Discourse, Band 28,Ausgaben 2-32006 |
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Seite 86
... suffering in real life , but find ourselves inevitably attracted by the spectacle of suffering when it is " shifted onto the stage or book . " 21 Why do we take pleasure in the tragedy of others ? Sōseki suspects that the answers to ...
... suffering in real life , but find ourselves inevitably attracted by the spectacle of suffering when it is " shifted onto the stage or book . " 21 Why do we take pleasure in the tragedy of others ? Sōseki suspects that the answers to ...
Seite 87
... suffer . Suffering is nothing more than suffering . . . Suffering is the proof that we are alive , what liberates us from the life of a “ standing stone , a fixedness without a place , no time , no night , no day . " 24 In the last ...
... suffer . Suffering is nothing more than suffering . . . Suffering is the proof that we are alive , what liberates us from the life of a “ standing stone , a fixedness without a place , no time , no night , no day . " 24 In the last ...
Seite 89
... suffering that comes from what appears to be a terrifying experience of potential loss , then , is a preparation for self - actualization . As such , in the conceptual appa- ratus that is Bungakuron , suffering must be a temporary ...
... suffering that comes from what appears to be a terrifying experience of potential loss , then , is a preparation for self - actualization . As such , in the conceptual appa- ratus that is Bungakuron , suffering must be a temporary ...
Inhalt
Special Effects in Martin Arnolds and Peter Tscherkasskys Cinema | 28 |
Two Readings | 51 |
Reading Natsume | 78 |
Urheberrecht | |
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