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John Donne (/ˈdʌn/ DUN) (between 24 January and 19 June 1572[1] – 31 March 1631) was an English poet, satirist, lawyer and a cleric in the Church of England. He is considered the pre-eminent representative of the metaphysical poets. His works are noted for their strong, sensual style and include sonnets, love poetry, religious poems, Latin translations, epigrams, elegies, songs, satires and sermons. His poetry is noted for its vibrancy of language and inventiveness of metaphor, especially compared to that of his contemporaries. Donne's style is characterised by abrupt openings and various paradoxes, ironies and dislocations. These features, along with his frequent dramatic or everyday speech rhythms, his tense syntax and his tough eloquence, were both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. His early career was marked by poetry that bore immense knowledge of British society and he met that knowledge with sharp criticism. Another important theme in Donne’s poetry is the idea of true religion, something that he spent much time considering and theorising about. He wrote secular poems as well as erotic and love poems. He is particularly famous for his mastery of metaphysical conceits.[2]
Despite his great education and poetic talents, Donne lived in poverty for several years, relying heavily on wealthy friends. He spent much of the money he inherited during and after his education on womanising, literature, pastimes, and travel. In 1601, Donne secretly married Anne More, with whom he had twelve children.[3] In 1615, he became an Anglican priest, although he did not want to take Anglican orders. He did so because King James I persistently ordered it. In 1621, he was appointed the Dean of St Paul's Cathedral in London. He also served as a member of parliament in 1601 and in 1614.
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A portrait of Donne as a young man, c. 1595, artist unknown, in the collection of the National Portrait Gallery, London[4]

Donne was born in London, into a recusant Roman Catholic family when practice of that religion was illegal in England.[5] Donne was the third of six children. His father, also named John Donne, was of Welsh descent and a warden of the Ironmongers Company in the City of London. Donne's father was a respected Roman Catholic who avoided unwelcome government attention out of fear of persecution.[6][7]
His father died in 1576, when Donne was four years old, leaving his son an orphan and his widow, Elizabeth Heywood, with the responsibility of raising their children.[1] Heywood was also from a recusant Roman Catholic family, the daughter of John Heywood, the playwright, and sister of the Reverend Jasper Heywood, a Jesuit priest and translator.[1] She was a great-niece of the Roman Catholic martyr Thomas More.[1] This tradition of martyrdom would continue among Donne’s closer relatives, many of whom were executed or exiled for religious reasons.[8] Donne was educated privately; however, there is no evidence to support the popular claim that he was taught by Jesuits.[1] Donne's mother married Dr. John Syminges, a wealthy widower with three children, a few months after Donne's father died. Donne thus acquired a stepfather. Two more of his sisters, Mary and Katherine, died in 1581. Donne's mother, who had lived in the Deanery after Donne became Dean of St. Paul's, survived him, dying in 1632
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تذكر دائما "الايتام مشاريع العظماء ....وهم بحاجة لدعمك ورعايتك واهتمامك ولتتذكر ان اهم استثمار يمكن ان يقوم به الانسان هو الاستثمار في عقل يتيم".

يمكنك مشاهدة ودعوة اصدقائك لمشاهدة ما اقوله عن العلاقة بين اليتم والعبقرية حسب نظريتي في تفسير الطاقة الابداعية على الرابط التالي:

Thomas Middleton (1580 – July 1627) was an English Jacobean playwright and poet. Middleton stands with John Fletcher and Ben Jonson as among the most successful and prolific of playwrights who wrote their best plays during the Jacobean period. He was one of the few Renaissance dramatists to achieve equal success in comedy and tragedy. Also a prolific writer of masques and pageants, he remains one of the most noteworthy and distinctive of Jacobean dramatists.

Life
Middleton was born in London and baptised on 18 April 1580. He was the son of a bricklayer who had raised himself to the status of a gentleman and who, interestingly, owned property adjoining the Curtain theatre in Shoreditch.

