Truth, Love & Clean Cutlery A guide to the United Kingdom’s truly exemplary, organic, sustainable, and ethical restaurants. Truth, Love & Clean Cutlery: A Guide to the Truly Good Restaurants and Food Experiences of the United Kingdom is part of a series of the world’s first guides to truly exemplary, organic, sustainable, and ethical restaurants. Edited by Giles Coren, the guide features 272 inspirational restaurants from around the United Kingdom so you can easily find exemplar restaurants near you, and enjoy sustainable, ethical and simply good food. Also accompanied by an easy-to-use mobile-optimised website highlighting inspiring exemplar restaurants www.truthloveandcleancutlery.com. Ten per cent of the publisher’s revenue from sales of the Truth, Love & Clean Cutlery UK guidebook will benefit the Sustainable Restaurants Association, a not-for-profit social enterprise, which aids food-service businesses to work towards sustainability and guides customers towards more sustainable choices. The SRA will use this money to support its One Planet Plate campaign, helping diners use the power of their appetites wisely.

OMOT 5 CD 5 NOV NESLUŠAN Label: Chrysalis ‎– 7243 5946432 9 Format: CD, Album Country: Netherlands Released: 2003 Genre: Rock, Pop Style: Pop Rock TracklistHide Credits 1 Let Me Entertain You Written-By – G. Chambers*, R. Williams* Written-By [Intro to Let Me Entertain You O Verona] – C. Armstrong*, M. De Vrais*, P. Hooper* 5:55 2 Let Love Be Your Energy Written-By – G. Chambers*, R. Williams* 4:44 3 We Willl Rock You Written-By – B. May* 1:19 4 Monsoon Written-By – G. Chambers*, R. Williams* 4:28 5a (untitled) 0:40 5b Come Undone Written-By – A. Hamilton*, B. Ottestad*, D. Pierre*, R. Williams* 4:56 6a (untitled) 0:38 6b Me And My Monkey Written-By – G. Chambers*, R. Williams* 7:14 7a (untitled) 0:05 7b Hot Fudge Written-By – G. Chambers*, R. Williams* 4:09 8a (untitled) 1:34 8b Mr. Bojangles Written-By – J. J. Walker* 4:03 9a (untitled) 1:20 9b She`s The One Written-By – K. Wallinger* 4:23 10a (untitled) 1:19 10b Kids Written-By – G. Chambers*, R. Williams* 6:10 11a (untitled) 1:09 11b Better Man Written-By – G. Chambers*, R. Williams* 1:52 12a (untitled) 0:17 12b Nan`s Songs Written-By – R. Williams* 3:19 13a (untitled) 1:30 13b Feel Written-By – G. Chambers*, R. Williams* 4:32 14a (untitled) 0:43 14b Angels Written-By – G. Chambers*, R. Williams* 5:55 Companies, etc. Phonographic Copyright (p) – Robbie Williams Phonographic Copyright (p) – The In Good Company Co Ltd Copyright (c) – Robbie Williams Copyright (c) – The In Good Company Co Ltd Licensed To – Chrysalis Records Ltd. Pressed By – EMI Uden Published By – EMI Music Publishing Ltd. Published By – BMG Music Publishing Ltd. Published By – Queen Music Publishing Ltd. Published By – Twenty Seven Songs Ltd. Published By – Warner/Chappell Music Ltd. Published By – Polygram Music Publishing Ltd. Recorded At – Knebworth Mixed At – Metropolis Studios Mastered At – Metropolis Studios Credits A&R – Chris Briggs Backing Vocals – Katie Kissoon, Tessa Niles Bass Guitar – Yolande Charles Computer [Pro Tools] – David Naughton*, Jim Brumby Design, Art Direction – Burrell Durrant Hifle Drums – Chris Sharrock Engineer [FOH Sound] – Dave Bracey Engineer [Monitor] – Martin Wareing Guitar – Gary Nuttall, Neil Taylor Keyboards, Guitar – Claire Worrall Management – ie Music Ltd. Mastered By – Julian Lowe Mixed By – Steve Power Mixed By [Assistant] – Adrian Hall, Dom Morley