Provides the first English translation of the Tibetan and Chinese texts on monastic discipline for Buddhist nuns and presents a comparative study of the two texts. An important contribution for studies of women's history, feminist philosophy, women's studies, women in religion, and feminist ethics.

Netflix’s series adaptation of One Hundred Years of Solitude premieres December 11, 2024! One of the twentieth century’s enduring works, One Hundred Years of Solitude is a widely beloved and acclaimed novel known throughout the world and the ultimate achievement in a Nobel Prize–winning career. The novel tells the story of the rise and fall of the mythical town of Macondo through the history of the Buendía family. Rich and brilliant, it is a chronicle of life, death, and the tragicomedy of humankind. In the beautiful, ridiculous, and tawdry story of the Buendía family, one sees all of humanity, just as in the history, myths, growth, and decay of Macondo, one sees all of Latin America. Love and lust, war and revolution, riches and poverty, youth and senility, the variety of life, the endlessness of death, the search for peace and truth—these universal themes dominate the novel. Alternately reverential and comical, One Hundred Years of Solitude weaves the political, personal, and spiritual to bring a new consciousness to storytelling. Translated into dozens of languages, this stunning work is no less than an account of the history of the human race.

Four women seeking the promise of salvation and prosperity in a new land.

The interplay between solitude and society was a particularly persistent theme in nineteenth-century American literature, though writers approached this theme in different ways. Poe explored the metaphysical significance of isolation and held solitude in high esteem; Hawthorne viewed the theme in moral terms and examined the obligation of each individual to the larger community; and Emerson maintained that the contradictory states of self-reliance and solidarity are fundamental to human happiness. Herman Melville emerged with an ontological response to this issue. Questioning the nature of being, he argued that humans are essentially isolated creatures. While he grants that we are free to choose how we conduct our lives, whether in solitude or in society, we cannot escape the essential condition of our alienation. Thus in Moby-Dick, he coins the term Isolato to signify the inherent separateness of all individuals. Writing some fifty years later, Edith Wharton reached the same conclusion. This book argues that Wharton's views on solitude and society were strongly parallel to those of Melville. Scholars have generally held that Wharton was primarily influenced by the great English, French, and Russian writers of the nineteenth century; and that with the exception of Walt Whitman, Ralph Waldo Emerson, and Henry James, she neglected the influence of American literature almost entirely. This study demonstrates that Wharton read a significant portion of Melville's writings, that she reflected on the nature and achievement of his works, and that her consideration of his importance emerged during very significant moments in her life, when she was forced to grapple with her own place as an individual in relation to a larger community. Though Melville and Wharton initially seem disparate, this book shows that they had much in common. By studying the two authors side by side, this volume reveals that they shared a similar way of seeing the world, particularly with respect to their considerations of solitude and society. Through their solitary characters, Melville and Wharton question the relationship of self and society and thus engage a universal problem of special interest to the nineteenth century.

An oral history biography of the legendary Latin American writer and Nobel laureate Gabriel García Márquez, brimming with atmosphere and insight. Irrevent and hopeful, Solitude & Company recounts the life of a boy from the provinces who decided to become a writer. This is the story of how he did it, how little Gabito became Gabriel García Márquez, and of how Gabriel García Márquez survived his own self-creation. The book is divided into two parts. In the first, BC, before Cien años de soledad (One Hundred Years of Solitude), his siblings speak and those who were friends before García Márquez became the universally loved Latin American icon. Those who knew him when he still didn't have a proper English tailor nor an English biographer, and didn't accompany presidents. It gathers together the voices around the boy from the provinces, the sisters and brothers, the childhood friends, the drinking buddies and penniless fellow students. The second part, AC, describes the man behind the legend that García Márquez became. From Aracataca, to Baranquila, to Bogota, to Paris, to Mexico City, the solitude that García Márquez needed to produce his masterpiece turns out to have been something of a raucous party whenever he wasn't actually writing. Here are the writers Tomás Eloy Martínez, Edmundo Paz Soldán and William and Rose Styron; legendary Spanish agent Carmen Balcells; the translator of A Hundred Years of SolitudeGregory Rabassa; Gabo's brothers Luis Enrique, Jaime, Eligio and Gustavo, and his sisters Aida and Margot; María Luisa Elío, to whom A Hundred Years of Solitude is dedicated; and so much more: a great deal of music, especially the vallenato; the hilarious scenes of several hundred Colombians, García Márquez's chosen delegation, flying to Stockholm for the Nobel Prize celebrations; the time Mario Vargas Llosa punched Gabriel García Márquez in the face; and much, much more. In Living to Tell the Tale, the first volume of García Márquez's autobiography, Gabo writes: "I am consoled, however, that at times oral history might be better than written, and without knowing it we may be inventing a new genre needed by literature: fiction about fiction." Solitude & Company joins other great oral histories, like Jean Stein and George Plimpton's Edie: American Girl, their oral history biography of Edie Sedgwick, or Barry Gifford's oral history of Jack Kerouac, Jack's Book--an intimate portrait of the most human side of Gabriel García Márquez told in the words of those who knew him best throughout his life.