Middleton attended Queen’s College, Oxford, matriculating in 1598, although he did not graduate. Before he left Oxford (sometime in 1600 or 1601), he wrote and published three long poems in popular Elizabethan styles; none appears to have been especially successful, and one, his book of satires, ran afoul of the Anglican Church's ban on verse satire and was burned. Nevertheless, his literary career was launched.
In the early 17th century, Middleton made a living writing topical pamphlets, including one—Penniless Parliament of Threadbare Poets—that enjoyed many reprintings as well as becoming the subject of a Parliamentary inquiry. At the same time, records in the diary of Philip Henslowe show that Middleton was writing for the Admiral's Men. Unlike Shakespeare, Middleton remained a free agent, able to write for whichever company hired him. His early dramatic career was marked by controversy. His friendship with Thomas Dekker brought him into conflict with Ben Jonson and George Chapman in the War of the Theatres. The grudge with Jonson continued as late as 1626, when Jonson's play The Staple of News indulges a slur on Middleton's great success, A Game at Chess.[1] It has been argued that Middleton's Inner Temple Masque (1619) sneers at Jonson (then absent in Scotland) as a "silenced bricklayer."[2]
In 1603, Middleton married. The same year, an outbreak of plague forced the closing of the theatres in London, and James I assumed the English throne. These events marked the beginning of Middleton's greatest period as a playwright. Having passed the time during the plague composing prose pamphlets (including a continuation of Thomas Nashe's Pierce Penniless), he returned to drama with great energy, producing close to a score of plays for several companies and in several genres, most notably city comedy and revenge tragedy. He continued his collaborations with Dekker, and the two produced The Roaring Girl, a biography of contemporary thief Mary Frith.
In the 1610s, Middleton began his fruitful collaboration with the actor William Rowley, producing Wit at Several Weapons and A Fair Quarrel; working alone he produced his comic masterpiece, A Chaste Maid in Cheapside, in 1613. His own plays from this decade reveal a somewhat mellowed temper; certainly there is no comedy among them with the satiric depth of Michaelmas Term and no tragedy as bloodthirsty as The Revenger's Tragedy. Middleton was also branching out into other dramatic endeavours; he was apparently called on to help revise Macbeth and Measure for Measure, and at the same time he was increasingly involved with civic pageants. This last connection was made official when, in 1620, he was appointed City Chronologer of the City of London. He held this post until his death in 1627, at which time it was passed to Jonson.
Middleton's official duties did not interrupt his dramatic writings; the 1620s saw the production of his and Rowley's tragedy The Changeling, and several tragicomedies. In 1624, he reached a pinnacle of notoriety when his dramatic allegory A Game at Chess was staged by the King's Men. The play used the conceit of a chess game to present and satirise the recent intrigues surrounding the Spanish Match. Though Middleton's approach was strongly patriotic, the Privy Council shut down the play after nine performances on the complaint of the Spanish ambassador. Middleton faced an unknown, but probably frightening, degree of punishment. Since no play later than A Game at Chess is recorded, it has been hypothesized that his punishment included a ban on writing for the stage.
Middleton died at his home in Newington Butts in 1627, and was buried on 4 July in St Mary's churchyard]
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http://3.bp.blogspot.com/-pKomnk6NdF...zv4/s320/2.jpgلقطة من أحد عروض مسرحية "الأمور بخواتيمها" في لندنويمكن العثور على مزيد من الأمثلة على هذه المفردات "الحديثة" في النص وصياغته، والتي تبدو أقرب إلى أسلوب ميدلتون منها إلى أسلوب شكسبير. ويُعتقد على نطاق واسع أن إثبات تعاون شكسبير وميدلتون في كتابة "الأمور بخواتيمها" سوف يقدم إضاءة مثيرة على كيفية إنجاز شكسبير لمؤلفاته.