Percussion, Piano – Max Beesley Photography By – Frank Bauer, Guido Karp, Hamish Brown, Sean Gleason Production Manager – Wob Roberts Recorded By – Will Shapland* Saxophone, Flute – Chris White, Dave Bishop Slide Guitar – Melvin Duffy Synthesizer [MD], Keyboards, Guitar – Mark Plati Trombone – Neil Sidwell Trumpet – Paul Sprong, Simon Gardner, Steve Sidwell Notes Under Exclusive Licence To Chrysalis Records Ltd. Recorded Live at Knebworth 1-3 August 2003. The Highlights, mixed by Steve Power Booklet: 12 pages, clamped/folded, photos All `(untitled)` tracks are spoken introductions to the songs, which are placed in the so-called `negative timing` gap between the tracks. Barcode and Other Identifiers Barcode (String): 724359464329

PLOCA A STRANA 5 STRANA B 4+ OMOT 4+ Gerald Albright – Just Between Us Gerald Albright - Just Between Us album cover More images Label: Atlantic – 7 81813-1, Atlantic – 81813-1 Format: Vinyl, LP, Album, AR Pressing Country: US Released: 1987 Genre: Jazz Style: Smooth Jazz A1 New Girl On The Block 5:10 A2 Trying To Find A Way 5:04 A3 So Amazing 3:57 A4 King Boulevard 3:30 A5 Come Back To Me 5:15 B1 Your`re My #1 4:50 B2 Just Between Us 4:45 B3 You Don`t Even Know 4:27 B4 Softly At Sunrise 5:40 Copyright © – Atlantic Recording Corporation Phonographic Copyright ℗ – Atlantic Recording Corporation Produced For – Bright Music (2) Recorded At – Sound Castle Recorders, Los Angeles Recorded At – Silverlake Studios Recorded At – Blah Blah Studios Recorded At – Jam Power Studios Recorded At – Elumba Studios Mixed At – Elumba Studios Mastered At – Future Disc Pressed By – Allied Record Company Alto Saxophone, Tenor Saxophone, Bass, Producer – Gerald Albright Art Direction – Bob Defrin Backing Vocals – Billy Griffin, Bridgette Bryant, Fred White (2), Maxi Anderson, Phil Perry (2) Bass – Billy Griffin Drum Programming – Craig Burbidge, David Stewart (4) Drums, Drum Programming – Harvey Mason Engineer [Associate] – David Konig*, David Kopatz, Fred Howard, Jane McCord, John Guggenheim, Elizabeth Cluse*, T. Sumiko Green, Ted Pattison Executive-Producer – Merlin Bobb, Sylvia Rhone Guitar – Greg Moore Keyboards – Bobby Lyle, Charles Booker, Patrice Rushen Keyboards, Producer [Associate], Drum Programming – Rodney Franklin Lead Vocals – Arish Rountree (tracks: A1), Billy Griffin (tracks: B3), Bridgette Bryant (tracks: B1) Management – Raymond A. Shields II Mastered By – Steve Hall Percussion – Plato Brown, Terry Santiel* Recorded By, Mixed By – Craig Burbidge Gerald Albright`s first solo Album on Atlantic. Similar version, pressed by Specialty Records Corporation, is here, Just Between Us Barcode (Text): 0 7567-81813-1 3

Моцарт и просветитељство: мистерија генија Из свог времена и завађених с њим, једном ногом у свом веку, а другом у вечности, укорењени у одређеном географском окружењу, али такође поседујући универзалну димензију, геније је немогуће заобићи. Ком простор-времену припадају? С обзиром на то да генијалност суштински пркоси сваком објашњењу или дефиницији, можемо ли бар нешто рећи о контексту у којем постоји? Ово је питање на које овај број покушава да нађе почетак одговора. Наш циљ није био да успоставимо типологију генија уопште или да нацртамо портрет тог изузетног генија чија се двестогодишњица обележава ове године. Оно што смо покушали да урадимо је да дамо свој скромни допринос књизи случајева додирујући неке од парадокса који карактеришу генијалност. Лик Моцарта, композитора чија је генијалност