Famous words

33 Tours Vinyles Code EAN: 0082839373210 Rubrique principale Vinyle: 33 Tours Titre:...Famous Last Words Genre musical: Rock

CD Album CD Code EAN: 0606949335328 Classification Cd Primaire: Rock, Rap, variétés internationales Rubrique principale CD: CD Album Genre musical: Rock Classification CDMail: Rock Titre: Famous last Words Référence fabricant CD: 4933532

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SUPERTRAMP - FAMOUS LAST WORDS CASSETTE AUDIO TAPE HOLLAND 1982TESTED - TESTEE - PLAYS GOOD -  VERY GOOD CONDITION - TRES BON ETAT -  CASE VERY LIGHTLY SCUFFED - BOITIER TRES LEGEREMENT GRIFFE

Supertramp - "...Famous Last Words..." (LP, Album) Label: A&M Records - Cat N°: AMLK 63732 État média: Very Good Plus (VG+)  État pochette: Very Good (VG)

Supertramp 33Tours vinyle "...Famous Last Words...". Disque et pochette en bon état. Les coins et les contours sont un peu usés. La tranche latéral est ouverte sur environ 3cm. Verso de la pochette il y a l'étiquette du prix d'origine. Vendu dans l'état, voir photo. Disque testé, bon à l'écoute. Disque de 1982. Référence: AMLK 63732. Allez voir mes autres ventes!!

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Rare L.P. du groupe SUPERTRAMP REF; A&M AMLK 63732  ETAT POCHETTE; VG-  ETAT DISQUE; VG 9 TITRES; Environ 48 minutes PORT FRANCE LETTRE SUIVIE; 6,90 EUROS (jusqu'a 2 kg et 2 cm d'épaisseur). 1,80 euro par disque supplémentaire ETRANGER ME CONTACTER PAS DE REMISE EN MAIN PROPRE BONNE chance

