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The Language Of My Imagination is a book that was written over the course of a few months giving an account of the various stages in my life. Both the good and bad times have brought me closer to God and made me aware of His presence in my life. The poetry travels trough my actual life experiences and the fanciful worlds of my imagination. I hope that the spiritual aspects in many of these poems will be encouraging during moments of weakness and in times of fear to those who read this book. Marvin Lewis, Jr. was born and raised in Trenton, New Jersey to the parents of Mr. & Mrs. Marvin & Melanie Lewis. He received his education through home schooling along with his four younger sisters. At the age of 14 he began to study classical piano that provided a creative freedom that he soon unveiled. After a near fatal house fire the freedom was gone and obscurity, fear, and discontentment occupied the void. At the age of 16 he began writing prose, lyrics and poetry that served as a refuge from the discomfort of his present state. Only writing from a hopeless vantage point, the unflinching love of God caused him to see that there is more to life than what the eyes take in. With the unwavering freedom God has provided, he is now writing to convey God's power to heal, deliver and to make free.
Winner of the Living Now Awards 2013, International Latino Book Awards 2013 and Moonbeam Children Books Awards 2013. There is a door in every one of us that leads to our imagination, a world where anything is possible. Dou you dare to embark on the most wonderful journey to our inner-self? One day when I was reading my story, I breathed in one of the words and something magical happened... I entered my imagination! We have always been told about the power of imagination, but what is imagination? How does it work? There is a magical place where you can always be yourself. In there you can turn on your light and illuminate your life with it. That place is your imagination. Your imagination has a life and a voice of its own. It is like a voice that speaks inside of you and paints everything around you with vivid colors. Within your imagination you are the king or queen of your creation. Open the door and discover how that place where we can always be ourselves is like and how does it work. And within your imagination... what is there? Read the first pages of Inside my imagination here below:
"This is the happiest story in the world with the saddest ending," writes Elizabeth McCracken in her powerful, inspiring memoir. A prize-winning, successful novelist in her 30s, McCracken was happy to be an itinerant writer and self-proclaimed spinster. But suddenly she fell in love, got married, and two years ago was living in a remote part of France, working on her novel, and waiting for the birth of her first child. This book is about what happened next. In her ninth month of pregnancy, she learned that her baby boy had died. How do you deal with and recover from this kind of loss? Of course you don't -- but you go on. And if you have ever experienced loss or love someone who has, the company of this remarkable book will help you go on. With humor and warmth and unfailing generosity, McCracken considers the nature of love and grief. She opens her heart and leaves all of ours the richer for it.
Quijana is a girl in pieces. One-half Guatemalan, one-half American: When Quijana's Guatemalan cousins move to town, her dad seems ashamed that she doesn't know more about her family's heritage. One-half crush, one-half buddy: When Quijana meets Zuri and Jayden, she knows she's found true friends. But she can't help the growing feelings she has for Jayden. One-half kid, one-half grown-up: Quijana spends her nights Skyping with her ailing grandma and trying to figure out what's going on with her increasingly hard-to-reach brother. In the course of this immersive and beautifully written novel, Quijana must figure out which parts of herself are most important, and which pieces come together to make her whole. This lyrical debut from Rebecca Balcárcel is a heartfelt poetic portrayal of a girl growing up, fitting in, and learning what it means to belong.
The book presents a new general theory of language as a collectively-constructed communication technology - not unlike the social media on the Net today - that is dedicated to a very particular communicative function: the instruction of imagination. The theory re-frames all the major questions in the linguistic sciences, and opens the way towards the re-unification of the field.
Brooklyn, a high school sophomore, struggles with grief, loneliness, and depression, after the death of her loved ones, including her only best friend. As a result, she becomes a loner, making it difficult for her to make new friends. Then, she meets some "Peculiar" friends and experiences an unexpected series of magical adventures. Is it t possible for Brooklyn to become more social or will the pressure of stepping out of her comfort zone keep her in the shadows of life?
In this innovative volume, anthropologists turn their attention to a topic that has rarely figured as a focus of concerted investigation and yet which can be described as an intrinsic aspect of all human knowing and part of all processes by which human beings process information about themselves, their identities, their environments and their relations: the imagination. How do anthropologists use imagination in coming to know their research subjects? How might they, and how should they, use their imagination? And how do research subjects themselves understand, describe, justify and limit their use of the imagination? Presenting a range of case studies from a variety of locations including the UK, US, Africa, East Asia and South America, this collection offers a comparative exploration of how imagination has been conceptualized and understood in a range of analytical traditions, with regard to issues of both methodology and ethnomethodology. With emphasis not on abstraction but on imagination as activity, technique and subject situated in the middle of lives, Reflections on Imagination sheds new light on imagination as a universal capacity and practice - something to which human beings attend whenever they make sense of their environments and situate their life-projects in these environments - the means by which worlds come to be.
Aimed at lay, student, and academic readers alike, this book concerns the imagination and, specifically, imagination in music. It opens with a discussion of the invalidity of the idea of the creative genius and the connected view that ideas originate just in the individual mind. An alternative view of the imaginative process is then presented, that ideas spring from a subconscious dialogue activated by engagement in the world around. Ideas are therefore never just of our own making. This view is supported by evidence from many studies and corresponds with descriptions by artists of their experience of imagining. The third subject is how imaginations can be shared when musicians work with other artists, and the way the constraints imposed by trying to share subconscious imagining result in clearly distinct forms of joint working. The final chapter covers the use of the musical imagination in making meanings from music. The evidence is that music does not communicate meanings directly, and so composers or performers cannot be looked to as authorities on its meaning. Instead, music is commonly heard as analogous to human experience, and listeners who perceive such analogies may then imagine their own meanings from the music.
Wittgenstein's aphoristic style holds great charm, but also a great danger: the reader is apt to glean too much from a single fragment and too little from the fragments as a whole. In my first confron tations with the Philosophical Investigations I was such a reader, and so, it turned out, were most of the writers on Wittgenstein's later philosophy. Wittgenstein's remarkable ability to bring together many facets of his thought in one fragment is fully exploited in the critical literature; but hardly any attention is paid to the connection with other fragments, let alone to the many hitherto unpublished manuscripts of which the Philosophical Investigations is the final product. The result of this fragmentary and ahistorical approach to Wittgenstein's later work is a host of contradictory interpretations. What Wittgenstein really wanted to say remains insufficiently clear. Opinions are also strongly divided about the value of his work. Some authors have been encouraged by his aphorisms and rhetorical questions to dismiss the whole Cartesian tradition or to halt new movements in linguistics or psychology; others, exasperated, reject his philo sophy as anti-scientific conceptual conservatism. After consulting unpublished notebooks and manuscripts which Wittgenstein wrote between 1929 and 1951, I became a very different reader. Wittgenstein turned out to be a kind of Leonardo da Vinci, who pursued a form from which every sign of chisel ling, every attempt at improvement, had been effaced.