August 23, 2011
The Great Awe-Wakening

How often do we hear young people today exclaim “that’s awesome!” or “I’m in awe?” Or in another context, how often do we continue (!) to hear military authorities characterize their bombing operations in the epic terms of “shock and awe?” A bit too often, I’m afraid. Yet, the fact that “awe” — and its variants — are flooding our vocabulary is not an altogether menacingتهديد sign. Indeed it is perhaps a welcoming sign that beyond its casual usage, the fuller and deeper sensibility of “awe” is reemerging in our culture.
The sensibility of awe has undergone many incarnations in humanity’s history. In ancient times, for example, awe was viewed quite narrowly as the sense of being daunted or overcome, particularly by nature. The experience of being daunted, as Rudolf Otto put it in his classic study of religion The Idea of the Holy, was the primal experience of creation, and the primal experience of creation, he went on, was the seedbed for religion. On the other hand, in more recent years, the sensibility of awe has either been neglected, as was the case during the industrial revolution and rise of science, or in our contemporary age, embraced mainly for its exalting qualities, such as its capacity to thrill.
The truth, however, is that awe is neither a paralyzing jolt nor a “feel good” boost but a profound and complex attitude. This attitude, for those fortunate enough to harbor it, embraces both apprehension and thrill, humility and the grandeur of creation. Hence when young people proclaim “awwwesome,” they often appear to glimpse but not necessarily embrace essential awe.

اليقظة المرتبطة بالصدمة المروعة .......أغسطس 23 عام 2011 .
اليقظة الكبرى المرتبطة بالصدمة

إن الإحساس بالهلع والترويع يعود ليتجسد بعدة أشكال في تاريخ البشرية. في العصور القديمة، مثلا ، كان ينظر إلى الترويع من زاوية ضيقة تتمثل في الرهبة المثبطة للهمة أو الهلع من أحداث الطبيعة المروعة . إن التجارب التي تصيب الناس بالهلع يقول رادولف اتو، في دراسته الكلاسيكية للدين بعنوان ( فكرة المقدس) كانت التجارب الأساسية في عملية الخلق والتجارب الأساسية للخلق يقول اتو، هي الأرض الخصبة لولادة الدين.
في المقابل نجد انه المعنى أو الإحساس المرتبط بكلمة الهلع awe في العصور الحديثة نجد انه قد تم اهماله وذلك ما حصل مثلا أثناء الثورة الصناعية وصعود العلوم. بينما نجد أن المعنى المرتبط بالكلمة في عصرنا الحاضر يقتصر على المعنى الايجابي والذي يقصد به التمجيد مثل قدرة الكلمة على التأثير.
والصحيح ان الشعور بالهلع لا يؤدي إلى شل الحركة ولا إلى الإحساس الطيب، ولكنه وضع او موقف عميق ومعقد. وهذا الوضع الذي يحصل مع من له حظ يؤدي إلى حصول زيادة في الإدراك واللذة والمرتبطة بالتواضع والعظمة لعملية الخلق.
وعليه فعندما يقول الشباب بأنهم أصيبوا بالهلع أو الدهشة أو الروعة...فهم غالبا ما يكونوا قد اختبروا شيء من الإحساس بالروعة وليس الهلع أو الروعة المرتبط بالكلمة بمعناها الكامل.

يتبع،،،

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تذكر دائما "الايتام مشاريع العظماء ....وهم بحاجة لدعمك ورعايتك واهتمامك ولتتذكر ان اهم استثمار يمكن ان يقوم به الانسان هو الاستثمار في عقل يتيم".

يمكنك مشاهدة ودعوة اصدقائك لمشاهدة ما اقوله عن العلاقة بين اليتم والعبقرية حسب نظريتي في تفسير الطاقة الابداعية على الرابط التالي:


http://www.youtube.com/channel/UCHE03RH2wntdVG1beTS4YYg

I especially feared the night, because this was the time when the void opened wide, and the most the sinister figure imaginable rushed in — the unknown

إن الصدمة المريعة التي أيقظتني أنا شخصيا بدأت منذ 50 سنة وعندما كنت في سن الثانية والنصف. حدث ذلك عندما انهار أخي الذي كان في السابعة من عمره على سرير إحدى المستشفيات بعد معركة طويلة مع مرض الجدري تضاعف أثره بسبب إصابته بذات الرئة. ومع انهيار آخى انهار عالمي أيضا.

