters argue about whether they should go, and one of the girls announces, “We’re doing important work here, guys! We’re proving the existence of paranormal entities! Science needs this. Science needs us.” I burst out laughing, shuddering against Logan’s rock-hard chest. “Did you hear that, Johnny? Science needs them.” “I fucking hate you,” he grumbles. “Five bucks…” I say in a singsong voice. His hand slides down to pinch my butt, making me squeak in surprise. “Go ahead and gloat. You win the battle by getting five bucks out of me, but I win the war.” I sit up. “How do you figure?” “Because you still have to sit through the rest of this movie, and you’re going to hate every second of it. I, on the other hand, am enjoying it immensely.” The jerk is absolutely right. Unless…

In this way, each of us has unique neural networks, which are formed, reinforced, and constantly updated by the eclectic circumstances of our lives. Once circuits are formed, that increases the chances the same circuits will fire in the future. The neural networks embody our experiences and in turn guide future action. They contain the unique way each of us carries himself in the world, the way we walk, talk, and react. They are the grooves down which our behavior flows. A brain is the record of a life. The networks of neural connections are the physical manifestation of your habits, personality, and predilections. You are the spiritual entity that emerges out of the material networks in your head.

It is the ideal of speculative philosophy that its fundamental notions shall not seem capable of abstraction from each other. In other words, it is presupposed that no entity can be conceived in complete abstraction from the system of the universe, and that it is the business of speculative philosophy to exhibit this truth. This character is its coherence.

and we had just invented the first of a set of what I would call fusion entities - characters, that could only exist when the two of us were together

What do I and a diamond have in common? We are tough, brilliant, and carbon based entities which evolved into something better under immense pressure, tribulation, and trials.

it was as if the entire day, the entire vacation even, were leading up to a single moment. he felt certain then that stan lee was in some direct communication with the universe - in a way, say, that the watcher, the most mysterious marvel character, was content like some gnostic entity merely to know of machinations of creation - and that through lee's spiritually advanced vision, paul's own destiny was entrapped in the monthly serializations of these kitschy superheroes. he seemed both influenced and influencer in the world of marvel.

If there is one ruler that can harmonize and unify the mob of characters [in our astral body], it is the Ego (the Higher Ego, or Self, or Spirit). The more the Ego shines like a sun at the center of gravity of the astral body, the more the different characters start orbiting around it. Instead of working only to satisfy their own selfish desires, the characters start manifesting the purposes of the light and of the Spirit. Instead of plotting for the success of their own ambitions, they start accomplishing the works of the Higher Self... The unveiling of the Self begins a process of unification--a new astral body slowly develops. In this new, or transformed, astral body, the different parts are penetrated by the light of the Self. Therefore they are not only united around the Self, but are also cemented to it... [Before this process], one is nothing more than an appearance: it is the illusion of being one person...

Religion, then, is far from "useless." It humanizes violence; it protects man from his own violence by taking it out of his hands, transforming it into a transcendent and ever-present danger to be kept in check by the appropriate rites appropriately observed and by a modest and prudent demeanor. Religious misinterpretation is a truly constructive force, for it purges man of the suspicions that would poison his existence if he were to remain conscious of the crisis as it actually took place. To think religiously is to envision the city's destiny in terms of that violence whose mastery over man increases as man believes he has gained mastery over it. To think religiously (in the primitive sense) is to see violence as something superhuman, to be kept always at a distance and ultimately renounced. When the fearful adoration of this power begins to diminish and all distinctions begin to disappear, the ritual sacrifices lose their force; their potency is not longer recognized by the entire community. Each member tries to correct the situation individually, and none succeeds. The withering away of the transcendental influence means that there is no longer the slightest difference between a desire to save the city and unbridled ambition, between genuine piety and the desire to claim divine status for oneself. Everyone looks on a rival enterprise as evidence of blasphemous designs. Men set to quarreling about the gods, and their skepticism leads to a new sacrificial crisis that will appear - retrospectively, in the light of a new manifestation of unanimous violence - as a new act of divine intervention and divine revenge. Men would not be able to shake loose the violence between them, to make of it a separate entity both sovereign and redemptory, without the surrogate victim. Also, violence itself offers a sort of respite, the fresh beginning of a cycle of ritual after a cycle of violence. Violence will come to an end only after it has had the last word and that word has been accepted as divine. The meaning of this word must remain hidden, the mechanism of unanimity remain concealed. For religion protects man as long as its ultimate foundations are not revealed. To drive the monster from its secret lair is to risk loosing it on mankind. To remove men's ignorance is only to risk exposing them to an even greater peril. The only barrier against human violence is raised on misconception. In fact, the sacrificial crisis is simply another form of that knowledge which grows grater as the reciprocal violence grows more intense but which never leads to the whole truth. It is the knowledge of violence, along with the violence itself, that the act of expulsion succeeds in shunting outside the realm of consciousness. From the very fact that it belies the overt mythological messages, tragic drama opens a vast abyss before the poet; but he always draws back at the last moment. He is exposed to a form of hubris more dangerous than any contracted by his characters; it has to do with a truth that is felt to be infinitely destructive, even if it is not fully understood - and its destructiveness is as obvious to ancient religious thought as it is to modern philosophers. Thus we are dealing with an interdiction that still applies to ourselves and that modern thought has not yet invalidated. The fact that this secret has been subjected to exceptional pressure in the play [Bacchae] must prompt the following lines: May our thoughts never aspire to anything higher than laws! What does it cost man to acknowledge the full sovereignty of the gods? That which has always been held as true owes its strength to Nature.