Emerson's Essays on Manners, Self-Reliance, Compensation, Nature, Friendship (Classic Reprint) Ralph Waldo Emerson Auteur: Ralph Waldo Emerson Editeur: Forgotten Books Broché: 194 pages paperback Publication: 15/07/2012 Dimensions: 22,86 x 15,24 x 2,29 Langue: Anglais Publier en: Anglais Languages d'origine: Anglais Help ? May 25, 180 A prU 27,1882) We have few more intimate biographical records than Emersoi s; fewer still tiiat cause so littie disappointment in the reading. In the wealth of material at hand in his Journal and letters as well as in the personal reminiscences of a great band of friends and admirers we are brought face to face with a personality that can but win by the cumulative power of character Even those who met Emerson with prejudices to be overcome were conquered by his presence. In an instant all my dislike vanished said Crabbe Bobinson, in reporting the first glimpse caught of him across a crowded room. One and another bear evidence to the same personal power with a concurrence that would be tiresome, were it not for the strong individual conviction in each case. Two other brothers, Edward and Charles, both younger, shared this power; William, the oldest, was likewise gifted with unusudl intellect. The family lived in Boston, where the father, William Emerson, was a brilliant Congregational minister, prominent in religious, social, and literary circles till his death in 1811. (Typographical errors above are due to OCR software and don't occur in the book.) About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and Mythology. Forgotten Books' Classic Reprint Series utilizes the latest technology to regenerate facsimiles of historically important writings. Careful attention has been made to accurately preserve the original format of each page whilst digitally enhancing the aged text. Read books online for free at Great Collection but Not the Best This collection has five Ralph Waldo Emerson essays: "Self-Reliance," "Manners," "Compensation," "Nature," and "Friendship." They were published a few years apart but have little intrinsic connection; the combination seems random. However, "Self" is an essential masterpiece, and the others are high quality. Anyone wanting a sampler could do worse, but the essays are widely available in far more comprehensive compilations, and this is hard to justify unless one sees it for a good price. "Self" is Emerson's most famous essay and is rivaled only by "Concord Hymn" as his most famous work. It is also his masterpiece; one often hears - sometimes disparagingly - that Emerson tried to fit his whole philosophy into each essay, and this comes remarkably close. There is far more depth and subtlety here than the length suggests; one would be very hard-pressed to find another work so densely packed. The words are few, but the implications are enough for a lifetime. "Self" is a seminal masterwork; a founding Transcendentalist text and American Romantic cornerstone, it is central to American thought, culture, and literature. Anyone even remotely interested in any Americana aspect must be intimately familiar with it; aside from the Declaration of Independence and Constitution themselves, perhaps no other document is so vital to the American spirit. Reading "Self" is perhaps more necessary than ever - not only because it is eternally relevant but also because it is often misrepresented. The term "self-reliance" is now almost entirely political, almost synonymous with libertarianism, and the essay is frequently touted along such lines. However, these things are hardly more than implied here, and though the definition of "liberal" has greatly changed, it is important to remember that Emerson was one of his era's leading liberals. His prime meaning in any case is self-reliance intellectually and in everyday life. He urges us to trust ourselves, to recognize human divinity and avoid imitation. It is a simple message but all-important - and far easier said than done. Emerson explores all its ramifications - philosophical, practical, social, political, economic, etc. - and outlines all its benefits. The case is beyond convincing, but he can do no more than show us; the rest is up to us. This profoundly individualist message is another reason that reading "Self" is so necessary. Emerson now unfortunately has a reputation for being somewhat impenetrable and/or hopelessly impractical; this is a true shame, because he wrote for the masses. Unlike nearly all philosophers, he does not rely on jargon or polysyllables; he truly wanted to be understood, and all it takes is will. We must open our minds to him, and once we have, they will never be closed again. Though greatly revered with many and diverse followers, Emerson's intention was not to be loved but to inspire; he wanted all to find individual genius. His work is thus the truest and best kind of self-help manual, and "Self" is its apotheosis. It has inspired millions in the more than century and a half of its existence, including me. I have read thousands and thousands of works, but this is one of the handful that truly changed my life. Emerson's greatness always shines through, but reading him at the right time can make an astonishing difference. He was more popular in life with the young than the old, and I can easily see why. I was lucky to read him at just the right time, and "Self" spoke to me more powerfully than almost anything else ever has. Without hyperbole, I can say that I would not be doing what I am today and would have abandoned my goals and visions without reading "Self" and Thoreau's "Life without Principle" - a somewhat similar essay highly influenced by Emerson - when I did. I was wracked with self-doubt and getting nothing but indifference, bafflement, or hostility from others; these works gave just the kick I needed, and I will never look back. "Self" has the potential to be life-changing as almost nothing else does, and I highly recommend it to all; you can hardly be unaffected and may never be the same. However, I especially recommend it to the young; its importance to them - and Emerson's generally - simply cannot be overemphasized. Emerson is a signature American stylist, and "Self" is near his height. His writing is always memorable and often highly lyrical - about as close to poetry as prose can be. However, his essays were almost always painstakingly composed from lectures and journals, and the effect was sometimes choppy. An Emerson-loving professor of mine once joked that no one can find the topic sentence in an Emerson paragraph, and his transitions also frequently leave much to be desired. However, "Self" is near-seamless, a true masterpiece of style that flows smoothly and often waxes beautiful. This is all the more remarkable in that it was assembled even more than usual from disparate sources; entries that ended up here came as far as eight years apart, but the whole is admirably harmonious. "Self" is a preeminent example of how Emerson delights in paradox. Anyone who reads him closely sees that he is as complex as he is simple. Thus, despite - or perhaps even because of - apparent straight-forwardness, few texts are more ripe for deconstruction. "Self" fans after all love a text that tells us not to love texts, are inspired by a man who tells us not to be inspired by men, and are convinced by a text and man both of which tell us not to be convinced by either. But this is only the beginning. "Self" works because it tells us exactly what we want to hear and, in striking contrast to innumerable self-help books, does so in an intellectually and even aesthetically respectable way. This is fine for me and (hopefully) you but could of course be taken to heart by Hitler as easily as Gandhi. The thoroughly optimistic, mild-mannered, and physically frail Emerson may not have foreseen his revolutionary text being put to nefarious use and probably would have been unable to believe in even the possibility. However, the danger, if we choose to call it so, is very real. "Self" could easily have had the same effect that Nietzsche had on Nazis, and that it has not been taken up by anarchists, radical terrorists, and the like is perhaps mere luck. One at least wonders how it avoided preceding The Catcher in the Rye as the work synonymous with unsavory people. That said, it is likely unfair to Emerson to say he did not anticipate this; he after all takes his views to the logical conclusion. He surely saw it, and it may have given pause, but he persevered because he was faithful to his intuition just as he urges us to be to ours. He truly believed in self-reliance and was ready to stand by it no matter what befell - nay, thought it his only choice. His optimism must have told him that the doctrine would not be abused, and he has been right - so far. Only time will tell if this continues to hold, but "Self" remains essential for all. Though far less great and universal, "Manners" is one of Emerson's more historically interesting essays. It is essential to recall that his era perhaps emphasized manners more than any other in history; they had an importance of which we cannot even conceive. All had to deal with them regardless of personal views, but virtually all seemed to agree - or at least convinced others that they did. Thus, though it may initially seem somewhat surprising in light of Emerson's trademark liberalism and originality that he (begrudgingly) accepts some conventions, the small extent to which he did so is truly remarkable. The essay goes a little into various manners' pros and cons, but the core points are elsewhere. The first is that manners are relative; Emerson begins with some striking anthropological examples of this all-important fact and otherwise drives it home. An extension of his core self-reliance doctrine, the second is that the great make their own manners - and make others respect them. "Manners" is one of Emerson's least transcendental works - in any sense -, but comparing and contrasting its message to today's society and competing views can be instructive, and it is a valuable timepiece. "Friendship" is also very good - one of Emerson's most affecting and thought-provoking works. His view of the ubiquitous subject is unsurprisingly original and engaging. He believes that friendship can exist only with real equality and sees it as a sort of springboard to something higher. His demands are great, and the work is eye-opening in the sense that almost no one has a friend by his definition. Like his best work, "Friendship" can easily make us question beliefs and preconceptions - and perhaps even make us better friends. "Compensation" is one of Emerson's most representative essays. The staunch optimism so essential to his thought was perhaps never shown so clearly or thoroughly elsewhere. Emerson begins by saying he had wanted to write about compensation since he was a boy, and it shows in his enthusiasm. He works himself up almost to a rhapsody, giving example after example in clear, beautiful prose that remarkably never becomes dull and is often near-lyrical. The essay details Emerson's belief that everything balances out, even if we cannot see it, and that good and evil have their own earthly rewards despite appearances. He may not convince cynics, but his argument is certainly compelling, and his critiques of conventional Christianity and other traditions are very intriguing. "Nature" has many of Emerson's key concepts: nature's all-encompassing beauty and force, our place in regard to it, art's role, and of course deduction of God from nature. Some speculations are more philosophical, historical, or critical, but all lead to these basic points, which are Transcendentalism's cornerstones. Emerson's characteristically optimistic thought is here in full, as is his signature poetic prose. These essays are essential for anyone interested in Emerson, whether read here or elsewhere. Three Stars Not much explanation. Hard to read. Print is not very clear. D'autre ouvrages de Ralph Waldo Emerson Mot Clef: Nonfiction Education Education Theory