فلم يبق شيء على ما كان عليه. فقد ذهبت براءتي وروتين حياتي وأحدثت صدمة الموت أثرا كبيرا على والدي فلم يعودا أبدا كما كانا. لقد احدث موت أخي مزقا في نسيج طفولتي الذي كان يمنحني الأمان. ومن خلال ذلك الشق الذي وقع للنسيج الذي كان يمنحني الآمان دخلت العفاريت من كل جنس ونوع يمكن للإنسان أن يتخيله- ومن ذلك الساحرات وفرانكيشتيان والوحوش وقتله من دون وجوه.

لقد كنت أخشى الليل بشكل خاص لان مشاعر الفقد والفراغ والهوة التي كنت أحسها تزداد اتساعا في ساعات العتمة...حيث كانت أكثر الشخوص التي يمكن تخليها شرا... تتربص بي لتدخل من تلك الكوة الفارغة.

]Madeleine de Scudéry (15 November 1607 – 2 June 1701), often known simply as Mademoiselle de Scudéry, was a French writer. She was the younger sister of author Georges de Scudéry

Her father, captain of the port in Le Havre, died in 1613 with her mother following shortly after.[1] Madeleine and her brother Georges de Scudéry were placed in the care of an uncle who cared for them very well

.[1] He gave Madeleine an abnormally well-rounded education: she studied writing, spelling, drawing, dancing, painting, and needlework.[1] In addition, on her own, Madeleine studied agriculture, medicine, cooking, Spanish, and Italian.[1] Her works also demonstrate comprehensive knowledge of ancient history that it is suspected she had received instruction in Greek and Latin.[1] In 1637, following the death of her uncle, Scudéry established herself at Paris with her brother. Georges de Scudéry became a playwright.[1] Madeleine often used her brother's name to publish her works.[1] She was at once admitted to the Hôtel de Rambouillet coterie, and afterwards established a salon of her own under the title of the Société du samedi (Saturday Society). For the last half of the 17th century, under the pseudonym of Sapho or her own name, she was acknowledged as the first bluestocking of France and of the world. She formed a close friendship with Paul Pellisson which was only ended by his death in 1693. She never married.Madeleine de Scudéry (15 November 1607 – 2 June 1701), often known simply as Mademoiselle de Scudéry, was a French writer. She was the younger sister of author Georges de Scudéry.

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Marie-Madeleine Pioche de La Vergne, comtesse de La Fayette (baptized 18 March 1634 – 25 May 1693), better known as Madame de La Fayette, was a French writer, the author of La Princesse de Clèves, France's first historical novel and one of the earliest novels in literature.
Life[edit source]

Christened Marie-Madeleine Pioche de La Vergne, she was born in Paris to a family of minor but wealthy nobility. At 16, de la Vergne became the maid of honor to Queen Anne of Austria and began also to acquire a literary education from Gilles Ménage, who gave her lessons in Italian and Latin. Ménage would lead her to join the fashionable salons of Madame de Rambouillet and Madeleine de Scudéry. Her father, Marc Pioche de la Vergne, had died a year before, and the same year her mother married Renaud de Sévigné, uncle of Madame de Sévigné, who would remain her lifelong intimate friend.
In 1655, de la Vergne married François Motier, comte de La Fayette, a widowed nobleman some eighteen years her senior, with whom she would have two sons. She accompanied him to country estates in Auvergne and Bourbonnais although she made frequent trips back to Paris, where she began to mix with court society and formed her own successful salon. Some of her acquaintances included Henrietta of England, future Duchess of Orleans, who asked La Fayette to write her biography; Antoine Arnauld; and the leading French writers Segrais and Huet. Earlier on, during the Fronde, La Fayette had also befriended the Cardinal de Retz.
Settling permanently in Paris in 1659, La Fayette published, anonymously, La Princesse de Montpensier in 1662. From 1665 onwards she formed a close relationship with François de La Rochefoucauld, author of Maximes, who introduced her to many literary luminaries of the time, including Racine and Boileau. 1669 saw the publication of the first volume of Zaïde, a Hispano-Moorish romance which was signed by Segrais but is almost certainly attributable to La Fayette. The second volume appeared in 1671. The title ran through reprints and translations mostly thanks to the preface Huet had offered.


