By Charles S. Prebish
An important study software for vinaya stories. Covers either fundamental and secondary assets in Sanskrit, Pali, Tibetan, and chinese language in addition to smooth resources in English, French, German and eastern.
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Crucial learn device for vinaya stories. Covers either fundamental and secondary resources in Sanskrit, Pali, Tibetan, and chinese language in addition to sleek resources in English, French, German and jap.
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Additional info for A Survey of Vinaya Literature (The Dharma Lamp Serie) Vol. I
Clearly Capote wanted to keep his novelist’s prestige but to rise above the novelist’s struggle for survival. In Cold Blood, before one read it, promised by the nature of the American literary market to be another wow, a trick, a slick transposition from one realm to another, like the inevitable musical to be made out of the Sacco-Vanzetti case. What struck me most in Capote’s labeling his book a “nonfiction novel” was his honoring the profession of novelist. Novels seem more expendable these days than ever, but novelist is still any writer’s notion of original talent.
But do we as readers of the nonfiction novel, as mere spectators of the television horror show, act anything out? Do we ever do anything more than have “feelings”? Before the great screen of fact created by the information and communications revolution of our time, we remain viewers, and it is truly amazing how much crisis and shock we can take in without giving up anything or having the smallest of our habits changed in the least. The Eichmann trial in Jerusalem was, as Harold Rosenberg said, a necessary purging of emotion—for the survivors and intended victims!
The imaginary copy tends to affirm the reality of what it copies and at the same time to undermine its substantiality. To watch a play within a play is to be transformed from spectator into actor and to suspect that all the world may be a stage and the men and women merely players. 4 Such an illusion becomes all the more desirable in the whirlpool world of gothic. It is in just such a manner that Mary Shelley draws us into her tale. As we read Frankenstein we are, in effect, cutting across a series of interrupted and resumed narratives, drawing a straight line through the concentric circles made by her narrators.
A Survey of Vinaya Literature (The Dharma Lamp Serie) Vol. I by Charles S. Prebish