дуго порицана или барем потцењивана пре него што је била опште призната, чинило нам се да савршено одговара нашим покушајима да бацимо мало светла на оно што би се могло назвати истином или пре мистеријом генија. Моцарт се не може одвојити од Европе просветитељства чије најбоље квалитете илуструје. Било у погледу музичке композиције или покрета идеја, он је био човек у авангарди свог времена. Који други геније је до те мере оличен у свом сопственом стваралачком пољу, сво знање његовог периода? Истина, Моцарта је посебно охрабрила његова породица. У веома раном детињству, током својих путовања, савладао је све главне европске музичке форме, са невероватном сигурношћу убирајући шта год је одговарало његовим намерама где год је нашао. Међутим, ова способност асимилације, ова моћ креативне синтезе, колико год ретка, не може сама по себи да пружи адекватну дефиницију генија. Да би уметник био геније, он такође треба да буде у првим редовима свих интелектуалних струјања свог времена. Моцарт није био револуционар, али је био ватрени масон. Филантропски, филозофски, везани за идеју прогреса и реформи без насиља, масонерија је била космополитски хуманизам чије је идеале Моцарт заступао против нетолеранције и неправде свог века. Узимајући то у обзир и без обзира на то колико је свестан савремених проблема, геније не само да држи огледало старости. Некласификован, непредвидив, геније надалеко шири своја крила. Геније је онај чији рад проналази одјек у другим, све удаљенијим периодима и културама, наилазећи на одговор у умовима и срцима људи који су све удаљенији од њега. Он тада превазилази бесконачну разноликост језика, обичаја и брига народа света и погађа жицу њиховог заједничког човечанства. Мистериозно, он постиже универзалност. И у извесном смислу, његови савременици га терају да то скупо плати. Моцарт је на крају отуђио бечку публику. Било је врло мало оних који су током његовог живота били способни да цене његова дела по њиховој правој вредности. У деветнаестом веку изгледало је да је његова звезда зашла. Сада је коначно препознат његов прави стас, али за то је требало скоро 200 година. Адел Рифаат, главни уредник, Бахгат Елнади, директор Mozart and the Enlightenment: the mystery of genius Of their time and at loggerheads with it, with one foot in their century and another in eternity, rooted in a particular geographical setting but also possessed of a universal dimension, geniuses are impossible to pigeonhole. To what spacetime do they belong? Given that genius essentially defies all explanation or definition, can we at least say something about the context in which it has its being? This is the question to which the present issue tries to find the beginnings of an answer. Our aim has not been to establish a typology of genius in general or to draw a portrait of that exceptional genius whose bicentenary is being celebrated this year. What we have tried to do is to make our own modest contribution to the casebook by touching on some of the paradoxes that characterize genius. The figure of Mozart, a composer whose genius was long denied or at least underestimated before being universally acclaimed, seemed to us to chime perfectly with our attempt to throw a little light on what might be called the truthor rather the mysteryof genius. Mozart cannot be dissociated from the Europe of the Enlightenment whose best qualities he exemplifies. Whether in respect of musical composition or of the movement of ideas, he was a man in the