Marie de LaFayette's La Princesse de Clèves (1678)
La Fayette's most famous novel was La Princesse de Clèves, first published anonymously in March 1678. An immense success, the work is often taken to be the first true French novel and a prototype of the early psychological novel.
The death of La Rochefoucauld in 1680 and her husband in 1683 led La Fayette to lead a less active social life in her later years. Three works were published posthumously: La Comtesse de Tende (1718), Histoire d'Henriette d'Angleterre (1720), and Memoires de la Cour de France (1731).[/LEFT

Alain-René Lesage (6 May 1668 – 17 November 1747; older spelling Le Sage) was a French novelist and playwright. Lesage is best known for his comic novel The Devil upon Two Sticks (1707, Le Diable boiteux), his comedy Turcaret (1709), and his picaresque novel Gil Blas (1715–1735).

Youth and education[edit source]
Claude Lesage, the father of the novelist, held the united positions of advocate, notary and registrar of the royal court in Rhuys. His mother's name was Jeanne Brenugat. Both Lesage's father and mother died when Lesage was very young, and he was left in the care of his uncle who wasted his education and fortune. Père Bochard, of the Order of the Jesuits, Principal of the College in Vannes, became interested in the boy on account of his natural talents. Bochard cultivated Lesage's taste for literature. At age 25, Lesage went to Paris in 1693 "to pursue his philosophical studies".

Henri-Benjamin Constant de Rebecque (25 October 1767 – 8 December 1830), or simply Benjamin Constant, was a Swiss-born French politician, writer on politics and religion. He was the author of a partly biographical psychological novel, Adolphe. He was a fervent liberal [1] of the early 19th century who influenced the Trienio Liberal movement in Spain, the Liberal Revolution of 1820 in Portugal, the Greek War of Independence, the November Uprising in Poland, the Belgian Revolution, and Liberalism in Brazil and Mexico.

also]

Henri-Benjamin Constant was born in Lausanne to descendants of Huguenot Protestants who had fled from Artois to Switzerland during the Huguenot Wars in the 16th century. His father, Samuel Constant de Rebecque, served as a high-ranking officer in the Dutch States Army, like his grandfather, his uncle and his cousin Jean Victor de Constant Rebecque. When Constant's mother died soon after his birth, both his grandmothers took care of him. He was educated by private tutors in Brussels (1779), the Netherlands (1780), and at the Protestant University of Erlangen (1783), where he gained appointment to the court of Duchess Sophie Caroline Marie of Brunswick-Wolfenbüttel. He had to leave after an affair with a girl, and moved to the University of Edinburgh. There he lived at the home of Andrew Duncan, the elder and became friends with James Mackintosh[2] and Malcolm Laing.[3] When he left the city he promised to pay back his gambling debts.

Marie-Henri Beyle (French:*[bɛl]; 23 January 1783*– 23 March 1842), better known by his pen name Stendhal (French:*[stɛ̃dal] or [stɑ̃dal],[1] in English also /ˈstɒ̃dɑːl/,[2] /stɛnˈdɑːl/,[3] and /stænˈdɑːl/[4]), was a 19th-century French writer. Known for his acute analysis of his characters' psychology, he is considered one of the earliest and foremost practitioners of realism, as is evident in the novels Le Rouge et le Noir (The Red and the Black, 1830) and La Chartreuse de Parme (The Charterhouse of Parma, 1839).e]

Born in Grenoble, Isère, he was an unhappy child, disliking his "unimaginative" father and mourning his mother, with whom he was passionately in love, and who died when he was seven. He spent "the happiest years of his life" at the Beyle country house in Claix near Grenoble. His closest friend was his younger sister, Pauline, with whom he maintained a steady correspondence throughout the first decade of the 19th century.