All too often we as a Black community allow systemic entities to do character reporting and judgment casting on protests, uprisings, our slain, and family/friends of our slain. This is all an attempt to distract the public from the injustices that got us there in the first place.

When people tell you that this venerable firm or private investor invested X millions of dollars in that entity and that it is a good investment, be skeptical and stay open to the option of running as far as you can in the opposite direction. We have all seen the biggest names on Wall Street along with the largest sovereign wealth funds on the planet make the dumbest investments ever made. Do your due diligence; ask the right questions, and most important, check out the character of the people involved unless you want to end up being prey to another master of the universe à la Bernie Madoff.

The novel, then, provides a reduction of the world different from that of the treatise. It has to lie. Words, thoughts, patterns of word and thought, are enemies of truth, if you identify that with what may be had by phenomenological reductions. Sartre was always, as he explains in his autobiography, aware of their being at variance with reality. One remembers the comic account of this antipathy in Iris Murdoch Under the Net, one of the few truly philosophical novels in English; truth would be found only in a silent poem or a silent novel. As soon as it speaks, begins to be a novel, it imposes causality and concordance, development, character, a past which matters and a future within certain broad limits determined by the project of the author rather than that of the characters. They have their choices, but the novel has its end. * ____________________ * There is a remarkable passage in Ortega y Gasset London essay ' History as a System' (in Philosophy and History, ed. Klibansky and Paton, 1936) which very clearly states the issues more notoriously formulated by Sartre. Ortega is discussing man's duty to make himself. 'I invent projects of being and doing in the light of circumstance. This alone I come upon, this alone is given me: circumstance. It is too often forgotten that man is impossible without imagination, without the capacity to invent for himself a conception of life, to "ideate" the character he is going to be. Whether he be original or a plagiarist, man is the novelist of himself... Among... possibilities I must choose. Hence, I am free. But, be it well understood, I am free by compulsion, whether I wish to be or not... To be free means to be lacking in constitutive identity, not to have subscribed to a determined being, to be able to be other than what one was...' This 'constitutive instability' is the human property lacking in the novels condemned by Sartre and Murdoch. Ortega differs from Sartre on the use of the past; but when he says that his free man is, willy-nilly, 'a second-hand God,' creating his own entity, he is very close to Sartre, who says that to be is to be like the hero in a novel. In one instance the eidetic image is of God, in the other of the Hero.

Considered phenomenologically—that is, as we actually experience and live it—the body is a creative, shape-shifting entity. Certainly, it has its finite character and style, its unique textures and temperaments that distinguish it from other bodies; yet these mortal limits in no way close me off from the things around me or render my relations to them wholly predictable and determinate. On the contrary, my finite bodily presence alone is what enables me to freely engage the things around me, to choose to affiliate with certain persons or places, to insinuate myself in other lives. Far from restricting my access to things and to the world, the body is my very means of entering into relation with all things.

the strangely elusive and counterintuitive character of the quantum world has encouraged some to suggest that the idea of entities like electrons which can be in unpicturable states such as superpositions of being ‘here’ and being ‘there’ is no more than a convenient manner of speaking which facilitates calculations, and that electrons themselves are not to be taken with ontological seriousness. The counterattack of the scientific realist appeals to intelligibility as the key to reality. It is precisely because the assumption of the existence of electrons allows us to understand a vast range of directly accessible phenomena—such as the periodic table in chemistry, the phenomenon of superconductivity at low temperatures and the behaviour of devices such as the laser—that we take their existence seriously.

My Standard of Performance—the values and beliefs within it—guided everything I did in my work at San Francisco and are defined as follows: Exhibit a ferocious and intelligently applied work ethic directed at continual improvement; demonstrate respect for each person in the organization and the work he or she does; be deeply committed to learning and teaching, which means increasing my own expertise; be fair; demonstrate character; honor the direct connection between details and improvement, and relentlessly seek the latter; show self-control, especially where it counts most—under pressure; demonstrate and prize loyalty; use positive language and have a positive attitude; take pride in my effort as an entity separate from the result of that effort; be willing to go the extra distance for the organization; deal appropriately with victory and defeat, adulation and humiliation (don’t get crazy with victory nor dysfunctional with loss); promote internal communication that is both open and substantive (especially under stress); seek poise in myself and those I lead; put the team’s welfare and priorities ahead of my own; maintain an ongoing level of concentration and focus that is abnormally high; and make sacrifice and commitment the organization’s trademark.

