Famous Introduction Quotes

The status of celebrity offers the promise of being showered with ‘all good things’ that capitalism has to offer. The grotesque display of celebrity lives (and deaths) is the contemporary form of the cult of personality; those ‘famous for being famous’ hold out the spectacular promise of the complete erosion of a autonomously lived life in return for an apotheosis as an image. - From Martin Jenkins' Introduction

If this constant sliding and hiding of meaning were true of conscious life, then we would of course never be able to speak coherently at all. If the whole of language were present to me when I spoke, then I would not be able to articulate anything at all. The ego, or consciousness, can therefore only work by repressing this turbulent activity, provisionally nailing down words on to meanings. Every now and then a word from the unconscious which I do not want insinuates itself into my discourse, and this is the famous Freudian slip of the tongue or parapraxis. But for Lacan all our discourse is in a sense a slip of the tongue: if the process of language is as slippery and ambiguous as he suggests, we can never mean precisely what we say and never say precisely what we mean. Meaning is always in some sense an approximation, a near-miss, a part-failure, mixing non-sense and non-communication into sense and dialogue.

For everyone, though, the persona must relate to objects and protect the subject. This is its dual function. While introverts can be very outgoing with a few people, in a large group they shrink and disappear and the persona often feels inadequate, particularly with strangers and in situations in which the introvert does not occupy a defined role. Cocktail parties are a torture, but acting a role on stage may be a pure joy and pleasure. Many famous actors and actresses are quite deeply introverted. In private they may be shy, but given a public role they feel protected and secure and can easily pass as the most extroverted types imaginable.

Finding a taxi, she felt like a child pressing her nose to the window of a candy store as she watched the changing vista pass by while the twilight descended and the capital became bathed in a translucent misty lavender glow. Entering the city from that airport was truly unique. Charles de Gaulle, built nineteen miles north of the bustling metropolis, ensured that the final point of destination was veiled from the eyes of the traveller as they descended. No doubt, the officials scrupulously planned the airport’s location to prevent the incessant air traffic and roaring engines from visibly or audibly polluting the ambience of their beloved capital, and apparently, they succeeded. If one flew over during the summer months, the visitor would be visibly presented with beautifully managed quilt-like fields of alternating gold and green appearing as though they were tilled and clipped with the mathematical precision of a slide rule. The countryside was dotted with quaint villages and towns that were obviously under meticulous planning control. When the aircraft began to descend, this prevailing sense of exactitude and order made the visitor long for an aerial view of the capital city and its famous wonders, hoping they could see as many landmarks as they could before they touched ground, as was the usual case with other major international airports, but from this point of entry, one was denied a glimpse of the city below. Green fields, villages, more fields, the ground grew closer and closer, a runway appeared, a slight bump or two was felt as the craft landed, and they were surrounded by the steel and glass buildings of the airport. Slightly disappointed with this mysterious game of hide-and-seek, the voyager must continue on and collect their baggage, consoled by the reflection that they will see the metropolis as they make their way into town. For those travelling by road, the concrete motorway with its blue road signs, the underpasses and the typical traffic-logged hubbub of industrial areas were the first landmarks to greet the eye, without a doubt, it was a disheartening first impression. Then, the real introduction began. Quietly, and almost imperceptibly, the modern confusion of steel and asphalt was effaced little by little as the exquisite timelessness of Parisian heritage architecture was gradually unveiled. Popping up like mushrooms were cream sandstone edifices filigreed with curled, swirling carvings, gently sloping mansard roofs, elegant ironwork lanterns and wood doors that charmed the eye, until finally, the traveller was completely submerged in the glory of the Second Empire ala Baron Haussmann’s master plan of city design, the iconic grand mansions, tree-lined boulevards and avenues, the quaint gardens, the majestic churches with their towers and spires, the shops and cafés with their colourful awnings, all crowded and nestled together like jewels encrusted on a gold setting.

Hey guys!” Hey Boom. “Oooh, is this the introduction?” Yes. Now clear off. You’re in the spotlight. “Oh come on! I wanna be in the story too.” “Clear off Boom! Leave this part to the famous people.” “Famous? Are you kidding? There is no one more famous than the mighty Dr. Boom!” Dude, it’s been what, four books since we last saw you? Our first readers have probably died from old age by now. “LET ME HAVE THE SPOTLIGHT!” NEVER! ON WITH THE STORY! “NOOOOOOOOOOO!

Jeremy Bentham opened his Introduction to the Principles of Morals and Legislation with the famous sentence “Nature has placed mankind under the governance of two sovereign masters, pain and pleasure. It is for them alone to point out what we ought to do, as well as to determine what we shall do.

Marbury v. Madison, the Marshall Court’s best-known case, and one of the most famous in Supreme Court history, was decided early in the chief justice’s tenure, on February 24, 1803. It grew out of the tense and messy transition of power from the Adams Federalists to the Jeffersonian Republicans after the election of 1800.

Later in 1776, Paine accompanied the Continental army in its retreat from New Jersey to Philadelphia.   During this time, Paine began a new series of pamphlets.   Eventually, these sixteen pamphlets became The American Crisis.   In them, Paine comments on the American war effort and urges the colonists to keep fighting.    This pamphlet, the first in the series, is perhaps the most famous.   The pamphlet was read to George Washington’s troops in December 1776.   Days later, these same troops crossed the Delaware River and attacked the British encampment in Trenton, New Jersey.   The pamphlet opens with a familiar line: “These are the times that try men’s souls.

We were developing a principle with the music box that we tried to stick with for the rest of our toy career,” Ruth explained. “If you develop a basic mechanism or a basic concept, you develop one or two or three items around that concept at the initial introduction, and then year after year you add new products around the initial concept.

With the introduction of Scarlett O’Hara and Rhett Butler, Miss Mitchell managed to create the two most famous lovers in the English-speaking world since Romeo and Juliet. Scarlett springs alive in the first sentence of the book and holds the narrative center for over a thousand pages. She is a fabulous, pixilated, one-of-a-kind creation, and she does not utter a dull line in the entire book.

TC Campbell doesn’t need any introduction, the man is a legend in the prison community and outside when this very strong-minded man was trying to prove his innocence for the six murders he had been convicted for. TC went on a fifty-day hunger strike, he ended up in hospital. This man was willing to die to prove his innocence, if he never done his famous hunger strike he probably would have never go the MPS in government to sit up and take note.