بهذه الطريقة التغيير والمجهول أصبحتا تدريجيا بالنسبة لي بوابات فتحت المجال لليقظة عندي. من هذه البوابات صدمة نفسية مصحوبة بشعور عميق أن الحياة أمر مؤقت وان قيمة اللحظة يكمن في مدى اليقظة المصحوبة بها.
أما البوابة الثانية فتتمثل في اكتشاف شعوري بالوحدة والتفرد aloneness ، واكتشاف الأمور العجائبية المرحة التي يمكن أن تنتج عن ذلك الشعور بالوحدة .
والبوابة الأخرى والأخيرة هو الإدراك المفاجئ بالأشياء غير المؤكدة والمشكوك فيها في الحياة.والتي يمكن أن تكون خادعة ومثيرة للفضول ذلك إذا لم نقل مثير للجنون.

Madonna Louise Ciccone[ (/tʃɪˈkoʊneɪ/ chi-KOH-nay; born August 16, 1958) is an American singer-songwriter, actress, author, director, entrepreneur and philanthropist. Born in Bay City, Michigan, she moved to New York City in 1977 to pursue a career in modern dance and performed in the music groups Breakfast Club and Emmy. In 1982, Madonna signed with Sire Records (an affiliate of Warner Bros. Records) and released her self-titled debut album the following year. She has since released a series of successful albums, including the Grammy Award winners Ray of Light (1998) and Confessions on a Dance Floor (2005). Many of her songs peaked atop record charts, including "Like a Virgin", "Into the Groove", "Papa Don't Preach", "Like a Prayer", "Vogue", "Frozen", "Music", "Hung Up", and "4 Minutes".
Madonna is known for continuously reinventing both her music and image, and for retaining a standard of autonomy within the recording industry. She attained immense popularity by pushing the boundaries of lyrical content in mainstream popular music and imagery in her music videos, which became a fixture on MTV. Critics have praised her diverse musical productions which have also been known to induce controversy.
Madonna received generally positive reviews for her role in Desperately Seeking Susan (1985), though her later film appearances received mixed commentary. She received critical acclaim and a Golden Globe Award for Best Actress in Motion Picture Musical or Comedy for Evita (1996), but has received harsh feedback for other performances. She has been recognized as an acclaimed businesswoman, involving herself in fashion design, writing children's books, and film directing and producing. In 1992, she founded entertainment company Maverick as a joint venture with Time Warner, which also included the label Maverick Records. In 2007, she signed a US $120 million record, touring and merchandising 360° deal with Live Nation, resulting in her leaving Warner Bros., her label since 1982.
Madonna has sold more than 300 million records worldwide and is recognized as the best-selling female recording artist of all time by Guinness World Records. Time considered her to be one of the "25 Most Powerful Women of the Past Century" for being an influential figure in contemporary music. Madonna is the best-selling female rock artist of the 20th century and the second best selling female artist in the United States, with 64.5 million certified albums. Considered by Forbes and other publications as a cultural icon,[2][3] she is often referred by the international press as the "Queen of Pop". In 2008, Billboard ranked her at number two, behind only The Beatles, on the Billboard Hot 100 All-Time Top Artists, making her the most successful solo artist in the history of the chart. She was also inducted into the Rock and Roll Hall of Fame in the same year. In 2012, she was crowned the "Greatest Woman In Music" by VH1. As of 2013, some sources report that Madonna's net worth has crossed over one billion dollars.[4]
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Life and career