This synergistic character of nonlinear systems is precisely what makes them so difficult to analyze. They can’t be taken apart. The whole system has to be examined all at once, as a coherent entity. As we’ve seen earlier, this necessity for global thinking is the greatest challenge in understanding how large systems of oscillators can spontaneously synchronize themselves. More generally, all problems about self-organization are fundamentally nonlinear. So the study of sync has always been entwined with the study of nonlinearity.

there is in man an immaterial Something (called the soul, spirit, inner self, or many other names) which does not perish at the death or disintegration of the body, but which persists as an entity, and after a shorter or longer interval of rest reincarnates, or is re-born, into a new body—that of an unborn infant—from whence it proceeds to live a new life in the body, more or less unconscious of its past existences, but containing within itself the "essence" or results of its past lives, which experiences go to make up its new "character," or "personality.

If he does find himself back in the mountain of Marvels, or if he never leaves it, I hope he finds its glorious imaginary world changing all the time, keeping pace with the real one in which he lives, and I hope he appreciates it for changing. I hope, too, that what he cares about is the story itself -- the characters, the images, the imaginative leaps and eleventh-hour improvisations that hold it together -- and its creators, rather than the business entity that stamped a logo everywhere on it. A story can never leave you; a corporation can never love you back.

As the all-encompassing world-soul Purusha has a maternal character, for he represents the original “dawn state” of the psyche: he is the encompasser and the encompassed, mother and unborn child, an undifferentiated, unconscious state of primal being. As such a condition must be terminated, and as it is at the same time an object of regressive longing, it must be sacrificed in order that discriminated entities—i.e., conscious contents—may come into being: Him, Purusha, born at the beginning, they besprinkled on the straw; the gods sacrificed with him, and the saints and the sages.

In other words, Hitler's soul life was not mature enough at that moment to maintain an awareness of himself and his surroundings when this alien entity entered him. During the following six months during a series of irregular meetings and discussions with Hitler, Walter Stein was to witness a maturing soul development in this enigmatic character through which he became more and more a conscious and responsive tool of the world-shattering purposes of the demonic Spirit which overshadowed him. 'I move like a sleep-walker where Providence dictates,' said Adolf Hitler at a press interview.

You have people out here trying to tell you to accept imperfections and that nobody is perfect (except for a dead/make-believe entity?) but if you are telling yourself that you are not perfect, aren't you downgrading your own character? Why would you keep telling yourself you are less than what you are? Why destroy your pride? People, raise your heads and gain some vanity. If you are the best in the world at what you do, and the best in the world in who you are, you are certainly perfect. The only way you are not perfect, is if you let everyone fool you into believing you are not perfect; that you are the same as everyone else - less than what you are and could be.

When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of those subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time.

The definition of superb animation is that each character on the screen makes you believe it is a thinking being. Whether it’s a T-Rex or a slinky dog or a desk lamp, if viewers sense not just movement but intention—or, put another way, emotion—then the animator has done his or her job. It’s not just lines on paper anymore; it’s a living, feeling entity. This is what I experienced that night, for the first time, as I watched Donald leap off the page. The transformation from a static line drawing to a fully dimensional, animated image was sleight of hand, nothing more, but the mystery of how it was done—not just the technical process but the way the art was imbued with such emotion—was the most interesting problem I’d ever considered. I wanted to climb through the TV screen and be part of this world.

The year 1992 was the countdown year for the formation of the European single market, the regional economic entity—utopian for some, dystopian for others—now intended to recenter Europe in a global politics fragmented in the wake of the breakup of the Soviet Union....The year 1992 was also when the action adventure TV series Highlander first premiered—“the first European co-produced weekly hour to be sold into the US syndication market.” ...My own pleasure in Highlander began with the principal actor Adrian Paul’s eroticized image. I immediately (and somewhat idiosyncratically) “recognized” it as gay (the image, not necessarily the main story character Duncan MacLeod, or the actor Adrian Paul). It was in this “recognition” that I discovered my pleasure in the show. As a lesbian I was surprised: this was really the first TV show since my adolescence in which an eroticized male image seemed so powerfully attractive to me. Perhaps that is why I assumed it was somehow gay....

Connection with the world is built in to every aspect of our being. […] We’re joined to the cosmos and the everyday world as described by science in countless ways: the elements composing our bodies are the products of the Big Bang and stellar evolution; most of our DNA is shared with other beings; our perceptions and sensations are all mediated by processes involving photons, electrons, ions, neurotransmitters and other entirely physical entities; and our character and behavior is fully a function of genetics and environment. We are, therefore, fully linked with our surroundings in time, space, matter/energy, and causality. In fact, no more intimate connection with the totality of what is could be imagined. So, from a naturalistic perspective, there is an empirically valid referent for the sense of cosmic consciousness encountered in spiritual experience. The feeling of unity generated by (actually, identical to) the quieting of the orientation mechanisms in the brain mirrors the objective state of our complete interconnection with the world.