Eliot's understanding of poetic epistemology is a version of Bradley's theory, outlined in our second chapter, that knowing involves immediate, relational, and transcendent stages or levels. The poetic mind, like the ordinary mind, has at least two types of experience: The first consists largely of feeling (falling in love, smelling the cooking, hearing the noise of the typewriter), the second largely of thought (reading Spinoza). The first type of experience is sensuous, and it is also to a great extent monistic or immediate, for it does not require mediation through the mind; it exists before intellectual analysis, before the falling apart of experience into experiencer and experienced. The second type of experience, in contrast, is intellectual (to be known at all, it must be mediated through the mind) and sharply dualistic, in that it involves a breaking down of experience into subject and object. In the mind of the ordinary person, these two types of experience are and remain disparate. In the mind of the poet, these disparate experiences are somehow transcended and amalgamated into a new whole, a whole beyond and yet including subject and object, mind and matter. Eliot illustrates his explanation of poetic epistemology by saying that John Donne did not simply feel his feelings and think his thoughts; he felt his thoughts and thought his feelings. He was able to "feel his thought as immediately as the odour of a rose." Immediately" in this famous simile is a technical term in philosophy, used with precision; it means unmediated through mind, unshattered into subject and object. Falling in love and reading Spinoza typify Eliot's own experiences in the years in which he was writing The Waste Land. These were the exciting and exhausting years in which he met Vivien Haigh-Wood and consummated a disastrous marriage, the years in which he was deeply involved in reading F. H. Bradley, the years in which he was torn between the professions of philosophy and poetry and in which he was in close and frequent contact with such brilliant and stimulating figures as Bertrand Russell and Ezra Pound, the years of the break from his family and homeland, the years in which in every area of his life he seemed to be between broken worlds. The experiences of these years constitute the material of The Waste Land. The relevant biographical details need not be reviewed here, for they are presented in the introduction to The Waste Land Facsimile. For our purposes, it is only necessary to acknowledge what Eliot himself acknowledged: the material of art is always actual life. At the same time, it should also be noted that material in itself is not art. As Eliot argued in his review of Ulysses, "in creation you are responsible for what you can do with material which you must simply accept." For Eliot, the given material included relations with and observations of women, in particular, of his bright but seemingly incurably ill wife Vivien(ne).

For a recent citation of John Marshall’s famous line about the Court’s “province and duty” to “say what the law is,” see the Supreme Court’s 2008 decision in Boumediene v. Bush, invalidating an act of Congress that stripped the federal courts of jurisdiction to hear cases brought by detainees at Guantanamo Bay. Writing for the majority, Justice Kennedy said that “[t]o hold the political branches have the power to switch the Constitution on or off at will… would permit a striking anomaly in our tripartite system of government, leading to a regime in which Congress and the President, not this Court, say ‘what the law is’” [citing Marbury].

Isaiah 40–66 is of the utmost importance for the Gospels’ self-understanding and proclamation. Sprinkled throughout all the Gospels, but especially Matthew and Luke, are direct quotations, strong allusions, and subtle echoes from Isaiah. We can say without overstatement that the eschatological vision of Isaiah 40–66 serves as the primary subtext and framing for the Gospels’ witness.[41] This is not a new insight, as is witnessed by the centrality of Isaiah in Christian interpretation, in everything from homily and commentary to Handel’s famous oratorio Messiah, which begins with the tenor aria “Comfort, O Comfort my People” (from Isa. 40:1).

As you know, there was a famous quarrel between Max Planck and Einstein, in which Einstein claimed that, on paper, the human mind was capable of inventing mathematical models of reality. In this he generalized his own experience because that is what he did. Einstein conceived his theories more or less completely on paper, and experimental developments in physics proved that his models explained phenomena very well. So Einstein says that the fact that a model constructed by the human mind in an introverted situation fits with outer facts is just a miracle and must be taken as such. Planck does not agree, but thinks that we conceive a model which we check by experiment, after which we revise our model, so that there is a kind of dialectic friction between experiment and model by which we slowly arrive at an explanatory fact compounded of the two. Plato-Aristotle in a new form! But both have forgotten something- the unconscious. We know something more than those two men, namely that when Einstein makes a new model of reality he is helped by his unconscious, without which he would not have arrived at his theories...But what role DOES the unconscious play?...either the unconscious knows about other realities, or what we call the unconscious is a part of the same thing as outer reality, for we do not know how the unconscious is linked with matter.

I start reading every Elizabeth Wurtzel essay with optimism, like maybe finally she put her talent to writing about something than herself, and by the end of paragraph three that optimism has fled. So maybe you know Wurtzel has written an essay for New York Magazine? Probably you know, because for whatever reason, Wurtzel provokes a deep need in people to talk about how much they hate Wurtzel. So the comments are hundreds deep, Twitter is ablaze, and here I am, writing this blog post. And actually, she reminds me of Mary MacLane. She was a 19-year-old girl who wrote a memoir called I Await the Devil’s Coming in 1901 and it was an instant success. I wrote the introduction to the upcoming reissue, and there I talk about what a deeply interesting book it was. Not only “for its time,” but also it’s just kind of visceral and nasty and snarling, yet elegantly written. I kept thinking about MacLane, after the introduction got handed in and things went off to press. But this time, it wasn’t her writing that interested me, it was the way she never wrote anything very interesting ever again. She got stunted, somehow, winning all of that acclaim for being a young, sour thing. And I wondered if it was the fame that stunted her, because she spent the rest of her career spitting out copies of the memoir that made her famous. And it worked, until it didn’t.

For realists, the state is the main actor and sovereignty is its distinguishing trait. The meaning of the sovereign state is inextricably bound up with the use of force. In terms of its internal dimension, to illustrate this relationship between violence and the state we need to look no further than Max Weber’s famous definition of the state as ‘the monopoly of the legitimate use of physical force within a given territory’(M. J. Smith 1986: 23).3 Within this territorial space, sovereignty means that the state has supreme authority to make and enforce laws. This is the basis of the unwritten contract between individuals and the state. According to Hobbes, for example, we trade our liberty in return for a guarantee of security. Once security has been established, civil society can begin. But in the absence of security, there can be no art, no culture, no society. The first move, then, for the realist is to organize power domestically. Only after power has been organized, can community begin.

A government has the duty to preserve the order as well as the truth which it represents; when a Gnostic leader appears and proclaims that God or progress, race or dialectic, has ordained him to become the existential ruler, a government is not supposed to betray its trust and to abdicate. And this rule suffers no exception for governments which operate under a democratic constitution and a bill of rights. Justice Jackson in his dissent in the Terminiello case formulated the point: the Bill of Rights is not a suicide pact. A democratic government is not supposed to become an accomplice in its own overthrow by letting Gnostic movements grow prodigiously in the shelter of a muddy interpretation of civil rights; and if through inadvertence such a movement has grown to the danger point of capturing existential representation by the famous “legality” of popular elections, a democratic government is not supposed to bow to the “will of the people” but to put down the danger by force and, if necessary, to break the letter of the constitution in order to save its spirit.