vanguard of his time. What other genius epitomized to such a degree, in his own creative field, all the knowledge of his period? True, Mozart was singularly encouraged by his family. At a very early age, in the course of his travels, he mastered all the major European musical forms, harvesting with amazing sureness whatever suited his purposes wherever he found it. However, this faculty of assimilation, this power of creative synthesis, rare as it is, cannot by itself provide an adequate definition of genius. For an artist to be a genius, he also needs to be in the forefront of all the intellectual currents of his time. Mozart was not a revolutionary, but he was a fervent Freemason. Philanthropic, philosophical, wedded to the idea of progress and reform without violence, Freemasonry was a cosmopolitan humanism whose ideals Mozart espoused against the intolerance and injustices of his century. That being said and no matter how aware he may be of contemporary issues, a genius does not simply hold up a mirror to the age. Unclassifiable, unforeseeable, genius spreads its wings far and wide. A genius is one whose work finds an echo in other, increasingly remote periods and cultures, meeting a response in the minds and hearts of people who are more and more at a remove from it. He then transcends the infinite variety of the languages, customs and concerns of the peoples of the world and strikes the chord of their common humanity. Mysteriously, he achieves universality. And in a sense his contemporaries make him pay dearly for it. Mozart ended up by alienating Viennese audiences. Those who, during his lifetime, were capable of appreciating his works at their proper value were very few. In the nineteenth century his star seemed to have set. Now at last his true stature is recognized, but it has taken almost 200 years. Adel Rifaat, Editor-in-chief, Bahgat Elnadi, Director

LYNN HAROLD HOUGH THE MEANING OF HUMAN EXPERIENCE Izdavač - Abingdon-Cokesbury Press, New York Godina - 1945 368 strana 24 cm Povez - Tvrd Stanje - Kao na slici, tekst bez podvlačenja SADRŽAJ: BASIC CONSIDERATIONS Chapter I: CONFRONTING THE HUMAN 1. The Men We Can Scarcely See. 2. The Men of the River Valleys. 3. The Men of Masterful Mind. 4. The Man Who Controls Other Men. 5. The Everlasting Barbarian. 6. The Men of Slippery Mind. 7. The Men Who Made Words Slaves. 8. The Men Who Enshrined Memories. 9. The Men Who Captured Dreams. 10. The Men Who Were Disturbed by the Moral Voice. 11. The Men Who Made Nations. 12. The Men Who Made Republics. 13. The Men Who Made Machines. 14. The Men Who Became Machines. 15. The Interpreters of the Battle of Impulses and Ideas. 16. The Alluring and Betraying Utopias. 17. The Men Who Have Seen Individuals Sharply. 18. The Man Everyman Sees. Chapter II: KNOWING AND THINKING. 1. The Necessary Assumptions. 2. The Possibility of Universal Skepticism. 3. The Mistakes of the Thinkers. 4. Freedom. 5. The Great Correlation: Thinker, Thought, Thing. 6. What the Mind Brings to Experience. Chapter III: THE NATURE OF THE REAL. 1. Materialism. 2. Realism. 3. Idealism. 4. Impersonal Realism. 5. Impersonal Idealism. 6. Personal Realism. 7. Personal Idealism. Chapter IV: THE ULTIMATE PERSON 1. The Ground of a Community of Personal Experience. 2. The Ground of the Existence of Persons. 3. Explaining the Personal by Means of the Impersonal. 4. Explaining the Impersonal by Means of the Personal. 5. Human Personality. 6. Divine Personality. 