by Mohamed Haj Yousef ‧ RELEASE DATE: Jan. 1, 2019
An ambitious but unconvincing argument involving ancient gnostic theology.
This final installment of a trilogy endeavors to demonstrate in the language of modern physics how multiplicity emerges from divine oneness.
Attempts to explain the relationship between the diverse phenomena humans experience and the possibility of an underlying metaphysical oneness date back to ancient cosmology. Yousef (Duality of Time, 2018, etc.) argues that humans’ perceptions of both phenomenal multiplicity and continuity are mirages, the emanations of an irreducible ontological unity: a single monad, the expression of absolute divine unity. People experience the world as they do because they only view it from an “imaginary time dimension,” a perch from the outside that can’t possibly exist if the universe is truly one. At the heart of this book is the postulation of “nested symmetries,” five kinds that account for the “apparent dynamic multiplicity of creation.” Oneness of God is “conceived” as an “abstract point beyond geometry.” Normal symmetry applies to the physical world governed by the laws of classical mechanics, specifically the elements of space and time understood in Euclidean terms. Super-symmetry denotes the relation between the physical and psychical, which is essentially identical to Quantum Field Theory’s matter/antimatter couplet. Hyper-symmetry refers to the connection, explored in quantum mechanics, between particles and waves and, by extension, the appearance of continuous space. And ultimate symmetry explains how the curved space of contemporary physics can be generated from Euclidean geometry’s “homogenous” space. Underlying these threads is the divine Principle of Love, the original source of motion that explains the universe’s longing to continuously return to a state of harmony. Yousef is at his best providing historical accounts of physics, both ancient and modern—he is especially deft in detailing ancient cosmology—and the theoretical problems that persist within them. But his writing can be exasperatingly dense (“Although the things might outwardly seem to be continuously existing in their evolution, nothing is ever repeated the same twice, since their elementary microscopic components are always created anew in different forms, that may still resemble the perished ones, but they are not themselves”). Furthermore, his fusion of science and Islamic revelation is really just a translation of the latter into the terms of the former. For example, he simply identifies energy particles with “spirits.” This then becomes a springboard to a lengthy discussion of the kinds of spirits, including angels, that exist.
An ambitious but unconvincing argument involving ancient gnostic theology.Pub Date: Jan. 1, 2019
ISBN: 978-1-72382-869-0
Page Count: 323
Publisher: Time Tunnel Media
Review Posted Online: April 4, 2019
Review Program: Kirkus Indie
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson
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by E.T.A. Hoffmann & illustrated by Julie Paschkis
by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955
An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.
Pub Date: Feb. 23, 1955
ISBN: 0670717797
Page Count: -
Publisher: Viking
Review Posted Online: Oct. 25, 2011
Kirkus Reviews Issue: Feb. 1, 1955
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developed by Ludwig Bemelmans ; illustrated by Steven Salerno
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by Ludwig Bemelmans ; illustrated by Steven Salerno
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