While these tactics were aggressive and crude, they confirmed that our legislation had touched a nerve. I wasn’t the only one who recognized this. Many other victims of human rights abuses in Russia saw the same thing. After the bill was introduced they came to Washington or wrote letters to the Magnitsky Act’s cosponsors with the same basic message: “You have found the Achilles’ heel of the Putin regime.” Then, one by one, they would ask, “Can you add the people who killed my brother to the Magnitsky Act?” “Can you add the people who tortured my mother?” “How about the people who kidnapped my husband?” And on and on. The senators quickly realized that they’d stumbled onto something much bigger than one horrific case. They had inadvertently discovered a new method for fighting human rights abuses in authoritarian regimes in the twenty-first century: targeted visa sanctions and asset freezes. After a dozen or so of these visits and letters, Senator Cardin and his cosponsors conferred and decided to expand the law, adding sixty-five words to the Magnitsky Act. Those new words said that in addition to sanctioning Sergei’s tormentors, the Magnitsky Act would sanction all other gross human rights abusers in Russia. With those extra sixty-five words, my personal fight for justice had become everyone’s fight. The revised bill was officially introduced on May 19, 2011, less than a month after we posted the Olga Stepanova YouTube video. Following its introduction, a small army of Russian activists descended on Capitol Hill, pushing for the bill’s passage. They pressed every senator who would talk to them to sign on. There was Garry Kasparov, the famous chess grand master and human rights activist; there was Alexei Navalny, the most popular Russian opposition leader; and there was Evgenia Chirikova, a well-known Russian environmental activist. I didn’t have to recruit any of these people. They just showed up by themselves. This uncoordinated initiative worked beautifully. The number of Senate cosponsors grew quickly, with three or four new senators signing on every month. It was an easy sell. There wasn’t a pro-Russian-torture-and-murder lobby in Washington to oppose it. No senator, whether the most liberal Democrat or the most conservative Republican, would lose a single vote for banning Russian torturers and murderers from coming to America. The Magnitsky Act was gathering so much momentum that it appeared it might be unstoppable. From the day that Kyle Scott at the State Department stonewalled me, I knew that the administration was dead set against this, but now they were in a tough spot. If they openly opposed the law, it would look as if they were siding with the Russians. However, if they publicly supported it, it would threaten Obama’s “reset” with Russia. They needed to come up with some other solution. On July 20, 2011, the State Department showed its cards. They sent a memo to the Senate entitled “Administration Comments on S.1039 Sergei Magnitsky Rule of Law.” Though not meant to be made public, within a day it was leaked.

It happened because during my first year at Berkeley I arrived late one day at one of [Jerzy] Neyman's classes. On the blackboard there were two problems that I assumed had been assigned for homework. I copied them down. A few days later I apologized to Neyman for taking so long to do the homework — the problems seemed to be a little harder than usual. I asked him if he still wanted it. He told me to throw it on his desk. I did so reluctantly because his desk was covered with such a heap of papers that I feared my homework would be lost there forever. About six weeks later, one Sunday morning about eight o'clock, [my wife] Anne and I were awakened by someone banging on our front door. It was Neyman. He rushed in with papers in hand, all excited: "I've just written an introduction to one of your papers. Read it so I can send it out right away for publication." For a minute I had no idea what he was talking about. To make a long story short, the problems on the blackboard that I had solved thinking they were homework were in fact two famous unsolved problems in statistics. That was the first inkling I had that there was anything special about them. A year later, when I began to worry about a thesis topic, Neyman just shrugged and told me to wrap the two problems in a binder and he would accept them as my thesis. The second of the two problems, however, was not published until after World War II. It happened this way. Around 1950 I received a letter from Abraham Wald enclosing the final galley proofs of a paper of his about to go to press in the Annals of Mathematical Statistics. Someone had just pointed out to him that the main result in his paper was the same as the second "homework" problem solved in my thesis. I wrote back suggesting we publish jointly. He simply inserted my name as coauthor into the galley proof. [interview in the College Mathematics Journal in 1986]

Night after night I would speak to Violet in the womb (no matter how strange that may seem to some people) because I was looking forward to the day when I would hold her in my arms, no longer just talking to my wife’s pajamas like a fucking lunatic. When the day finally came, I was nervously packing up the car to go to the hospital when I noticed a huge rainbow overhead, something that happens maybe once every thousand years in Los Angeles. I was immediately calmed. Yes, it sounds nauseatingly romantic, but yes, it’s true, and I took it as a sign. After a long and difficult labor, Violet was born to the sound of the Beatles in the background, and she arrived screaming with a predetermined vocal capacity that made the Foo Fighters sound like the Carpenters. Once she was cleaned up and put under the little Arby’s heat-lamp bed, I put my face close to hers, stared into her gigantic blue eyes, and said, “Hey, Violet, it’s Dad.” She immediately stopped screaming and her eyes locked with mine. She recognized my voice. We stared at each other in silence, our first introduction, and I smiled and talked to her as if I had known her my whole life. I am happy to say that, still to this day, when we lock eyes it’s the same feeling. This was a love I had never experienced before. There is an inevitable insecurity that comes along with being a famous musician that makes you question love. Do they love me? Or do they love “it”? You are showered with superficial love and adoration on a regular basis, giving you something similar to a sugar high, but your heart crashes once the rush dies off. Is it possible for someone to see a musician without the instrument being a part of their identity? Or is that a part of the identity that the other loves? Regardless, it’s a dangerous and slippery slope to question love, but one thing is for certain: there is nothing purer than the unconditional love between a parent and their child.

The story of Cassius Clay’s lost bicycle would later be told as an indication of the boxer’s determination and the wonders of accidental encounters, but it carries broader meaning, too. If Cassius Clay had been a white boy, the theft of his bicycle and an introduction to Joe Martin might have led as easily to an interest in a career in law enforcement as boxing. But Cassius, who had already developed a keen understanding of America’s racial striation, knew that law enforcement wasn’t a promising option. This subject—what white America allowed and expected of black people—would intrigue him all his life. “At twelve years old I wanted to be a big celebrity,” he said years later. “I wanted to be world famous.” The interviewer pushed him: Why did he want to be famous? Upon reflection he answered from a more adult perspective: “So that I could rebel and be different from all the rest of them and show everyone behind me that you don’t have to Uncle Tom, you don’t have to kiss you-know-what to make it . . . I wanted to be free. I wanted to say what I wanna say . . . Go where I wanna go. Do what I wanna do.” For young Cassius, what mattered was that boxing was permitted, even encouraged, and that it gave him more or less equal status to the white boys who trained with him. Every day, on his way to the gym, Cassius passed a Cadillac dealership. Boxing wasn’t the only way for him to acquire one of those big, beautiful cars in the showroom window, but it might have seemed that way at the time. Boxing suggested a path to prosperity that did not require reading and writing. It came with the authorization of a white man in Joe Martin. It offered respect, visibility, power, and money. Boxing transcended race in ways that were highly unusual in the 1950s, when black Americans had limited control of their economic and political lives. Boxing more than most other sports allowed black athletes to compete on level ground with white athletes, to openly display their strength and even superiority, and to earn money on a relatively equal scale. As James Baldwin wrote in The Fire Next Time, many black people of Clay’s generation believed that getting an education and saving money would never be enough to earn respect. “One needed a handle, a lever, a means of inspiring fear,” Baldwin wrote. “It was absolutely clear the police would whip you and take you in as long as they could get away with it, and that everyone else—housewives, taxi