7. The Security of Experience in the Ultimate Person. 8. Moving Back to the Major Premise from the World of Experience. 9. Moving from the Ultimate Person Back to History. Chapter V: THE SPEECH OF THE GREAT PERSON. 1. The Speech of the Creator. 2. God`s Speech in Man. 3. God`s Speech in Nature. 4. `Natural Theology.` 5. Has God Spoken in the Ethnic Religions? 6. Classification of Religions. 7. The Ethnic Religions and `Natural Theology.` 8. The Ethnic Religions and Revelation. 9. Is There a Higher Revelation? THE HEBREW-CHRISTIAN WITNESS Chapter VI: THE RELIGIOUS EXPERIENCE OF ISRAEL. 1. The Adventure of Man with Nature. 2. The Adventure of Man with Man. 3. The Adventure of Man with God. 4. The Unique Adventure in Palestine. 5. The God with a Character. 6. Borrowing and Transform- ing. 7. Things Left Behind. 8. Truths Apart from Experience. 9. Truth in Experience. 10. The Striking Individuals. 11. The Dedicated People. Chapter VII: THE HEBREW PROPHETS. 1. Elijah and Elisha. 2. Amos. 3. Hosea. 4. Isaiah. 5. Micah. 6. Jeremiah. 7. Nahum. 8. The Isaiah of the Exile. 9. Ezekiel. 10. God Meets Men at the Central Place of Their Own Experience. Chapter VIII: `THE REIGN OF LAW`. 1. Old Testament Laws. 2. Law as Convention. 3. Law as Ritual. 4. Natural Law. 5. Law as the Correlation of Human Sanctions. 6. Law as the Correlation of Divine Sanctions. 7. The Law in the Heart. Chapter IX: THE BATTLE WITH DOUBT AND THE LYRICAL VOICES 1. Habakkuk. 2. Job. 3. The Hero of the Book of Psalms. 4. The Indi- vidual Experiences of the Book of Psalms. 5. The Humanism of the Psalms. 6. The Evangelical Note in the Psalms. 7. The Law Is Taught to Sing. 8. Social Insights of the Psalms. 9. The Tragedies of the Book of Psalms. 10. The Triumphant Joy of the Psalms. 11. The Hallelujah Chorus. Chapter X: SERMONS ON HISTORY. 1. Samuel. 2. Saul. 3. David. 4. Solomon. 5. The Choice of Rehoboam. 6. Hezekiah. 7. Josiah. 8. The Living Forces in History. 9. The Divine Meanings in History. Chapter XI: THE STORY OF A BRIDGE 1. The Exile. 2. The Return from Exile. 3. The Resurrection of the Nation. 4. Persia. 5. Babylon. 6. Alexandria. 7. The Decadent Greeks. 8. The Great Patriots. 9. Rome. 10. The Fresh Insights. 11. Casually Accepted Beliefs. 12. The New Imperial World. Chapter XII: THE HUMAN LIFE DIVINE 1. The Portrait of Christ in the Gospels. 2. Vital Perfection. 3. The Compelling Person. 4. The Words. 5. The Great Insights. 6. The Deeds and the Life. 7. The Great Invitation and the Great Divide. 8. The Personal Experience Back of the Gospels. 9. The Criticism of Christian Experience. 10. The Human Life Divine. Chapter XIII: RELIGION AS REDEMPTION 1. Ideas Connected with Religion as Redemption. 2. The Classical Form of Christian Experience. 3. Some Historical Examples. 4. The Reverse Approach to Paul Through Twenty Centuries of Christian Experience. 5. The Pauline Theology and Classical Christianity. 6. `Other Sheep.` 7. Great Christians Who Were Not Evangelicals. 8. The Soft Substitutes. 9. The Modern Experience of Redemption. Chapter XIV: RELIGION AS APOCALYPSE 1. The Conditions of the Rise of Apocalyptic Literature. 2. Sense of Complete Frustration in the Presence of Evil Powers. 3. The Faith of the Hopeless Minority. 4. The Appeal from the Acts of Men to the Acts of God. 5. Mysterious Symbolisms Whose Central Message Is Obvious to the Oppressed. 6. Apocalyptic Writing as a Literature of Consolation. 7. Apocalyptic Writing as a Literature of Triumphant Hope. 8. Apocalypse as a Philosophy of History. 