Madonna Louise Ciccone was born in Bay City, Michigan, on August 16, 1958. Her father, Silvio Anthony Ciccone, is a first-generation Italian American (with roots in Pacentro, Italy), while her mother, Madonna Louise (née Fortin), was of French Canadian descent.[5] Her father worked as a design engineer for Chrysler and General Motors. As Madonna had the same name as her mother, family members called her "Little Nonni".[6] The third of six children from her father's first marriage, her full-blood siblings are: Martin, Anthony, Paula, Christopher, and Melanie.[6] Madonna was raised in the Roman Catholic faith. Upon receiving confirmation in 1966, she adopted Veronica as an additional confirmation name. She was raised in the Detroit suburbs of Pontiac and Avon Township (now part of Rochester Hills).

Her mother died of breast cancer at the age of 30, in 1963.]

Months before her mother's death, Madonna noticed changes in her behavior and personality, although she did not understand the reason. Mrs. Ciccone, at a loss to explain her medical condition, would often begin to cry when questioned by Madonna. Madonna later acknowledged that she had not grasped the concept of her mother dying.]

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Émile Édouard Charles Antoine Zola[1] (French:*[e.milzɔ.la]; 2 April 1840 – 29 September 1902)[2]

was a French writer, the most important exemplar of the literary school of naturalism and an important contributor to the development of theatrical naturalism. He was a major figure in the political liberalization of France and in the exoneration Early life[edit source]
Zola was born in Paris in 1840. His father, François Zola (originally Francesco Zolla), was an Italian engineer. With his French wife Alexandrine Zola, the family moved to Aix-en-Provence in the southeast, when Émile was three years old. Four years later in 1847, his father died leaving his mother on a meager pension. In 1858 the Zolas moved to Paris, where Émile's childhood friend Paul Cézanne soon joined him. Zola started to write in the romantic style. His widowed mother had planned a law career for Émile but he failed his Baccalauréat examination.

Charles-Marie-Georges Huysmans (French:*[ʃaʁl maʁi ʒɔʁʒ ɥismɑ̃s]; February 5, 1848 – May 12, 1907) was a French novelist who published his works as Joris-Karl Huysmans ([ʒoʁis kaʁl]). He is most famous for the novel À rebours (published in English as Against the Grain or Against Nature). He supported himself by a 30-year career in the French civil service.
Huysmans' work is considered remarkable for its idiosyncratic use of the French language, large vocabulary, descriptions, satirical wit and far-ranging erudition. First considered part of Naturalism in literature, he became associated with the decadent movement with his publication of À rebours. His work expressed his deep pessimism, which had led him to the philosophy of Arthur Schopenhauer.[1] In later years, his novels reflected his study of Catholicism, conversion, and becoming an oblate. He discussed the iconography of Christian architecture at length in La cathédrale (1898), set at Chartres and with Chartres Cathedral as the main focus of the book.
Là-bas, (1891), En Route (1895) and La Cathedrale (1898), are a trilogy and feature Durtal, an autobiographical character whose spiritual progres is tracked and who converts to Catholicism. In the novel that follows, L'Oblat (1903), Durtal becomes an Oblate in a monastery, as Huysmans himself was in the Benedictine Abbey at Ligugé, near Poitiers, in 1901.[2] La cathédrale was his most commercially successful work. Its profits enabled Huysmans to retire from خis civil service job and live on his royalties.]

He was born in Paris in 1848. His father Godfried Huysmans was Dutch and a lithographer by trade. His mother, Malvina Badin Huysmans, had been a schoolmistress. Huysmans' father died when the boy was eight years old. After his mother quickly remarried, Huysmans resented his stepfather, Jules Og, a Protestant who was part-owner of a Parisian book-bindery.
During childhood, Huysmans turned away from the Catholic Church. He was unhappy at school but completed his coursework and earned a baccalauréat.

