The works of the Reverend William Law, M.A. ...

"Prefatory memoir" signed: G.B.M. [i.e. G. B. Morgan]

The dwale bluth, Hebditch's legacy, and other literary remains

Contents.--I Memoir. A lament, by Philip Bourke Marston. Dwale Bluth. Hebditch's legacy.--II Hebditch's legacy [contd.] The black swan. The yeth hounds. Dismal Jemmy. Note of the plot of an Irish story. To all eternity, and other stanzas and verses. The last story.

Mortal life; and the state of the soul after death : conformable to divine revelation as interpreted by the ablest commentators, and consistent with the discoveries of science /

Mode of access: Internet.

Der Mensch in der Ewigkeit nach christlich-philosophischen Grundsätzen : als Gegenschrift zu dem Werke: der Mensch des herrn Regierungsraths D.M.C.F.W. Grävell /

Mode of access: Internet.

Defensio Fidei nicænæ. A defense of the Nicene creed, out of the extant writings of the Catholick doctors, who flourished during the three first centuries of the Christian church; in which also is incidentally vindicated the Creed of Constantinople; concerning the Holy Ghost.

Translated from the Latin as found in Edward Burton's edition of the author's works, Oxford, 1827. Burton's notes are included. cf. Advertisement, v. 1, p. [iii]

Ourselves and the universe : studies in life and religion /

"First edition, June, 1902 ... Sixth edition, November, 1906."

Theological essays and other papers.

v. 1. On Christianity as an organ of political movement. Protestantism. On the supposed scriptural expression for eternity. Judas Iscariot. On Hume's argument against miracles. Casuistry. Greece under the Romans.--v. 2. Secession from the church of Scotland. Toilette of the Hebrew lady. Milton. Charlemagne. Modern Greece. Lord Carlisle on Pope.

EXISTÊNCIA E RELIGIÃO EM ALBERT CAMUS: Relações entre o absurdo e a revolta

A presente pesquisa busca, a partir dos dois pólos fundamentais ao pensamento de Albert Camus, a saber, o absurdo e a revolta, discutir a relação do pensamento camusiano com a religião, no que tange fundamentalmente à sua recusa frente a um pensamento ou atitude que recorra a um sentido além da existência humana. Camus escritor franco-argelino e Prêmio Nobel de Literatura em 1959 concebeu o absurdo como a experiência resultante da consciência de assimetria vigente na existência humana. Esta assimetria se estabelece na polarização entre o anseio humano por felicidade, união e plenitude e a evidência expressa pela existência de dor, fragmentação e limite. A revolta subsiste neste cenário como resposta camusina: esta é concomitantemente reivindicação de justiça e insurreição contra a morte. No que concerne à religião, Camus compreende uma fuga fundamentada na esperança. Esta fuga negligencia e impede a consideração radical da condição humana. A esperança religiosa, em suma, anula a revolta como resposta legitima a condição existencial: pretende justificar o injusto com base em um mistério. Realizada a descrição do absurdo e da revolta, recorre-se ao pensamento do teólogo e filósofo alemão Paul Tillich, como referencial teórico para a análise específica da relação entre religião e pensamento camusiano. O conceito de religião e fé em Paul Tillich apresenta-se como elemento importante para a consideração desta relação ao salientar a vigência da ambigüidade na experiência religiosa, interpretada em Paul Tillich a partir da experiência dialógica entre o finito e o infinito, ou, em outros termos, entre o ser e o não-ser. A partir de Paul Tillich pergunta-se sobre a possibilidade da religião, mesmo em meio à afirmação da impossibilidade do eterno. Caminha-se, assim, para a consideração da efetividade da experiência religiosa em Camus como expressão de uma transcendência profana , onde a recusa a Deus comunga com uma perene reivindicação da perfeição e do eterno.

Poetica de la brevedad en Borges

Although he did not write copious novels, endless essays, or long poems, Jorge Luis Borges is considered one of today's best modern writers. His works have never been more than ten pages long. The purpose of this dissertation is to demonstrate that the willing use of concise expression in Borges's writings is inscribed in a poetic worldview of great implications. This view is based on the synthesis of philosophical, literary, and cultural issues that Borges interprets, discusses, refutes, and re-elaborates with a new conjectural approach. ^ This dissertation is based on a methodological review of all his current scholarly work and on a thorough examination of the four volumes of his Complete Works, edited by Emece, in 2002. His pantheistic vision, the epiphanic moments, and his love/hate relationship with language, conform an aesthetic of resounding silence that enlightens the hidden aspects of his brief masterpieces. ^ Even though Borgesian studies flood the library he once imagined, they have been presented in an isolated manner. This dissertation establishes a link among the various aforementioned aspects as studied by Borges scholars, and demonstrates the powerful influence of Borges's illuminating and precise vision. ^ Paradoxically, the poetry of brevity in Borges's works is filled with allusions to the things that Borges silences, because, from a panoramic pantheism, his words almost reach an epiphanic enlightenment that flashes between preterit and future nothingness. ^ By replacing extension with intensity, and mastering the art of omission, Borges's laborious work reaches power and concentration that only the very greatest talents can achieve. His delicate verbal conciseness provides his readers with a virtually infinite freedom of imagination because it exposes them to the chaotic world of mythical probabilities, where an instant encompasses eternity. ^

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).