9. Modern European Theology and the Apocalyptic Mood. 10. The Permanent Significance of the Apocalyptic Elements in the Christian Religion. Chapter XV: THE QUEEN OF THE SCIENCES 1. Science as Measurement. 2. The Larger Conception of Science. 3. Theology, the Keystone of the Arch. 4. Exegetical Theology. 5. Biblical Theology. 6. Philosophical Theology. 7. The Greek Theology. 8. The Latin Theology. 9. The Intellect and the Will. 10. The Reformation Takes Theological Forms. 11. The Theology of Fulfillment. 12. The Theology of Crisis. 13. The Theology of Social Action. 14. The Great Synthesis. THE HUMANISTIC TRADITION Chapter XVI: THY SONS, O GREECE. 1. The Living Process. 2. The Mingling of Primitive and Civilized Life. 3. The Direct Gaze at Nature. 4. The Direct Gaze at Man. 5. The Dangerous Gift of Abstraction: the Good, the Beautiful, and the True. 6. The Living Faith in the Ideal. 7. The Halfway Houses: the Things Which Seem Better than Gods; the Virtues Which Have Fruits Without Roots. 8. The Deliverance from Abstraction. 9. Athens and Jerusalem. Chapter XVII: CRITICS OF MANY LANDS 1. The Voice of the Critic. 2. Through the Eyes of Aristotle. 3. Longinus and the Great Soul. 4. Cicero and the Battle Between Appetite and Reason. 5. Quintilian Directs the Man with a Voice. 6. Lucian Scorns His World. 7. Boethius Confronts Tragedy. 8. Thomas Aquinas Finds Reason in Theology. 9. Pico della Mirandola Finds the Dignity of Man. 10. Francis Bacon Turns to Nature and Misunderstands Human Values. 11. Dryden Comes to His Throne. 12. France Attains a Fine Certainty. 13. The Coffee House Becomes Articulate. 14. Dean Swift Castigates. 15. Dr. Johnson Pontificates. 16. Burke Beholds Sublimity. 17. Sainte-Beuve Writes Royally. 18. Carlyle`s Clouds and Darkness and Flashing Light. 19. Matthew Arnold Remembers the Best That Has Been Thought and Said in the World. 20. Ruskin Teaches Beauty to Face Social Responsibility. 21. Saintsbury, the Hedonist. 22. Physics and Biology Rampant. 23. The Freudians Inspire Literary Criticism. 24. The Social Radicals Have Their Day in Court. 25. Humanism Becomes Mighty in Irving Babbitt. 26. Humanism Becomes Christian in Paul Elmer More. 27, Evangelical Humanism Chapter XVIII: FICTION FINDS TRUTH AND FALSEHOOD 1. Escape. 2. Adventure. 3. Vicarious Satisfaction. 4. By the Light of a Thousand Campfires. 5. By the Lamps of a Thousand Libraries. 6. By the Fireplaces of a Thousand Homes. 7. The Isolated Reader Who Finds a Society in Books. 8. Fiction Heightens and Dramatizes Life. 9. Fiction Photographs Human Life. 10. Fiction Brings Back Golden Memories. 11. Fiction Brings Back Memories That Corrode and Burn. 12. Fiction Criticizes Life. 13. Fiction Records the Adventures of the Soul. 14. Fiction as the Voice of the Body. 15. Fiction Gives Life to Great Hopes. 16. Fiction Interprets Life. 17. Fiction and the Rights of the Soul Chapter XIX: POETRY OPENS AND CLOSES ITS EYES 1. Homer. 2. The Greek Tragedians. 3. Vergil. 4. Dante. 5. Chaucer. 6. Spenser. 7. Shakespeare. 8. Marlowe. 9. O Rare Ben Jonson. 10. John Donne. 11. Other Metaphysical Poets. 12. Alexander Pope. 13. John Keats. 14. Shelley. 15. Lord Byron. 16. Wordsworth. 17. Browning. 18. Tennyson. 19. Goethe. 20. Longfellow. 21. Lowell. 22. Whitman. 23. Hardy. 24. D. H. Lawrence. 25. Robert Bridges. 26. Edwin Arlington Robinson. 27. T. S. Eliot. 28. Robert Frost. 29. Decadent Poetry. 