Augustine relates in his Confessions how it was decisive for his own path when he learned that the famous philosopher Marius Victorinus had become a Christian. Victorinus had long refused to join the Church because he took the view that he already possessed in his philosophy all the essentials of Christianity, with whose intellectual premises he was in complete agreement.10 Since from his philosophical thinking, he said, he could already regard the central Christian ideas as his own, he no longer needed to institutionalize his convictions by belonging to a Church. Like many educated people both then and now, he saw the Church as Platonism for the people, something of which he as a full-blown Platonist had no need. The decisive factor seemed to him to be the idea alone; only those who could not grasp it themselves, as the philosopher could, in its original form needed to be brought into contact with it through the medium of ecclesiastical organization. That Marius Victorinus nevertheless one day joined the Church and turned from Platonist into Christian was an expression of his perception of the fundamental error implicit in this view. The great Platonist had come to understand that a Church is something more and something other than an external institutionalization and organization of ideas. He had understood that Christianity is not a system of knowledge but a way. The believers’ “We” is not a secondary addition for small minds; in a certain sense it is the matter itself—the community with one’s fellowmen is a reality that lies on a different plane from that of the mere “idea”. If Platonism provides an idea of the truth, Christian belief offers truth as a way, and only by becoming a way has it become man’s truth. Truth as mere perception, as mere idea, remains bereft of force; it only becomes man’s truth as a way that makes a claim upon him, that he can and must tread. Thus belief embraces, as essential parts of itself, the profession of faith, the word, and the unity it effects; it embraces entry into the community’s worship of God and, so, finally the fellowship we call Church. Christian belief is not an idea but life; it is, not mind existing for itself, but incarnation, mind in the body of history and its “We”. It is, not the mysticism of the self-identification of the mind with God, but obedience and service: going beyond oneself, freeing the self precisely through being taken into service by something not made or thought out by oneself, the liberation of being taken into service for the whole.

There’s a tap on my shoulder. I turn around and get lost in a sea of blue. A Jersey-accented voice says, “It’s about time, kid,” and Frank Sinatra rattles the ice in his glass of Jack Daniel’s. Looking at the swirling deep-brown liquid, he whispers, “Ain’t it beautiful?” This is my introduction to the Chairman of the Board. We spend the next half hour talking Jersey, Hoboken, swimming in the Hudson River and the Shore. We then sit down for dinner at a table with Robert De Niro, Angie Dickinson and Frank and his wife, Barbara. This is all occurring at the Hollywood “Guinea Party” Patti and I have been invited to, courtesy of Tita Cahn. Patti had met Tita a few weeks previous at the nail parlor. She’s the wife of Sammy Cahn, famous for such songs as “All The Way,” “Teach Me Tonight” and “Only the Lonely.” She called one afternoon and told us she was hosting a private event. She said it would be very quiet and couldn’t tell us who would be there, but assured us we’d be very comfortable. So off into the LA night we went. During the evening, we befriend the Sinatras and are quietly invited into the circle of the last of the old Hollywood stars. Over the next several years we attend a few very private events where Frank and the remaining clan hold forth. The only other musician in the room is often Quincy Jones, and besides Patti and I there is rarely a rocker in sight. The Sinatras are gracious hosts and our acquaintance culminates in our being invited to Frank’s eightieth birthday party dinner. It’s a sedate event at the Sinatras’ Los Angeles home. Sometime after dinner, we find ourselves around the living room piano with Steve and Eydie Gorme and Bob Dylan. Steve is playing the piano and up close he and Eydie can really sing the great standards. Patti has been thoroughly schooled in jazz by Jerry Coker, one of the great jazz educators at the Frost School of Music at the University of Miami. She was there at the same time as Bruce Hornsby, Jaco Pastorius and Pat Metheny, and she learned her stuff. At Frank’s, as the music drifts on, she slips gently in on “My One and Only Love.” Patti is a secret weapon. She can sing torch like a cross between Peggy Lee and Julie London (I’m not kidding). Eydie Gorme hears Patti, stops the music and says, “Frank, come over here. We’ve got a singer!” Frank moves to the piano and I then get to watch my wife beautifully serenade Frank Sinatra and Bob Dylan, to be met by a torrent of applause when she’s finished. The next day we play Frank’s eightieth birthday celebration for ABC TV and I get to escort him to the stage along with Tony Bennett. It’s a beautiful evening and a fitting celebration for the greatest pop singer of all time. Two years later Frank passed away and we were generously invited to his funeral. A

ONCE YOU’VE HOOKED readers, your next task is to put your early chapters to work introducing your characters, settings, and stakes. The first 20-25% of the book comprises your setup. At first glance, this can seem like a tremendous chunk of story to devote to introductions. But if you expect readers to stick with you throughout the story, you first have to give them a reason to care. This important stretch is where you accomplish just that. Mere curiosity can only carry readers so far. Once you’ve hooked that sense of curiosity, you then have to deepen the pull by creating an emotional connection between them and your characters. These “introductions” include far more than just the actual moment of introducing the characters and settings or explaining the stakes. In themselves, the presentations of the characters probably won’t take more than a few scenes. After the introduction is when your task of deepening the characters and establishing the stakes really begins. The first quarter of the book is the place to compile all the necessary components of your story. Anton Chekhov’s famous advice that “if in the first act you have hung a pistol on the wall, then in the following one it should be fired” is just as important in reverse: if you’re going to have a character fire a gun later in the book, that gun should be introduced in the First Act. The story you create in the following acts can only be assembled from the parts you’ve shown readers in this First Act. That’s your first duty in this section. Your second duty is to allow readers the opportunity to learn about your characters. Who are these people? What is the essence of their personalities? What are their core beliefs (even more particularly, what are the beliefs that will be challenged or strengthened throughout the book)? If you can introduce a character in a “characteristic moment,” as we talked about earlier, you’ll be able to immediately show readers who this person is. From there, the plot builds as you deepen the stakes and set up the conflict that will eventually explode in the Inciting and Key Events. Authors sometimes feel pressured to dive right into the action of their stories, at the expense of important character development. Because none of us wants to write a boring story, we can overreact by piling on the explosions, fight sequences, and high-speed car chases to the point we’re unable to spend important time developing our characters. Character development is especially important in this first part of the story, since readers need to understand and sympathize with the characters before they’re hit with the major plot revelations at the quarter mark, halfway mark, and three-quarters mark. Summer blockbusters are often guilty of neglecting character development, but one enduring exception worth considering is Stephen Spielberg’s Jurassic Park. No one would claim the film is a leisurely character study, but it rises far above the monster movie genre through its expert use of pacing and its loving attention to character, especially in its First Act. It may surprise some viewers to realize the action in this movie doesn’t heat up until a quarter of the way into the film—and even then we have no scream-worthy moments, no adrenaline, and no extended action scenes until halfway through the Second Act. Spielberg used the First Act to build suspense and encourage viewer loyalty to the characters. By the time the main characters arrive at the park, we care about them, and our fear for their safety is beginning to manifest thanks to a magnificent use of foreshadowing. We understand that what is at stake for these characters is their very lives. Spielberg knew if he could hook viewers with his characters, he could take his time building his story to an artful Climax.