She has a genius,” distinguished Simon Iff. “Her dancing is a species of angelic possession, if I may coin a phrase. She comes off the stage from an interpretation of the subtlest and most spiritual music of Chopin or Tschaikowsky; and forthwith proceeds to scold, to wheedle, or to blackmail. Can you explain that reasonably by talking of ‘two sides to her character’? It is nonsense to do so. The only analogy is that of noble thinker and his stupid, dishonest, and immoral secretary. The dictation is taken down correctly, and given to the world. The last person to be enlightened by it is the secretary himself! So, I take it, is the case with all genius; only in many cases the man is in more or less conscious harmony with his genius, and strives eternally to make himself a worthier instrument for his master’s touch. The clever man, so-called, the man of talent, shuts out his genius by setting up his conscious will as a positive entity. The true man of genius deliberately subordinates himself, reduces himself to a negative, and allows his genius to play through him as It will. We all know how stupid we are when we try to do things. Seek to make any other muscle work as consistently as your heart does without your silly interference—you cannot keep it up for forty-eight hours. All this, which is truth ascertained and certain, lies at the base of the Taoistic doctrine of non-action; the plan of doing everything by seeming to do nothing. Yield yourself utterly to the Will of Heaven, and you become the omnipotent instrument of that Will. Most systems of mysticism have a similar doctrine; but that it is true in action is only properly expressed by the Chinese. Nothing that any man can do will improve that genius; but the genius needs his mind, and he can broaden that mind, fertilize it with knowledge of all kinds, improve its powers of expression; supply the genius, in short, with an orchestra instead of a tin whistle. All our little great men, our one-poem poets, our one-picture painters, have merely failed to perfect themselves as instruments.

come to call “ideograms.” An ideogram is often a pictorial character that refers not to the visible entity that it explicitly pictures but to some quality or other phenomenon readily associated with that entity. Thus—to invent a simple example—a stylized image of a jaguar with its feet off the ground might come to signify “speed.” For the Chinese, even today, a stylized image of the sun and moon together signifies “brightness”; similarly, the word for “east” is invoked by a stylized image of the sun rising behind a tree.5 The efficacy of these pictorially derived systems necessarily entails a shift of sensory participation away from the voices and gestures of the surrounding landscape toward our own human-made images. However, the glyphs which constitute the bulk of these ancient scripts continually remind the reading body of its inherence in a more-than-human field of meanings. As signatures not only of the human form but of other animals, trees, sun, moon, and landforms, they continually refer our senses beyond the strictly human sphere.6 Yet even a host of pictograms and related ideograms will not suffice for certain terms that exist in the local discourse. Such terms may refer to phenomena that lack any precise visual association. Consider, for example, the English word “belief.” How might we signify this term in a pictographic, or ideographic, manner? An image of a phantasmagorical monster, perhaps, or one of a person in prayer. Yet no such ideogram would communicate the term as readily and precisely as the simple image of a bumblebee, followed by the figure of a leaf. We could, that is, resort to a visual pun, to images of things that have nothing overtly to do with belief but which, when named in sequence, carry the same sound as the spoken term “belief” (“bee-leaf”). And indeed, such pictographic puns, or rebuses, came to be employed early on by scribes in ancient China and in Mesoamerica as well as in the Middle East, to record certain terms that were especially amorphous or resistant to visual representation. Thus, for instance, the Sumerian word ti, which means

The first thing to note about Korean industrial structure is the sheer concentration of Korean industry. Like other Asian economies, there are two levels of organization: individual firms and larger network organizations that unite disparate corporate entities. The Korean network organization is known as the chaebol, represented by the same two Chinese characters as the Japanese zaibatsu and patterned deliberately on the Japanese model. The size of individual Korean companies is not large by international standards. As of the mid-1980s, the Hyundai Motor Company, Korea’s largest automobile manufacturer, was only a thirtieth the size of General Motors, and the Samsung Electric Company was only a tenth the size of Japan’s Hitachi.1 However, these statistics understate their true economic clout because these businesses are linked to one another in very large network organizations. Virtually the whole of the large-business sector in Korea is part of a chaebol network: in 1988, forty-three chaebol (defined as conglomerates with assets in excess of 400 billion won, or US$500 million) brought together some 672 companies.2 If we measure industrial concentration by chaebol rather than individual firm, the figures are staggering: in 1984, the three largest chaebol alone (Samsung, Hyundai, and Lucky-Goldstar) produced 36 percent of Korea’s gross domestic product.3 Korean industry is more concentrated than that of Japan, particularly in the manufacturing sector; the three-firm concentration ratio for Korea in 1980 was 62.0 percent of all manufactured goods, compared to 56.3 percent for Japan.4 The degree of concentration of Korean industry grew throughout the postwar period, moreover, as the rate of chaebol growth substantially exceeded the rate of growth for the economy as a whole. For example, the twenty largest chaebol produced 21.8 percent of Korean gross domestic product in 1973, 28.9 percent in 1975, and 33.2 percent in 1978.5 The Japanese influence on Korean business organization has been enormous. Korea was an almost wholly agricultural society at the beginning of Japan’s colonial occupation in 1910, and the latter was responsible for creating much of the country’s early industrial infrastructure.6 Nearly 700,000 Japanese lived in Korea in 1940, and a similarly large number of Koreans lived in Japan as forced laborers. Some of the early Korean businesses got their start as colonial enterprises in the period of Japanese occupation.7 A good part of the two countries’ émigré populations were repatriated after the war, leading to a considerable exchange of knowledge and experience of business practices. The highly state-centered development strategies of President Park Chung Hee and others like him were formed as a result of his observation of Japanese industrial policy in Korea in the prewar period.