30. Finding One`s Way. Chapter XX: BIOGRAPHY HIDES AND TELLS ITS SECRETS 1. How Much Can We Know About Particular People? 2. How Much Can Particular People Know About Themselves? 3. Can We Know a Man`s Secret? 4. Through the Civilized Eyes of Plutarch. 5. Through the Spacious Eyes of Macaulay. 6. The Sensitive Plate of Sainte-Beuve. 7. The Biographical Detective Appears in Gamaliel Bradford. 8. The Perceptive Analysis of Gilbert Chesterton. 9. The Heroes. 10. The Saints. 11. The Statesmen. 12. The Thinkers. 13. The Scientists. 14. The Preachers. 15. The Reformers. 16. The Women. 17. The Men. 18. The Valley of Decision Chapter XXI: HISTORY AND THE CHRISTIAN SANCTIONS 1. The Breakdown of the Older States. 2. The Debacle in Greece. 3. The Debacle in Rome. 4. The Debacle in the Middle Ages. 5. The Debacle in the Renaissance. 6. The Debacle in the Reformation. 7. The Debacle in the Enlightenment. 8. The Debacle of the French Revolution. 9. The Debacle in the Society of Science. 10. The Debacle of the Society of Social Blueprints. 11. The Debacle in the Society of the Machine Age. 12. The Debacle of the Great Reversion. 13. Democracy Faces Fate. 14. The Judgment of the Christian Sanctions. THE EVANGELICAL SYNTHESIS Chapter XXII: ALL THE STREAMS FLOW TOGETHER. 1. Physical Well-Being. 2. Moral Well-Being. 3. Intellectual Well-Being. 4. Spiritual Well-Being. 5. Social Well-Being. 6. The Tragedy of Ignorance. 7. The Solution of the Problem of Ignorance. 8. The Tragedy of Incompleteness. 9. The Solution of the Problem of Incompleteness. 10. The Tragedy of Sin. 11. The Solution of the Problem of Sin. 12. The Tragedy of Social Disintegration. 13. The Solution of the Problem of Social Disintegration. 14. The Religion of Revelation. 15. The Religion of the Incarnation. 16. The Religion of the Cross. 17. Christus Imperator. Chapter XXIII: THE TRAGEDY OF THE GREAT GREGARIOUSNESS 1. The All-Inclusiveness of Hinduism. 2. The Nest of Fallacies. 3. You Cannot Affirm a Thing Without Denying Its Opposite. 4. A Relative Insight Is Not an Insight. 5. A Relative Loyalty Is Not a Loyalty. 6. A Relative Truth Is Not a Truth. 7. The Ladder of Confusion. 8. The Great Gregariousness Becomes the Complete Blackout. 9. The Great Distinctions. 10. The Living Corpus of Dependable Truth. Chapter XXIV: THE TRANSFIGURATION OF ETHICS. 1. Codes and Practice. 2. The Man with Ethical Experience. 3. The Personal and the Impersonal. 4. The Great Dilemma. 5. The Solution of the Antinomian. 6. The Conventional Solution. 7. The Solution of Those Who Get Lost in Details. 8. The Solution of a Shrewd Prac- ticality. 9. The Solution of Despair. 10. The Solution of Faith. 11. The Searching Power Which Christianity Brings to Ethics. 12. The New Spirit Which Christianity Brings to Ethics. 13. The Lyrical Gladness Which Christianity Brings to Ethics. 14. Christianity and the Creative Ethical Life. Chapter XXV: BEYOND THESE VOICES. 1. The Creature Who Must Have Eternity. 2. The Claims of the Unful- filled. 3. The Claims of Those Who Cry Out Against the Injustices of Time. 4. Man Without Eternity. 5. Eternity Without Man. 6. The Faith Written in the Soul of Man. 7. The Men of Social Passion Who Fear the Belief in Immortality. 8. The Final Adjudication. 9. The Faithful God. Index Ako Vas nešto zanima, slobodno pošaljite poruku. Aristotle Matthew Arnold Athanasius Karl Barth Robert Browning Oscar Cargill Cicero Charles Dickens William Fairweather Charles Kingsley Martin Luther William Robertson Nicoll Plato Socrates