Interestingly, in this case the artist comes a distinct third, showing how less famous artists can be sidelined as other preoccupations in the writing of art history come to the fore.

The little Prelude in C Major that starts the set is one of Bach’s most famous and beloved pieces (it was reportedly a favorite of his, too), yet what appears to be a simple rippling up and down on chords disguises a complex interweaving of melodies.

The introduction is formal, solemn, complex and controversial. It stands as a fifth witness to the original Easter events, alongside the accounts in the four gospels, and is thus of extraordinary importance for our present study. Bultmann, famously, criticized Paul for citing witnesses to Jesus’ resurrection, as though he considered it an actual event, instead of being merely a graphic, ‘mythological’ way of referring to the conviction of the early Christians that Jesus’ death had been a good thing, not a bad thing.

The state of tranquility and nothingness, which at first sight seems to be the right awareness of the selfless self, is nothing other than the depth of unconsciousness called Alaya-vijnana, which has come to prevail over Mana-vijnana. This is suggested by the following Zen verse composed by the famous Master Chosha Keijin (Ch’ang-sha Ching-ts’en):36 Students of the Way do not comprehend the Truth Because they only recognize the existing Eighth Consciousness. Fools identify with the original man, The boundless origin of birth and death.

The complex Japanese aircraft designation systems proved confusing during and after the war. Several forms of nomenclature applied to Imperial Navy aircraft, but just two are important. The first system (“short form”) comprised a letter, number, letter (e.g., A5M). The first letter identified mission (A = carrier fighter, B = carrier bomber, G = land-based bomber, etc.). This was followed by a numeral indicating the numerical sequence of that model for the mission (5 = fifth carrier fighter). The second letter designated the manufacturer (the most important were A = Aichi, K = Kawanishi, M = Mitsubishi, N = Nakajima). The second major system was the type number from the year of service introduction under the Japanese calendar. By the Japanese calendar, 1936 was Year 2596, from which “96” was taken as the year of introduction. The year 1940 was Year 2600, hence the famous designation of the Mitsubishi A6M Carrier Fighter as the Type “0” or “Zero.” Imperial Army aircraft bore a Kitai (airframe) number (e.g., Ki-27), a type number/mission designator based on the Japanese calendar (Army Type 97 fighter had a 1937 year of introduction), and sometimes a name. The Imperial Navy resisted the use of names before capitulating to this system in 1943. To unify and simplify the identification of Japanese aircraft, the United States adopted a system by 1943 of providing male (fighters) and female (bombers) names for Japanese aircraft. Hence, the A6M “Zero” became officially the “Zeke” (although the Zero alone of Japanese aircraft continued to be widely known by that designation), while the “Nell” stood for the G3M and “Betty” for the G4M. This system has become so entrenched in decades of literature about the Pacific War that it will be used here for purposes of clarity.

Jacquetta Hawkes famously wrote that 'Every age gets the Stonehenge it deserves', by which she meant that Stonehenge has been a Druid temple, a landing site for flying saucers, or an astronomical calendar, according to the interests of the times. The same could be said about our stories about Vikings, and they have been alternately, noble savages, raiders, marauders and rapists, peaceful traders, entrepreneurs, explorers, early democrats, or IKEA sales personnel, according to what we want them to be.

The properties of the renewal tissues enabled the original definition of stem cell behaviour in terms of the ability to self-renew and to generate differentiated progeny. But the most famous stem cell of them all is now the embryonic stem cell (ES cell). In one sense, the ES cell is the iconic stem cell. It is the type of stem cell that has attracted all of the ethical controversy, and it is what lay people are thinking of when they refer to ‘stem cell research’. But ironically, the embryonic stem cell does not exist in nature. It is a creature that has been created by mankind and exists only in the world of tissue culture: the growth of cells in flasks in the laboratory, kept in temperature-controlled incubators, exposed to controlled concentrations of oxygen and carbon dioxide, and nourished by complex artificial media. Cells grown in culture are often referred to by the Latin phrase in vitro (in glass, since the relevant containers used to be made of glass) and distinguished from in vivo (inside the living body).

The second law has a reputation for being recondite, notoriously difficult, and a litmus test of scientific literacy. Indeed, the novelist and former chemist C. P. Snow is famous for having asserted in his The Two Cultures that not knowing the second law of thermodynamics is equivalent to never having read a work by Shakespeare. I actually have serious doubts about whether Snow understood the law himself, but I concur with his sentiments. The second law is of central importance in the whole of science, and hence in our rational understanding of the universe, because it provides a foundation for understanding why any change occurs. Thus, not only is it a basis for understanding why engines run and chemical reactions occur, but it is also a foundation for understanding those most exquisite consequences of chemical reactions, the acts of literary, artistic, and musical creativity that enhance our culture.

The first known published text of the classic fairy tale "Beauty and the Beast" was written by Gabrielle-Suzanne Barbot de Villeneuve in 1740 and collected in her compilation La Jeune Américaine et les contes marins. To say that the story met with favor is an understatement. By 1756, "Beauty and the Beast" was so well known that Jeanne-Marie Leprince de Beaumont wrote an abridged edition of it that would become the popular version included in collections of fairy tales throughout the nineteenth century (although Andrew Lang went back to de Villeneuve's original for his groundbreaking anthology The Blue Fairy Book, first published in 1891 as the beginning of a twelve-book series that would revolutionize the anthologizing of fairy tales for young read ers). Fifteen years later. Jean-François Marmontel and André Ernest Modeste Grétry adapted de Villeneuve's story as the book for the opera Zémire et Azor. the start of more than two centuries of extraliterary treatments that now include Jean Cocteau's famous 1946 film La Belle et la Bête, Walt Disney's 1991 animated feature Beauty and the Beast, and countless other cinematic, televi sion, stage, and musical variations on the story's theme. More than 4,000 years after it became part of the oral storytelling tradi tion, it is easy to understand why "Beauty and the Beast" continues to be one of the most popular fairy tales of all time, and a seemingly inexhaustible source of inspiration for artists working in all mediums. Its theme of the power of unconditional love is one that never grows old.

Once, a philosophy student from Kyoto University visited the famous modern Rinzai Zen master Yamada Mumon. At first, they just sat silently looking at each other for about twenty minutes. Then Yamada Rōshi suddenly shouted, "Aren't you going to say something?" To which the student blurted out, "What happens when someone dies?" Yamada Rōshi replied, "His body gets cold." Student: "What happens after that?" Yamada: "It probably gets cremated." Student: "What then?" To this last question Yamada Rōshi simply said: "I don't know what happens after that.

