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Detailing the protagonist's life and philosophical reflections following a shipwreck. The narrative establishes Crusoe’s background, mentioning his birth in York and his father’s advice regarding the superior happiness of the "middle station" in life, which Crusoe ultimately rejects through his wandering inclinations. The excerpts cover his initial struggles on a desolate island, including salvaging supplies from the wreck, building a habitation, and slowly developing methods for sustenance, such as growing barley and making crude tools due to necessity. Later, the account shifts to Crusoe’s spiritual awakening during an illness and his eventual encounter with and rescue of the native man he names Friday, which leads to a dramatic confrontation with cannibals and the subsequent recovery of an English ship. The sources conclude with Crusoe's return to Europe, where he discovers he is wealthy from his Brazilian plantation, and his final reflection on Providence before embarking on new voyages.
Explains that the original Bangla title, Shodh, balances between "revenge" and "getting even," framing the narrative as a feminist fable that challenges assumptions about what is "natural" in society. The story follows the protagonist, Jhumur, a university-educated woman who finds herself constrained by the suffocating expectations and patriarchal traditions of her husband Haroon's family, including performing domestic duties despite her degrees and enduring his jealousy. A central conflict revolves around Haroon's forced abortion of their first child due to his suspicion of her fidelity, which leads Jhumur to seek emotional refuge in an affair and eventually pursue her own form of "revenge" and independence by securing a job.
Argues that traditional civilizations are founded upon spiritual and metaphysical principles, contrasting this with the modern focus on materialism, progress, and history. Key themes include the doctrine of two natures—a physical and a metaphysical realm—and the belief that traditional truths are nonhuman, eternal principles outside of time and space. The source extensively examines traditional concepts of kingship, social hierarchy (castes), and the importance of rite and action as means to connect with the transcendent, contrasting this with the decline into democracy, secularism, and the "Dark Age" characterized by the triumph of the masses and the elevation of work over action. Finally, it explores ancient cosmological and mythological doctrines, such as the four ages and the symbolism of opposing male (solar/Uranian) and female (lunar/telluric) spiritual principles in the context of civilizational decline.
Examines the causes of revolutions and major rebellions in the early modern world, particularly focusing on the English Revolution of 1640 and the French Revolution of 1789. The author challenges Eurocentric explanations, arguing that these crises were part of waves of worldwide state breakdowns that also affected Eastern empires like the Ottoman Empire and Ming China. A central theme is the development of a causal framework linking demographic change, population growth, and consequent inflation to state fiscal crises, intra-elite conflict, and heightened popular unrest, which together constitute a "state breakdown." The author uses this framework to compare state crises in England, France, Germany, China, and the Ottoman Empire, differentiating between "revolutionary" outcomes marked by ideological repudiation of tradition in the West and more conservative state reconstruction in the East.
Offer an extensive biographical overview of filmmaker David Lynch, detailing his early life, creative development, and career milestones through a combination of his own recollections and those of his family, friends, and professional collaborators. The text traces his upbringing in a supportive yet strict family environment and his subsequent move to Alexandria, Virginia, which he remembers as a profound, upsetting shift. A significant portion of the material covers the production of his most notable films, including the demanding, low-budget creation of Eraserhead and his experience with studio interference during the making of Dune, contrasting this with the relative creative freedom he enjoyed on projects like The Elephant Man and Blue Velvet, which was largely financed by Dino De Laurentiis. Furthermore, the sources explore Lynch's work in television, most notably Twin Peaks, and his deep commitment to Transcendental Meditation as a core influence on his life and art.