Accompanied by a resplendently rhythmic score and including an intriguing blend of classical, world, and contemporary western music, Abba Pater is Pope John Paul II's uplifting message to the faithful everywhere. Released in timely celebration of Holy Week and Easter, and in anticipation of the millennial Great Jubilee pilgrimage, this sacred inner expedition of sound explores universal themes of spirituality such as praise, forgiveness, and brotherly love. Abba Pater is the first musical CD ever to feature the most famous man in the world, whose dramatic and moving words delivered on these tracks are culled from archival recordings from the first 20 years of his papacy. In five beautifully expressed languages, the Pope sings, chants, and prays for the healing of humankind, all of which is perhaps best summed up by the words in Psalm 26: "I believe that I shall see the goodness of the Lord in the land of the living." --Paige La Grone Track Listings Disc: 1 1. Cercate Il Suo Volto 2. Cristo E Liberazione 3. Verum Caro Factum Est 4. Abba Pater 5. Vieni Santo Spirito 6. Padre, Ti Chiediamo Perdono 7. Dove C'e Amore C'e Dio 8. Padre Della Luce 9. Un Comandamento Nuovo 10. Madre Di Tutte Le Genti 11. La Legge Delle Beatitudini

Courrèges, Editions Xavier Barral, 2008 Edition de 3000 exemplaires numérotés Textes en Français Styliste précurseur, André Courrèges a toujours cherché au-delà de la mode à exprimer son temps. Dans l’élan des années 1960, l’inventeur de la célèbre petite robe blanche, zélateur du court, alliant simplicité et vitalité, libère le corps des femmes en dessinant minijupes, pantalons et collants. Sous la couverture métallique de ce livre-objet, les couleurs et les matières du créateur-ingénieur, toujours en avance d’un présent, alternent en pleines pages avec les photographies de William Klein, Helmut Newton, Jeanloup Sieff, Peter Knapp... À travers une série de mots-clés, Érik Orsenna médite sur l’œuvre et le personnage, dont il esquisse le portrait. Relié métal 29 × 29 cm 240 pages 190 photographies couleur --------- Courrèges, Published by Xavier Barral, 2008 Numbered edition of 3000 French text To express his era, pioneering designer André Courrèges has always set his sights beyond fashion. During the zealous '60s, this inventor of the famous little white dress and short-skirt enthusiast combined simplicity and vitality to liberate the female body with his miniskirts, pants and tights. Beneath the metallic cover of this "book-object", the colors and materials of this cutting edge engineer-designer alternate with full-page photos by William Klein, Helmut Newton, Jeanloup Sieff and Peter Knapp, etc. Erik Orsenna offers a series of key words that sketch a portrait of the man and provide a meditation on his work.  Metallic hardcover 29 × 29 cm 240 pages 190 colour photographs

See It and Say It in Spanish: A Beginner's Guide to Learning Spanish the Word-and-Picture Way (Anglais) Poche – 1 octobre 1961 Product Details Poche: 256 pages Editeur: Berkley; Édition: Reissue (1 octobre 1961) Collection: See It and Say It Langue: Anglais ISBN-13: 978-0451168375 Dimensions du produit: 10,8 x 1,6 x 17,5 cm Moyenne des commentaires client: Soyez la première personne à écrire un commentaire sur cet article n°141 dans Graduate & Professional Test Guides n°200 dans Vocabulary Reference n°379 dans Dictionaries & Thesauruses Master Spanish quickly and easily with this guide—written by internationally famous language teacher Margarita Madrigal—that has two built-in learning aids that has helped thousands of beginner students learn to speak Spanish. THE WORD AND PICTURE METHOD—Each new word, phrase, or sentence is accompanied by a line drawing that immediately explains its meaning. READY-MADE VOCABULARY—Right from the starts, this books leads you to speaking conversational Spanish. It utilizes everyday Spanish words and phrases that look and sound like their English equivalents. Also includes: • A traveler's word list • A pronunciation guide • A grammar section

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