(3) Theology of Exodus: A Covenant People “I will take you as my own people, and I will be your God” (Exod 6:7). When God first demanded that the Egyptian Pharaoh let Israel leave Egypt, he referred to Israel as “my … people.” Again and again he said those famous words to Pharaoh, Let my people go.56 Pharaoh may not have known who Yahweh was,57 but Yahweh certainly knew Israel. He knew them not just as a nation needing rescue but as his own people needing to be closely bound to him by the beneficent covenant he had in store for them once they reached the place he was taking them to himself, out of harm's way, and into his sacred space.58 To be in the image of God is to have a job assignment. God's “image”59 is supposed to represent him on earth and accomplish his purposes here. Reasoning from a degenerate form of this truth, pagan religions thought that an image (idol) in the form of something they fashioned would convey to its worshipers the presence of a god or goddess. But the real purpose of the heavenly decision described in 1:26 was not to have a humanlike statue as a representative of God on earth but to have humans do his work here, as the Lord's Prayer asks (“your will be done on earth as it is in heaven,” Matt 6:10). Although the fall of humanity as described in Genesis 3 corrupted the ability of humans to function properly in the image of God, the divine plan of redemption was hardly thwarted. It took the form of the calling of Abraham and the promises to him of a special people. In both Exod 6:6–8 and 19:4–6 God reiterates his plan to develop a people that will be his very own, a special people that, in distinction from all other peoples of the earth, will belong to him and accomplish his purposes, being as Exod 19:6 says “a kingdom of priests and a holy nation.” Since the essence of holiness is belonging to God, by belonging to God this people became holy, reflecting the character of their Lord as well as being obedient to his purposes. No other nation in the ancient world ever claimed Yahweh as its God, and Yahweh never claimed any other nation as his people. This is not to say that he did not love and care for other nations60 but only to say that he chose Israel as the focus of his plan of redemption for the world. In the New Testament, Israel becomes all who will place faith in Jesus Christ—not an ethnic or political entity at all but now a spiritual entity, a family of God. Thus the New Testament speaks of the true Israel as defined by conversion to Christ in rebirth and not by physical birth at all. But in the Old Covenant, the true Israel was the people group that, from the various ethnic groups that gathered at Sinai, agreed to accept God's covenant and therefore to benefit from this abiding presence among them (see comments on Exod 33:12–24:28). Exodus is the place in the Bible where God's full covenant with a nation—as opposed to a person or small group—emerges, and the language of Exod 6:7, “I will take you as my own people, and I will be your God,” is language predicting that covenant establishment.61

In Leibniz we can already find the striking observation that *cogitatur ergo est* is no less evident than *cogito ergo sum*. Naturally, *est* here does not mean existence or reality but being of whatever kind and form, including even ideal being, fictive being, conscious-being [*Bewusst-Sein*], etc. However, we must go even beyond this thesis of Leibniz. The correlate of the act of *cogitatio* is not, as Leibniz said, being simply, but only that type of being we call "objectifiable being." Objectifiable being must be sharply distinguished from the non-objectifiable being of an act, that is, from a kind of entity which possesses its mode of being only in performance [*Vollzug*], namely, in the performance of the act. "Being," in the widest sense of the word, belongs indeed to the being-of-an-act [*Akt-Sein*], to *cogitare*, which does not in turn require another *cogitare*. Similarly, we are only vaguely "aware" of our drives [*Triebleben*] without having them as objects as we do those elements of consciousness which lend themselves to imagery. For this reason the first order of evidence is expressed in the principle, "There is something," or, better, "There is not nothing." Here we understand by the word "nothing" the negative state of affairs of not-being in general rather than "not being something" or "not being actual." A second principle of evidence is that everything which "is" in any sense of the possible kinds of being can be analyzed in terms of its character or essence (not yet separating its contingent characteristics from its genuine essence) and its existence in some mode. With these two principles we are in a position to define precisely the concept of knowledge, a concept which is prior even to that of consciousness. Knowledge is an ultimate, unique, and underivable ontological relationship between two beings. I mean by this that any being A "knows" any being B whenever A participates in the essence or nature of B, without B's suffering any alteration in its nature or essence because of A's participation in it. Such participation is possible both in the case of objectifiable being and in that of active [*akthaften*] being, for instance, when we repeat the performance of the act; or in feelings, when we relive the feelings, etc. The concept of participation is, therefore, wider than that of objective knowledge, that is, knowledge of objectifiable being. The participation which is in question here can never be dissolved into a causal relation, or one of sameness and similarity, or one of sign and signification; it is an ultimate and essential relation of a peculiar type. We say further of B that, when A participates in B and B belongs to the order of objectifiable being, B becomes an "objective being" ["*Gegenstand"-sein*]. Confusing the being of an object [*Sein des Gegenstandes*] with the fact that an entity is an object [*Gegenstandssein eines Seienden*] is one of the fundamental errors of idealism. On the contrary, the being of B, in the sense of a mode of reality, never enters into the knowledge-relation. The being of B can never stand to the real bearer of knowledge in any but a causal relation. The *ens reale* remains, therefore, outside of every possible knowledge-relation, not only the human but also the divine, if such exists. Both the concept of the "intentional act" and that of the "subject" of this act, an "I" which performs acts, are logically posterior. The intentional act is to be defined as the process of becoming [*Werdesein*] in A through which A participates in the nature or essence of B, or that through which this participation is produced. To this extent the Scholastics were right to begin with the distinction between an *ens intentionale* and an *ens reale*, and then, on the basis of this distinction, to distinguish between an intentional act and a real relation between the knower and the being of the thing known." ―from_Idealism and Realism_