An innovative and timely examination of the concept of solitude in nineteenth-century American literature During the nineteenth century, the United States saw radical developments in media and communication that reshaped concepts of spatiality and temporality. As the telegraph, the postal system, and public transportation became commonplace, the country achieved a level of connectedness that was never possible before. At this level, physical isolation no longer equaled psychological separation from the exterior world, and as communication networks proliferated, being disconnected took on negative cultural connotations. Though solitude, and the lack thereof, is a pressing concern in today’s culture of omnipresent digital connectivity, Yoshiaki Furui shows that solitude has been a significant preoccupation since the nineteenth century. The obsession over solitude is evidenced by many writers of the period, with consequences for many basic notions of creativity, art, and personal and spiritual fulfillment. In Modernizing Solitude: The Networked Individual in Nineteenth-Century American Literature, Furui examines, among other works, Henry David Thoreau’s Walden, Harriet Jacobs’s Incidents in the Life of a Slave Girl, Herman Melville’s “Bartleby, the Scrivener,” Emily Dickinson’s poetry and letters, and telegraphic literature in the 1870s to identify the virtues and values these writers bestowed upon solitude in a time and place where it was being consistently threatened or devalued. Although each writer has a unique way of addressing the theme, they all aim to reclaim solitude as a positive, productive state of being that is essential to the writing process and personal identity. Employing a cross-disciplinary approach to understand modern solitude and the resulting literature, Furui seeks to historicize solitude by anchoring literary works in this revolutionary yet interim period of American communication history, while also applying theoretical insights into the literary analysis.

Achieving inner calm while feeling centered is a human goal that is never easy to master. But why of late do serenity and peace of mind seem further from reach than ever before? The world appears very busy, and finding moments to catch up with ourselves looks to be almost impossible. Something has occurred to change life's circumstances, to make peaceful, restorative time terribly elusive. Alonetime is a great protector of the self and the human spirit. Many in society have railed against it. Some have overused its healing potential. Others have kept it as a special resource both knowingly and unknowingly. ... (Yet) the only way we shall achieve ... ideal love is if we are allowed to flower in the due course and pace of our inner life. Whether or not we were fortunate in our growing up to blossom this way, plenty of time -- alone-times -- awaits us now to make the necessary readjustments.

The Bloomsbury Handbook of Solitude, Silence and Loneliness is the first major account integrating research on solitude, silence and loneliness from across academic disciplines and across the lifespan. The editors explore how being alone – in its different forms, positive and negative, as solitude, silence and loneliness – is learned and developed, and how it is experienced in childhood and youth, adulthood and old age. Philosophical, psychological, historical, cultural and religious issues are addressed by distinguished scholars from Europe, North and Latin America, and Asia.

Reproduction of the original: Poems by William Wordsworth

On November 12, 2002, at the age of twenty-two, my son Mitchell committed suicide. His sudden and unexpected death sent me reeling down a path I needed to travel if I ever wanted to escape the forest of grief and loss in which I found myself. This book recounts my journey to come to terms with the death of my son. The path I started downto fulfill a promise I had made to my son while he was alive, to find answers to the mental problems he sufferedtook me places I had not anticipated. The path became a network of four intersecting paths, and my journey took me far beyond the death of a son to the human condition where we are governed by forces, both internal and external, over which we have little control and little understanding. Intricately connected, the four paths explored in this book are: 1) the autobiographical: the story of my life with my son Mitchell as we struggled with the mental problems that eventually led to his suicide. 2) the diagnostic: the various diagnostic tools available to psychiatrists, which illustrate the level of knowledge in the field and show some of the failings of our present approach to mental disorders. 3) historical fiction: narrative accounts of the lives and deaths by suicide of both historical and fictional characters, including the son of Queen Isabela of Spain; Meriwether Lewis; Vincent Van Gogh; Miguel, a slave working at the Count of Valencianas silver mine, La Boca del Infierno, in 18th-century Mexico; and Michele, a passenger on the Titanic. By telling these stories, sometimes in the first person, I found a way to express my own anguish and pain, something I could not do directly, as well as a way to explore further my relationship with my son and my sons complexity and fullness as a person. 4) scientific explanation of how the brain works: a theory of how the brain works, explaining in detail how mental images and thoughts are formed and travel through the nervous system, how we live in a world of illusions, and how mental illness can be explained in these terms. These four paths are intricately connected and reinforce each other in the book. The diagnostic explains in technical terms what the autobiographical recounts; the autobiographical recounts events which help to explain the complexities and subtleties of human behavior within the context of how the brain works; the historical fiction ties into the autobiographical elements and the diagnostic. The book also confronts the issue of suicide, itself. It answers that elusive question: Why do people commit suicide? The book presents a personal, honest, biographical testimonial of the experience of the suicide of a son. The book speaks from experience, not some abstract philosophical point of view. The organization and contents of the book are unique, a weaving together of four distinct yet related subjects: the suicide of a son, the classification of mental illnesses, narratives of historical fiction, and a theory of how the brain works. The most outstanding feature of this book is that it presents for the first time, to my knowledge, a comprehensive theory of the brain that explains mental disorders such as dementia, delirium, depression, manic depression and schizophrenia. For the first time, suicide is placed in a scientific context, and why and how it happens is explained. In particular, the brain theory here is presented in a simplified form accessible to most, particularly because of the anecdotes and stories that help illustrate how the brain functions and malfunctions. The book also deals with other related subjects: the importance of love in our lives; the possibilities of past lives; how to deal with grief and loss; the possible reasons for the rise of suicide rates in industrialized nations; the failures of the system to cure and prevent suicide and other mental disorders; and possible directions that therapies and medications might explore in the future. The writing is forceful