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Emanuel Swedenborg. Emanuel Swedenborg ( Swedenborg had a prolific career as an inventor and scientist.

Emanuel Swedenborg

In 1741, at age 53, he entered into a spiritual phase in which he began to experience dreams and visions, beginning on Easter weekend of April 6, 1744. This culminated in a 'spiritual awakening', in which he received revelation that he was appointed by the Lord to write the The Heavenly Doctrine to reform Christianity.[7] According to The Heavenly Doctrine the Lord had opened Swedenborg's spiritual eyes, so that from then on he could freely visit heaven and hell and talk with angels, demons and other spirits; and the Last Judgement had already occurred, in 1757.[8] However, he tells us that at this day it is very dangerous to talk with spirits, unless a person is in true faith, and is led by the Lord.[9][10] For the remaining 28 years of his life, Swedenborg wrote 18 published theological works, and several more which were unpublished.

Biography[edit] Early life[edit] Scientific period[edit] John of Ruysbroeck. The Blessed John of Ruysbroeck (Dutch: Jan van Ruusbroec, Jan (or Johannes) van Ruysbroeck, pronounced [jɑn vɑn rœ.y̯zbruk, ry.zbruk]; 1293 or 1294 – 2 December 1381) was one of the Flemish mystics. Some of his main literary works include The Kingdom of the Divine Lovers, The Twelve Beguines, The Spiritual Espousals, A Mirror of Eternal Blessedness, The Little Book of Enlightenment and The Sparkling Stone.

Ruysbroeck also wrote letters and short sayings from some of his oral talks have been recorded by certain of his disciples, such as Jan Van Leeuwan. He wrote in the Dutch vernacular, the language of the common people of the Low countries, rather than in Latin, the language of the Church liturgy and official texts, so as to reach a wider audience. Life[edit] Until his ordination[edit] At the age of eleven he left his mother, departing without leave or warning, to place himself under the guidance and tuition of his uncle, Jan Hinckaert, a canon regular of St.

Priest in Brussels[edit] EL TRABAJO Y EL JUEGO. Primeramente debemos retomar las cosas desde lejos. Sin lugar a dudas podría hablar del erotismo en detalle sin tener que hablar del mundo en que se realiza. Me parecería vano, sin embargo hablar del erotismo independientemente de su nacimiento, de las condiciones primeras en las cuales no es dado. Sólo el nacimiento del erotismo, a partir de la sexualidad animal, ha puesto en juego lo esencial. Sería inútil tratar de comprender el erotismo si no podemos hablar de cómo fue en su origen. No puedo dejar de evocar, en ese libro, el universo del cual el hombre es el productor, el universo del cual es precisamente el erotismo quien lo desvía. Desde un extremo al otro de la historia, desde los orígenes (es decir desde las prehistoria)... Por otra parte la prehistoria no es diferente de la historia sino en razón de la pobreza de los documentos que la fundan.

Es el trabajo el que desgaja al hombre de la animalidad inicial. El dominio de las cavernas-santuarios es esencialmente el del juego. Georges Bataille - The Cruel Practice of Art. Georges Bataille, "The Cruel Practice of Art" (1949).

Georges Bataille - The Cruel Practice of Art

"L'Art, exercise de la cruauté" was originally published in Médicine de France (June 1949), reprinted in Georges Bataille, Oeuvres Complètes, vol. XI, Paris: Gallimard, 1988. This translation first appeared on the CD-ROM BLAM! 1 (1993) and was revised for The painter is condemned to please. To see in this paradox the mere effect of a sexual vice would be vain. It is with a sort of mute, inevitable, inexplicable determination, like that in dreams, that the fascinating specters of misery and pain have always lurked among the background figures in this carnival of a world. This paradox of the carnival — which in the most general sense is the paradox of emotion, but in the most specific sense is the paradox of sacrifice — ought to be considered with the most critical attention. It is true that sacrifice is no longer a living institution, though it remains rather like a trace on a streaky window.

Sociedad Teosófica Española.