This is the way in which everyday Dasein always is: when I open the door, for instance, I use the latch. The achieving of phenomenological access to the entities which we encounter, consists rather in thrusting aside our interpretive tendencies, which keep thrusting themselves upon us and running along with us, and which conceal not only the phenomenon of such “concern,” but even more those entities themselves as encountered of their own accord in our concern with them. . . . In addressing these entities as “Things” (res), we have tacitly anticipated their ontological character. When analysis starts with such entities and goes on to inquire about Being, what it meets is Thinghood and Reality. (Heidegger, BT 96/67–68)

One may drive out, one's entity; however, it cannot change or beat one's character since it is nature not the degree from an institution.

I do not see and watch the beauty of the face, nor it influences me, but I go into the one's character to find and see the beauty that rules my entire entity. With that, face beauty is just a bonus.

If one grasps the point that the human is a collection of the distinctive and odour smell, within visible and invisible parts of its entity, until fragrances its character, may not wear and execute the conduct of vanity since it exhibits the ego

There is finitude—unless this were true, infinity would have no meaning. The contrast of finitude and infinity arises from the fundamental metaphysical truth that every entity involves an indefinite array of perspectives, each perspective expressing a finite characteristic of that entity. But any one finite perspective does not enable an entity to shake off its essential connection with totality. The infinite background always remains as the unanalysed reason why that finite perspective of that entity has the special character that it does have. Any analysis

The term persona comes to us from the Roman and Etruscan theater, where it denoted the mask worn by the actor and therefore the character whom the actor portrayed. The term was borrowed by Roman law to describe any entity that has judiciable rights and duties, including corporate entities and other more abstract constructions. It was borrowed again by early Christian theologians in order to explain the doctrine of the Trinity, by distinguishing the three persons of God. Discussions of the Trinity led to the view that personhood belongs to the essence of whatever possesses it, and the sixth-century philosopher Boethius took this as his cue in defining the essential nature of the human being. For Boethius the human person is “an individual substance of a rational nature.”19 That definition was adopted by Aquinas and remained in place until the Enlightenment, when two great philosophers—Locke and Kant—saw fit to reexamine the whole idea and untangle its many strands. According to Boethius’s

The Childhood of a Leader’, written in 1938, Sartre examined a character, Lucien, who shores up an identity for himself as an anti-Semite mainly in order to be something. He is pleased when he hears someone else say of him, ‘Lucien can’t stand Jews.’ It gives him the illusion that he simply is the way he is. Bad faith here makes an entity out of a nonentity.

In provisionally characterizing the object which serves as the theme of our investigation (the Being of entities, or the meaning of Being in general), it seems that we have also delineated the method to be employed. The task of ontology is to explain Being itself and to make the Being of entities stand out in full relief. And the method of ontology remains questionable in the highest degree as long as we merely consult those ontologies which have come down to us historically, or other essays of that character. Since the term "ontology" is used in this investigation in a sense which is formally broad, any attempt to clarify the method of ontology by tracing its history is automatically ruled out. When, moreover, we use the term "ontology," we are not talking about some definite philosophical discipline standing in interconnection with the others. Here one does not have to measure up to the tasks of some discipline that has been presented beforehand; on the contrary, only in terms of the objective necessities of definite questions and the kind of treatment which the 'things themselves' require, can one develop such a discipline. With the question of the meaning of Being, our investigation comes up against the fundamental question of philosophy. This is one that must be treated *phenomenologically*. Thus our treatise does not subscribe to a 'standpoint' or represent any special 'direction'; for phenomenology is nothing of either sort, nor can it become so as long as it understands itself. The expression 'phenomenology' signifies primarily a *methodological conception*. This expression does not characterize the what of the objects of philosophical research as subject-matter, but rather the *how* of that research. The more genuinely a methodological concept is worked out and the more comprehensively it determines the principles on which a science is to be conducted, all the more primordially is it rooted in the way we come to terms with the things themselves, and the farther is it removed from what we call "technical devices," though there are many such devices even in the theoretical disciplines. Thus the term 'phenomenology' expresses a maxim which can be formulated as 'To the things themselves!' It is opposed to all free-floating constructions and accidental findings; it is opposed to taking over any conceptions which only seem to have been demonstrated; it is opposed to those pseudo-questions which parade themselves as 'problems', often for generations at a time. Yet this maxim, one may rejoin, is abundantly self-evident, and it expresses, moreover, the underlying principle of any scientific knowledge whatsoever. Why should anything so self-evident be taken up explicitly in giving a title to a branch of research? In point of fact, the issue here is a kind of 'self-evidence' which we should like to bring closer to us, so far as it is important to do so in casting light upon the procedure of our treatise. We shall expound only the preliminary conception [Vorbegriff] of phenomenology. This expression has two components: "phenomenon" and "logos." Both of these go back to terms from the Greek: φαινόμενον and λόγος. Taken superficially, the term "phenomenology" is formed like "theology," "biology," "sociology"―names which may be translated as "science of God," "science of life," "science of society." This would make phenomenology the *science of phenomena*. We shall set forth the preliminary conception of phenomenology by characterizing what one has in mind in the term's two components, 'phenomenon' and 'logos', and by establishing the meaning of the name in which these are *put together*. The history of the word itself, which presumably arose in the Wolffian school, is here of no significance." ―from_Being and Time_. Translated by John Macquarrie & Edward Robinson, pp. 49-51