Keynes’s third act of statesmanship was to negotiate the American loan in September-December 1945. He estimated that Britain’s deficit on current account would total nearly $7bn over the first three post-war years. Keynes went to Washington in September 1945 to seek a grant of $5bn ‘without strings’. He returned, three months and several famous rows later, with a loan of $3.75bn conditional on a commitment to make sterling convertible into other currencies a year after the loan agreement was ratified. It was probably the most humiliating experience of his life.

And in the process it goes some way towards explaining why highly stratified societies are not pulled apart by tensions arising from inequalities of wealth and social standing. Of course there is bound to be resentment and envy on the part of the poor and powerless when they compare their lives with the lives of their superiors. But, Hume suggested, this resentment usually produces not a desire to overturn the social order, but, instead, a desire on the part of the lower orders to improve their situation relative to those around them. For we care much more about how we stand in our relations with our peers than about the distance between us and the rich and famous.

To counter apathy, most change agents focus on presenting an inspiring vision of the future. This is an important message to convey, but it’s not the type of communication that should come first. If you want people to take risks, you need first to show what’s wrong with the present. To drive people out of their comfort zones, you have to cultivate dissatisfaction, frustration, or anger at the current state of affairs, making it a guaranteed loss. “The greatest communicators of all time,” says communication expert Nancy Duarte—who has spent her career studying the shape of superb presentations—start by establishing “what is: here’s the status quo.” Then, they “compare that to what could be,” making “that gap as big as possible.” We can see this sequence in two of the most revered speeches in American history. In his famous inaugural address, President Franklin D. Roosevelt opened by acknowledging the current state of affairs. Promising to “speak the whole truth, frankly and boldly,” he described the dire straits of the Great Depression, only then turning to what could be, unveiling his hope of creating new jobs and forecasting, “This great nation . . . will revive and will prosper. . . . The only thing we have to fear is fear itself.” When we recall Martin Luther King, Jr.’s, epic speech, what stands out is a shining image of a brighter future. Yet in his 16-minute oration, it wasn’t until the eleventh minute that he first mentioned his dream. Before delivering hope for change, King stressed the unacceptable conditions of the status quo. In his introduction, he pronounced that, despite the promise of the Emancipation Proclamation, “one hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination.” Having established urgency through depicting the suffering that was, King turned to what could be: “But we refuse to believe that the bank of justice is bankrupt.” He devoted more than two thirds of the speech to these one-two punches, alternating between what was and what could be by expressing indignation at the present and hope about the future. According to sociologist Patricia Wasielewski, “King articulates the crowd’s feelings of anger at existing inequities,” strengthening their “resolve that the situation must be changed.” The audience was only prepared to be moved by his dream of tomorrow after he had exposed the nightmare of today.

problems with some of the reviews/ratings in Amazon's App Store. What these problems mean for you is that an app's ratings/reviews can likely only be partially trusted (and if they can only be partially trusted, what's the point: How do you know when you can (and when you can't) trust the ratings/reviews? (John Wanamaker's famous adage about advertising relates here: "Half the money I spend on advertising is wasted; the trouble is I don't know which half.")) I love Amazon, I love the KF, and I love the Amazon App Store, but these are all issues that should probably be addressed. In the meantime, the best solution I can think of is to

The famous Isa 7:14 prophecy of a virginal conception (Matt 1:23) is forward-looking, but the fact that the son was to be born in Ahaz's day (Isa 7:15-16) implies at least a provisional fulfillment in Isaiah's lifetime. Probably “virgin” (Hb. 'almah) meant simply “a young woman of marriageable age,” and the promised son was Maher-Shalal-Hash-Baz (8:3). Yet in the larger context of Isaiah 7-9, the son to be born who will be called Immanuel (“God with us,” as in 7:14; 8:8) is also identified as “Mighty God” (9:6). The Septuagint later translated Isa 7:14 with a Greek word (parthenos) that more strictly referred to a woman who had never had sex.

(1) Karl Barth was not an evangelical. He was a European Protestant wrestling with how to salvage Protestant Christianity in the wake of World War I, which exposed the debacle of liberal theology. Barth was not an inerrantist or a revivalist, and he was wrestling with a different array of issues than the “battle for the Bible.” (2) Karl Barth is on the side of the good guys when it comes to the major ecumenical doctrines about the Trinity and the atonement. Barth is decidedly orthodox and Reformed in his basic stance, though he sees the councils and confessions mainly as guidelines rather than holy writ. (3) Karl Barth arguably gives evangelicals some good tips about how to do theology over and against liberalism. Keep in mind that Karl Barth’s main sparring partner was not Billy Graham or the Chicago Statement on Biblical Inerrancy, but the European liberal tradition from Friedrich Schleiermacher to Albert Ritschl. For a case in point, whereas Schleiermacher made the Trinity an appendix to his book on Christian Faith because it was irrelevant to religious experience, Barth made the Trinity first and foremost in his Church Dogmatics, which was Barth’s way of saying, “Suck on that one, Schleiermacher!” (4) Evangelicals and the neoorthodox tend to be rather hostile toward each other. Many evangelicals regard the neoorthodox as nothing more than liberalism reloaded, while many neoorthodox theologians regard evangelicals as a more culturally savvy version of fundamentalism. Not true on either score. Evangelicalism and neoorthodoxy are both theological renewal movements trying to find a biblical and orthodox center in the post-Enlightenment era. The evangelicals left fundamentalism and edged left toward a workable orthodox center. The neoorthodox left liberalism and edged right toward a workable orthodox center. Thus, evangelicalism and neoorthodoxy are more like sibling rivals striving to be the heirs of the Reformers in the post-Enlightenment age. There is much in Karl Barth that evangelicals can benefit from. His theology is arguably the most christocentric ever devised. He has a strong emphasis on God’s transcendence, freedom, love, and “otherness.” Barth stresses the singular power and authority of the Word of God in its threefold form of “Incarnation, Preaching, and Scripture.” Barth strove with others like Karl Rahner to restore the Trinity to its place of importance in modern Christian thought. He was a leader in the Confessing Church until he was expelled from Germany by the Nazi regime. He preached weekly in the Basel prison. His collection of prayers contain moving accounts of his own piety and devotion to God. There is, of course, much to be critical of as well. Barth’s doctrine of election implied a universalism that he could never exegetically reconcile. Barth never could regard Scripture as God’s Word per se as much as it was an instrument for becoming God’s Word. He never took evangelicalism all that seriously, as evidenced by his famous retort to Carl Henry that Christianity Today was Christianity Yesterday. Barth’s theology, pro and con, is something that we must engage if we are to understand the state of modern theology. The best place to start to get your head around Barth is his Evangelical Theology, but note that for Barth, “evangelical” (evangelische) means basically “not Catholic” rather than something like American evangelicalism. Going beyond that, his Göttingen Dogmatics or Dogmatics in Outline is a step up where Barth begins to assemble a system of theology based on his understanding of the Word of God. Then one might like to launch into his multivolume Church Dogmatics with the kind assistance of Geoffrey Bromiley’s Introduction to the Theology of Karl Barth, which conveniently summarizes each section of Church Dogmatics.

