But it's mostly the act itself that brings relief, the self-forgetfulness, the diving and plunging into other lives.
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For all the institutional authority Wood possesses, one of the great pleasures he takes in criticism seems to be the opportunity for self-forgetfulness.
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They lose awareness of their separateness when absorbed in what they love to do or when appreciating the wonders and mysteries of life. Cloninger observes that such experiences of self-forgetfulness and transpersonal identification correspond to what Freud called "oceanic feelings,"Freud S. Civilization and Its Discontents. New York, Jonathan Cape and Harrison Smith, 1929. which is different from intellectual adherence to particular religious dogmas or rituals.
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It rises in that pure song into the highest heavens and is maintained there, so that our soul rises with theirs "through self-forgetfulness divine", filling the skies, showering the world "from human stores", soaring nearer towards silence. Consciously or unconsciously, Meredith's theme expands upon the sonnet False Poets and True by Thomas Hood (1799-1845), addressed to William Wordsworth,"Sonnets. IV: False Poets and True", in Poems by Thomas Hood, 2 vols (Edward Moxon, London 1846), II, p. 39 (Google).
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John Wain pointed out that Blaise's "sacred" love for Harriet is characterized by "selfishness and possessiveness", while his erotic "profane" attachment to Emily has "a depth and a purity, in some ways self-forgetfulness", making a clear moral distinction between the two states impossible. The Time reviewer saw the title as indicating Murdoch's intention of "exploring mind's mechanistic aspect". Martin Amis found the title "the most consistently provocative thing" about the novel. It is too simple, he concluded, to equate Harriet and Emily with sacred and profane love respectively, and to see them as opposites.
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The experience of the sublime involves a self-forgetfulness where personal fear is replaced by a sense of well-being and security when confronted with an object exhibiting superior might, and is similar to the experience of the tragic. The "tragic consciousness" is the capacity to gain an exalted state of consciousness from the realization of the unavoidable suffering destined for all men and that there are oppositions in life that can never be resolved, most notably that of the "forgiving generosity of deity" subsumed to "inexorable fate".Emery, Stephen A.. "Dessoir, Max". In Encyclopedia of Philosophy. Vol.
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As part of the broad musical education given to her by her father, Clara Wieck learned to compose, and from childhood to middle age she produced a good body of work. Clara wrote that "composing gives me great pleasure... there is nothing that surpasses the joy of creation, if only because through it one wins hours of self-forgetfulness, when one lives in a world of sound". Her Op. 1 was Quatre Polonaises pour le pianoforte composed in 1831, and Op. 5 4 Pièces caractéristiques in 1836, all piano pieces for her recitals. She wrote her Piano Concerto in A minor at age 14, with some help from her future husband. She planned a second piano concerto, but only a Konzertsatz in F minor from 1847 survived.
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According to the God Gene hypothesis, spirituality has a genetic component, of which (VMAT2) comprises one component by contributing to sensations associated with mystic experiences, including the presence of God and feelings of connection to a larger universe. The research uses the self-transcendence scale developed by psychologist Robert Cloninger to quantify spirituality using three sub-scales: "self-forgetfulness" (as in the tendency to become totally absorbed in some activity, such as reading); "transpersonal identification" (a feeling of connectedness to a larger universe); and "mysticism" (an openness to believe things that remain unproven, such as ESP). Cloninger suggests that taken together, these measurements are a reasonable way to quantify (make measurable) an individual's propensity to spiritual. The self-transcendence measure was shown to be heritable by classical twin studies conducted by Lindon Eaves and Nicholas Martin.
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They performed in all 48 states, including Havana, Cuba. Sandoval wrote two songs for Gigli to be performed in concert: Vurria and Eres Tú. Eres Tú was recorded on an RCA Victor label, along with Sandoval's arrangement of a tango in D by Albéniz, called Quisiera Olvidar Tus Ojos. The association between Sandoval and Gigli was extremely beneficial for Sandoval, as he began attracting a group of admirers similar to that of Gigli. On January 21, 1931, in Toronto, Ontario, a reviewer wrote: “Mr. Miguel Sandoval’s piano-forte work was just as remarkable as Mr. Gigli’s beautiful songs. There have been few accompanists in Massey Hall who played more exquisitely, with more refined self-forgetfulness, and with more real understanding of the singer’s moods and needs than he did.”Schroeder, Pollyanna, "The America's Magazine," April 1979. Between his tours, Sandoval coached singers at his New York Studio, and in 1927, the New York radio station, WCDA, named him Artistic Director.
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Photo of Cullen with the caption "Hyde Park" There are artefacts of Cullen's life in the National Library of Australia, in particular among the archive papers of Bessie Rischbieth, feminist and founder of the Australian Federation of Women's Societies (or Voters), who persuaded Cullen to donate her suffragette items to the collection. These include Cullen's sketch of her prison cell, with the caption, "stone walls do not a prison make, nor iron bars a cage." There is also Cullen's Holloway brooch and her WSPU sash, which she is seen wearing in a duo photograph of her both in prison clothing and dressed in white wearing the sash for the Hyde Park Women's March, from her book written in 1959. The collection has the original certificate from Emmeline Pankhurst, honouring Louise Cullen's contribution of "self-forgetfulness and self- conquest, ever ready to obey the call of duty, and to answer to the appeal of the oppressed", which she is holding in her portrait.
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She discovered the joy in self-forgetfulness and added, "I felt, in a word, charity enter my heart, the need to forget myself to make others happy—Since this blessed night I was not defeated in any battle, but instead I went from victory to victory and began, so to speak, "to run a giant's course".Psalms According to Ida Görres, "Thérèse instantly understood what had happened to her when she won this banal little victory over her sensitivity, which she had borne for so long; ...freedom is found in resolutely looking away from oneself.. and the fact that a person can cast himself away from himself reveals again that being good, victory is pure grace, a sudden gift..It cannot be coerced, and yet it can be received only by the patiently prepared heart". Biographer Kathryn Harrison: "After all, in the past she had tried to control herself, had tried with all her being and had failed. Grace, alchemy, masochism: through whatever lens we view her transport, Thérèse's night of illumination presented both its power and its danger.
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