When she mentioned Hegel, the early-nineteenth-century philosopher, the other girls in the classroom rolled their eyes and began mumbling to one another in French, their voices hissing with disdain. Clearly Hegel had been a topic of discussion before. Corine was right that the famous philosopher thought little of Africa and African people. He wrote that African history, whatever there was of it, contributed nothing to global development and world history. In his work, he wrote of the inferiority of Africans and how they did not possess the capacity to be seen as fully human but instead existed as static subordinate entities. “From these various traits it is manifest that want of self-control distinguishes the character of the Negroes. This condition is capable of no development or culture, and as we see them at this day, such have they always been. The only essential connection that has existed and continued between the Negroes and the Europeans is that of slavery.

Hero Worship (The Sonnet) We used to worship the sun and the moon, We used to worship stones and trees. Then reason grew stronger along with imagination, So our worship shifted from elements to entities. Some of them were real and some fully fictitious, We just needed an excuse to externalize our divinity. Even today we keep inventing fictitious characters, Despite knowing they are fiction we pledge our loyalty. It seems like we are always holding out for a hero, Outside our very own everyday, ordinary psyche. Fiction is healthy so long as we grow no dependency, Real heroes are just humans standing unbent on duty. Enough with worship of fiction from comics and scriptures! It's time to be the hero and take the world on our shoulders.

Returning to the screen example, we can easily understand how Consciousness stays immaculate despite what happens in the movie. If there’s a fire in the movie, it doesn’t affect the screen one bit. Currently, the vast majority of humans identify themselves with the movie and its characters (ego-mind). Those who want to wake up from this mass delusion have to recognize their true essence as the eternal and ever-pure screen of Consciousness, disidentifying from the temporary and restless false self known as ego. Ego is “I,” the feeling of being a separate entity always seeking something; it’s a “blend” of consciousness with the finite qualities of the body and mind. It’s as if the screen believed itself to be a character in the movie, subject to whatever was happening in it and limited by its length, being finite.

These, then, were impelled by the concentrating of the rays from the stone that was centered in the middle of the power station, or power house (that would be termed in the present). In the active forces of these the entity brought destructive forces, by the setting up – in various portions of the land – the character that was to act as producing the powers in the various forms of the people’s activities in the cities, the towns, the countries surrounding same. These, not intentionally, were TUNED too high – and brought the second period of destructive forces to the peoples in the land, and broke up the land into the isles that later became the periods when the further destructive forces were brought in the land.

The radical unravelling of character is a consequence of Joyce’s rewriting procedures. Initially, Joyce drafted particular characters that are peculiar in being dehistoricized, their social contexts unspecified, as a rule absurd, with an inconsistent mixing of historical allusion. They are carriers of Joyce’s exercises in style, rather than self-consistent entities. They have neither clear origins nor destinies, and float out of the scriptural ether like the ventriloquized voices that issue from the medium Yawn. Over time, rather than becoming more specific, they proliferate, change name, sex, nation, class, period. Any clue to a naturalistic context that might be provided—such as their form of employment, for instance (writer, alchemist, postman, Madame of a brothel, striptease artist, mercenary, innkeeper, General, tailor, policeman) — is quickly qualified and elaborated rapidly in revision, by incorporating some element from another conflicting historical framework. The consequent multiplication of temporal and spatial contexts means that the delineating limits of character blur. It is through revision that character is refracted and multiplied, stretched across incompatible and incongruous realms. Characters begin to overlap. The incongruities produce the comic surrealism of the text, its fast-moving encyclopedism and, by reaching across and embracing wide fields of reference, provide the base to interpret Finnegans Wake as an all-encompassing ‘universal’ myth. But the effects of Joyce’s revisions and the characterization of his revisions also undo this universal myth and explode universality.

That which you call your soul or spirit is your consciousness, and that which you call ‘free will’ is your mind’s freedom to think or not, the only will you have, your only freedom, the choice that controls all the choices you make and determines your life and your character. “Thinking is man’s only basic virtue, from which all the others proceed. And his basic vice, the source of all his evils, is that nameless act which all of you practice, but struggle never to admit: the act of blanking out, the willful suspension of one’s consciousness, the refusal to think—not blindness, but the refusal to see; not ignorance, but the refusal to know. It is the act of unfocusing your mind and inducing an inner fog to escape the responsibility of judgment—on the unstated premise that a thing will not exist if only you refuse to identify it, that A will not be A so long as you do not pronounce the verdict ‘It is.’ Non-thinking is an act of annihilation, a wish to negate existence, an attempt to wipe out reality. But existence exists; reality is not to be wiped out, it will merely wipe out the wiper. By refusing to say ‘It is,’ you are refusing to say ‘I am.’ By suspending your judgment, you are negating your person. When a man declares: ‘Who am I to know?’—he is declaring: ‘Who am I to live?’ “This, in every hour and every issue, is your basic moral choice: thinking or non-thinking, existence or non-existence, A or non-A, entity or zero. “To the extent to which a man is rational, life is the premise directing his actions. To the extent to which he is irrational, the premise directing his actions is death.