George Mumford, a Newton-based mindfulness teacher, one such moment took place in 1993, at the Omega Institute, a holistic learning center in Rhinebeck, New York. The center was hosting a retreat devoted to mindfulness meditation, the clear-your-head habit in which participants sit quietly and focus on their breathing. Leading the session: meditation megastar Jon Kabat-Zinn. Originally trained as a molecular biologist at MIT, Kabat-Zinn had gone on to revolutionize the meditation world in the 1970s by creating a more secularized version of the practice, one focused less on Buddhism and more on stress reduction and other health benefits. After dinner one night, Kabat-Zinn was giving a talk about his work, clicking through a slide show to give the audience something to look at. At one point he displayed a slide of Mumford. Mumford had been a star high school basketball player who’d subsequently hit hard times as a heroin addict, Kabat-Zinn explained. By the early 1980s, however, he’d embraced meditation and gotten sober. Now Mumford taught meditation to prison inmates and other unlikely students. Kabat-Zinn explained how they were able to relate to Mumford because of his tough upbringing, his openness about his addiction — and because, like many inmates, he’s African-American. Kabat-Zinn’s description of Mumford didn’t seem to affect most Omega visitors, but one participant immediately took notice: June Jackson, whose husband had just coached the Chicago Bulls to their third consecutive NBA championship. Phil Jackson had spent years studying Buddhism and Native American spirituality and was a devoted meditator. Yet his efforts to get Michael Jordan, Scottie Pippen, and their teammates to embrace mindfulness was meeting with only limited success. “June took one look at George and said, ‘He could totally connect with Phil’s players,’ ’’ Kabat-Zinn recalls. So he provided an introduction. Soon Mumford was in Chicago, gathering some of the world’s most famous athletes in a darkened room and telling them to focus on their breathing. Mumford spent the next five years working with the Bulls, frequently sitting behind the bench, as they won three more championships. In 1999 Mumford followed Phil Jackson to the Los Angeles Lakers, where he helped turn Kobe Bryant into an outspoken adherent of meditation. Last year, as Jackson began rebuilding the moribund New York Knicks as president, Mumford signed on for a third tour of duty. He won’t speak about the specific work he’s doing in New York, but it surely involves helping a new team adjust to Jackson’s sensibilities, his controversial triangle offense, and the particular stress that comes with compiling the worst record in the NBA. Late one April afternoon just as the NBA playoffs are beginning, Mumford is sitting at a table in O’Hara’s, a Newton pub. Sober for more than 30 years, he sips Perrier. It’s Marathon Monday, and as police begin allowing traffic back onto Commonwealth Avenue, early finishers surround us, un-showered and drinking beer. No one recognizes Mumford, but that’s hardly unusual. While most NBA fans are aware that Jackson is serious about meditation — his nickname is the Zen Master — few outside his locker rooms can name the consultant he employs. And Mumford hasn’t done much to change that. He has no office and does no marketing, and his recently launched website, mindfulathlete.org, is mired deep in search-engine results. Mumford has worked with teams that have won six championships, but, one friend jokes, he remains the world’s most famous completely unknown meditation teacher. That may soon change. This month, Mumford published his first book, The Mindful Athlete, which is part memoir and part instruction guide, and he has agreed to give a series of talks and book signings

For the commentator to stay as closely as possible to home, that is, to the text of the Gospel itself, there is much to be said in favor of the practice, followed by Bultmann in his famous commentary, of plunging immediately — without the typical "introduction" — into the text and dealing with disputed issues ad hoc, that is where particular passages occasion such discussion.

Perhaps the most famous of these experiments was the 1988 Morris Worm – the first worm to spread over the internet. The supposed intent of this worm was to gauge the number of machines connected to the network. However, the result was to slow down the operation of infected machines to the point of being unusable. Worms continue to represent a major threat, as shown by the case of the Conficker Worm of 2008.

James Tallmadge of New York was the first to try to address this issue by limiting slavery in Missouri, and the Tallmadge Amendment sought to ensure that children of slave parents born in Missouri would automatically go free at the age of 25: “"And provided, That the further introduction of slavery or involuntary servitude be prohibited, except for the punishment of crimes, whereof the party shall have been fully convicted; and that all children born within the said State, after the admission thereof into the Union, shall be free at the age of twenty-five years." While the House passed legislation with that amendment in it, the Senate refused to go along with

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Some New Testament writers, such as the author of Hebrews, used Platonic concepts to illustrate parallels and correspondences between the spiritual and physical worlds (Heb. 1: 1–4; 9: 1–14). The book’s famous definition of Christian faith is primarily a confession of Platonic belief in the reality of the invisible realm (Heb. 11: 1–2).

Such correspondences could only be explained, argued William Jones in a famous paper to the Asiatic Society in 1786, in terms of a common ancestor, which would later become known as Indo-European.

Parmenides and Zeno became famous for arguments which apparently cannot be refuted but which reach conclusions impossible to accept. These arguments provoke a crisis in philosophical accounts of the world; responses to it can be found in the cosmologies of Anaxagoras, Empedocles and the Atomists Leucippus and Democritus.

In Euripides’ famous play, produced at Athens in the fifth century BC, Medea resolves to kill her sons, then goes back on her resolve when she sees them. Sending them away, she steels herself to do the deed, and speaks words which were to become famous: I know that what I am about to do is bad, but anger is master of my plans, which is the source of the greatest troubles for humankind. She recognizes two things going on in her: her plans and her anger or thumos. She also recognizes that her anger is ‘master of’ the plans she has rationally deliberated on carrying out.

some of Plato’s most famous passages about the divided soul he represents the parts of the soul other than reason as non-human animals.

Whether the real setting and dating of the Hermetic tradition in late antiquity are, in fact, irrelevant to its reception in the Renaissance is an interesting hermeneutic question that cannot be answered here. In any case and for many other reasons, Yates’s views on the Hermetica became famous for some, notorious for others, especially when, in a 1968 article, she made Hermes a major figure in the preliminaries to the scientific revolution, just two years after J.E. McGuire and P.M. Rattansi had connected Newton’s physics with the ancient theology theme so closely associated with Hermes.

their feet, moving from place to place when the need arose, like a good boxer (of which there were more than a few Jews) who is able to dodge and deflect the full brunt of blows directed against him. The ceaseless mobility of the Jews led to a second key factor in enabling their survival—what we may call in shorthand “assimilation” (otherwise known as “acculturation”). In contemporary parlance, this word induces panic in Jewish community officials, who point to high intermarriage rates and weakening organizational affiliation as signs of the impending disappearance of the Jews. In historical terms, assimilation refers to the process by which Jews, in making their way to new locales, absorbed the linguistic and cultural norms of their Gentile neighbors—and then shared their own. This peculiar understanding follows the usage of historian Gerson Cohen, who argued in 1966 that assimilation as a means of cultural interaction was not only unavoidable in Jewish history, but also necessary to the survival of the Jews. Without the constant cultural encounters, enacted every day over the course of millennia, Jews would have become fossilized, as the British historian Arnold Toynbee famously and mistakenly claimed they had. In fact, it was the interaction with non-Jews that allowed for the explosive diversity of Jewish culture and the ongoing vitality of its practitioners.

Nyoshul Lungtok, who later became one of the greatest Dzogchen masters of recent times, followed his teacher Patrul Rinpoche for about eighteen years. During all that time, they were almost inseparable. Nyoshul Lungtok studied and practiced extremely diligently, and accumulated a wealth of purification, merit, and practice; he was ready to recognize the Rigpa, but had not yet had the final introduction. Then, one famous evening, Patrul Rinpoche gave him the introduction. It happened when they were staying together in one of the hermitages high up in the mountains above Dzogchen Monastery. It was a very beautiful night. The dark blue sky was clear and the stars shone brilliantly. The sound of their solitude was heightened by the distant barking of a dog from the monastery below. Patrul Rinpoche was lying stretched out on the ground, doing a special Dzogchen practice. He called Nyoshul Lungtok over to him, saying: "Did you say you do not know the essence of Mind?" Nyoshul Lungtok guessed from his tone that this was a special moment and nodded expectantly. "There's nothing to it really," Patrul Rinpoche said casually, and added, "My son, come and lie down over here: be like your old father." Nyoshul Lungtok stretched out by his side. Then Patrul Rinpoche asked him, "Do you see the stars up there in the sky?" "Yes." "Do you hear the dogs barking in Dzogchen Monastery?" "Yes." "Do you hear what I'm saying to you?" "Yes." "Well, the nature of Dzogchen is this: simply this." Nyoshul Lungtok tells us what happened then: "At that instant, I arrived at a certainty of realization from within. I had been liberated from the fetters of 'it is' and 'it is not.' I had realized the primordial wisdom, the naked union of emptiness and intrinsic awareness. I was introduced to this realization by his blessing, as the great Indian master Saraha said: He in whose heart the words of the master have entered, Sees the truth like a treasure in his own palm.

Introduction: For the past decades, since its invention, solving the Rubik’s Cube (or simply owning one) has been part of many people’s childhood memories and recreational endeavours. Until now, the “cube craze” lives on and more young minds are learning about just how cool it is to work their hands on a Rubik’s Cube and be able solve it as quickly as possible. Even educators are now using Rubik’s Cube in teaching mathematics and engineering subjects because the meticulous process of solving it helps students better understand and apply basic and advanced mathematical concepts. The goal of this book is to further spread the coolness of learning how to solve the Rubik’s Cube by teaching a method that will help you solve the cube in 3 easy ways: Solve the cross (starting point) Solve the edge pieces Solve the corner pieces (end

Four Color Conjecture is one of the most famous unsolved problems in mathematics.

The famous introduction to 1901’s Our National Parks shows a touch of manifesto seeping into the pastoral sweetness and natural light: “Thousands of tired, nerve-shaken, over-civilized people are beginning to find out that going to the mountains is going home; that wildness is a necessity; and that mountain parks and reservations are useful not only as fountains of timber and irrigating rivers, but as fountains of life.

Allow me to introduce Viscount Fitzwilliam,” Lady Ivers continued. Sebastian had a strong need to groan. The night would no doubt be filled with tedious introductions. “You are a fortunate man, my lord, to have won Lady Mary over.” “I’d have not asked for her hand in marriage if I’d thought otherwise.” Right then. So we’re not going to get along famously.

Protestants, in the words of the famous Protestant Biblical scholar Credner, "have built a new Church on the foundation of Scripture, first without understanding, then without the will to understand, that Scripture itself rests on nothing but Tradition.

In the introduction, we derived one general prediction for beginning and intermediate practitioners of meditation from both the Hindu and Buddhist approaches (meditation yields generally positive psychological effects), but we did not deal with predictions that refer to advanced or final stages in the meditation practice. Here is such a prediction. Both Hindu and Buddhist approaches hold that practitioners of meditation might develop a kind of supercognition, special abilities (siddhis) that exceed our normal abilities. Buddhist theory predicts that six kinds of siddhis might arise.… Notably, the least spectacular one, destruction of the defiling impulses, is seen as the most significant. The others are psychokinesis, clairaudience, telepathic knowledge, retrocognitive knowledge …, and clairvoyance. The Yoga Sutras report more of these siddhis as a result of extended yoga practice. In both the Hindu and Buddhist approaches, siddhis are not regarded as very important, and the Buddha, as well as famous yogis, has warned of the dangers inherent in the siddhis.… Nonetheless, a theory about the effects of meditation would not be complete without consideration of these altered states of consciousness. There is some evidence that such states can occur spontaneously …, but the effects found in meta-analyses are usually quite small.… To the best of our knowledge, nobody has yet examined whether the respective effects are more pronounced for experienced practitioners of meditation, as both the Hindu and Buddhist approaches would predict

Consider this famous passage from Galileo: Shut yourself up with some friend in the main cabin below decks on some large ship, and have with you there some flies, butterflies, and other small flying animals. Have a large bowl of water with some fish in it; hang up a bottle that empties drop by drop into a wide vessel beneath it. With the ship standing still, observe carefully how the little animals fly with equal speed to all sides of the cabin. The fish swim indifferently in all directions; the drops fall into the vessel beneath; and, in throwing something to your friend, you need throw it no more strongly in one direction than another, the distances being equal; jumping with your feet together, you pass equal spaces in every direction. When you have observed all these things carefully (though doubtless when the ship is standing still everything must happen in this way), have the ship proceed with any speed you like, so long as the motion is uniform and not fluctuating this way and that. You will discover not the least change in all the effects named, nor could you tell from any of them whether the ship was moving or standing still Galileo’s point is that the absolute velocity of a system of bodies is not detectable by any means available to a scientist who is part of that very system, because the relative motions of the bodies are unaffected by their overall velocity. Only by relating the bodies to some external system can the motion be detected

Foucault’s was a seductive image, one that helped to make him famous and to attract legions of disciples. But for all that, it remains a late 20th-century ideological construct, one with little or no contemporary relevance or resonance in the societies it purports to describe.

or refuting, with his guidance, a famous refutation of the existence of time, will be worth it.

His favoured objects of contemplation were economic facts, usually in statistical form. He used to say that his best ideas came to him from ‘messing about with figures and seeing what they must mean’. Yet he was famously sceptical about econometrics – the use of statistical methods for forecasting purposes. He championed the cause of better statistics, not to provide material for the regression coefficient, but for the intuition of the economist to play on.

The cancellation of inter-Ally war debts was designed to de-couple American finance from Europe. Keynes supported American loans to get European industry restarted, pay for essential food imports, and stabilize currencies. But he was adamantly opposed to Europeans borrowing from the United States to service deadweight debt. His book became an international best-seller, had a profound effect on post-war thinking, and made Keynes world-famous.

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