Theorems holding in intuitionistic, but not in classical, mathematics often originate from the circumstance that for mathematical entities belonging to a certain species the inculcation of a certain property imposes a special character on their way of development from the basic intuition; and that from this compulsory special character properties ensue which for classical mathematics are false. Striking examples are the modern theorems that the continuum does not split, and that a full function of the unit continuum is necessarily uniformly continuous.

Lewis told Margaret stories about Wren, who at times seemed like a character in a wonderful book, a static entity whose movements, while profound, would always be limited to a finite story.

2012 Continuation of Andy’s Correspondence   Since I’m on the topic of Oneness, I had many heated debates on this subject with your ex-tutor, Alain Dubois. Unlike our material world, which is dependent on pairs of opposites, I believe that the place we originated from is devoid of dichotomies. In this other world, the concepts of up and down are void. The same applies to death and life. There is no north or south, no male or female, no right or wrong. In our current existence, we think in dichotomies and identify ourselves using opposites; we are opinionated about what we like, what tastes good, what feels good, and so on. These polar opposites express what we have liked and disliked among our experiences. Since we reside in a world of contrasts and contrast requires more than one element, the idea of Oneness is almost impossible to grasp. Therefore, we are constantly dwelling in a world of twoness. How then is it possible for humans to grasp the idea of oneness in the realm of nonbeing we occupied before we came into beingness? A fine example would be this: we don’t think of our fingers, legs, arms, toes, and eyes as separate entities from our person. Even though they have their unique qualities and character, we don’t refer to our fingers as being separate from ourselves. All these seemingly separate parts are a part of the whole, or oneness, we refer to as ‘self.’ We, the Source or God, were one before we manifested in this world. Therefore, the concept of Oneness means discarding all ideas of separation from anything and anyone. One of the ways we can simulate Oneness is through silence - where there are no names and no things. In the silence, we can feel our connection to everyone and everything: to the Tao, the Oneness that keeps universal order, where form is created from nothingness and vice versa. Young, take a moment to imagine that you are free of all labels, separation, and judgments about our world and the life inhabiting it; you’ll then begin to understand Oneness. The Source of being is an energy field where anger or resentment toward anyone or anything are obsolete, since everyone and everything is Spirit. You are this Spirit: the Source/the God. The meaning of life will be revealed to you by easing into the silence, and you can find it without having to leave your body through death. You will be able to return to the Oneness and Nothingness while in physical form. Peace and your life’s purpose will flow easily through you when you are close to your original nature. I’m sure you are already aware of this without me carrying on about the Oneness of Being. I’ll rest at this juncture and I look forward to your response. Yours truly, Andy

As soon as Mr. Clinton became the president, Mrs. Clinton and her staff sought to repair the Clinton brand among groups they thought had been damaged during the campaign, scheduling galas, balls, and dinners. They hosted open house tours day and night, especially around Christmas and for the military. What she and her staffers failed to realize was that the White House had a budget like any other government entity. Each shindig still had to be paid either from the Executive Residence budget or the Democratic Party’s purse. Event planners dropped the ball on costs. One Rose Garden event required big, rented, air-conditioned tents that ruined the lawn. Landscaping crews and the National Park Service tore up all the dead grass, installed new sod, and sent them the bill. That’s expensive. But you can’t just have a whole White House lawn muddy and looking like crap. “Just get it done,” staffers would say. Party rental companies refused future events until they were paid. The discussions were plain embarrassing, but when I heard them I wasn’t eavesdropping. They were shouted in the hallway. The Clintons believed that a magic royal pot of money somehow existed for their every whim.

Being, as the basic theme of philosophy, is no class or genus of entities; yet it pertains to every entity. Its 'universality' is to be sought higher up. Being and the structure of Being lie beyond every entity and every possible character which an entity may possess. *Being is a transcendens pure and simple*. And the transcendence of Dasein's Being is distinctive in that it implies the possibility and the necessity of the most radical *individuation*. Every disclosure of Being as the *transcendens* is *transcendental* knowledge. *Phenomenological truth (the disclosedness of Being) is veritas transcendentalis*. Ontology and phenomenology are not two distinct philosophical disciplines among others. These terms characterize philosophy itself with regard to its object and its way of treating that object. Philosophy is universal phenomenological ontology, and takes its departure from the hermeneutic of Dasein, which, as an analytic of *existence*, has made fast the guide-line for all philosophical inquiry at the point where it *arises* and to which it *returns*." ―from_Being and Time_. Translated by John Macquarrie & Edward Robinson, p. 62

(1) each entity possesses a freedom and causality of its own, which can resist the divine purpose, and (2) God’s loving character precludes his violating the freedom of particular things by determining what they will or will not do. God, in the view of process theists, acts only by persuasion.42 Both