André Paul Guillaume Gide (French pronunciation:*​[ɑ̃dʁe pɔl ɡijom ʒid]; 22 November 1869 – 19 February 1951) was a French author and winner of the Nobel Prize in literature in 1947. Gide's career ranged from its beginnings in the symbolist movement, to the advent of anticolonialism between the two World Wars.
Known for his fiction as well as his autobiographical works, Gide exposes to public view the conflict and eventual reconciliation between the two sides of his personality, split apart by a straitlaced education and a narrow social moralism. Gide's work can be seen as an investigation of freedom and empowerment in the face of moralistic and puritanical constraints, and gravitates around his continuous effort to achieve intellectual honesty. His self-exploratory texts reflect his search of how to be fully oneself, even to the point of owning one's sexual nature, without at the same time betraying one's values. His political activity is informed by the same ethos, as suggested by his repudiation of communism after his 1936 voyage to the USSR
Gide was born in Paris on 22 November 1869, into a middle-class Protestant family. His father was a Paris University professor of law who died in 1880. His uncle was the political economist Charles Gide
In 1895, after his mother's death, he married his cousin Madeleine Rondeaux, but the marriage remained unconsummated. In 1896, he became mayor of La Roque-Baignard, a commune in Normandy.

.

الفرد جاري يتم الاب وآلام في سن 17

Alfred Jarry (8 September 1873 – 1 November 1907) was a French
symbolist writer best known for coining the term and philosophical concept of 'pataphysics, "inspiring a century of experimentation".[1]
Born in Laval, Mayenne, France, not far from the border of Brittany; he was of Breton descent on his mother's side. In his lifetime, though associated with the Symbolist movement, Jarry was best known for his play Ubu Roi (1896), which is oftencited as a forerunner to the Surrealist and Futurist movements of the 1920s and 1930s. Jarry wrote in a variety of hybrid genres and styles, prefiguring the 'Postmodern. He wrote plays, novels, poetry, essays and speculative journalism. His texts present us with pioneering work in the fields of absurdist literature and postmodern philosophy.
A precociously brilliant student, Jarry enthralled his classmates with a gift for pranks and troublemaking.
At the lycée in Rennes when he was 15, he led a group of boys who devoted much time and energy to poking fun at their well-meaning, but obese and incompetent physics teacher, a man named Hébert. Jarry and classmate Henri Morin wrote a play they called Les Polonais and performed it with marionettes in the home of one of their friends. The main character, Père Heb, was a blunderer with a huge belly; three teeth (one of stone, one of iron, and one of wood); a single, retractable ear; and a misshapen body. In Jarry's later work Ubu Roi, Père Heb would develop into Ubu, one of the most monstrous and astonishing characters in French literature.
At 17 Jarry passed his baccalauréat and moved to Paris to prepare for admission to the École Normale Supérieure. Though he was not admitted, he soon gained attention for his original poems and prose-poems. A collection of his work, Les minutes de sable mémorial, was published in 1893.

This latter sensibility was especially acute in my fascination for science fiction. I would spend many absorbing hours either creating or watching stories about distant lands, hidden worlds, or peculiar states of mind.
I would be unnerved by these scenarios but also and equally enthralled. Books like A Wrinkle in Time and The Fall of the House of Usher, movies like The Wizard of OZ and Frankenstein, and TV shows like The Outer Limits and One Step Beyond became my intimate companions.
I could lie on my bedroom floor for perhaps hours, after a dramatic show, or even an intense sob, and make up characters, plays, and ideas for movies. I even made up a play movie studio, complete with “contract players,” scripts, drawings, and toy sets. As I got older, these forays morphed into short-story writing, poetry, and an impassioned interest in philosophy and psychology.

والحساسية الأخيرة هذه أدت إلى إفراطي في حب الخيال العلمي. حيث كنت امضي ساعات في تخيل أو مطالعة قصص عن أراضي بعيدة، وعوالم خفية، أو حالات عقلية غريبة الأطوار.
لم أكن أتأثر بهذه السيناريوهات لكنها كانت أيضا تأسرني. وقد أصبحت الكتب والأفلام والمسلسلات التلفزيونية مثل Wrinkle in Time and The Fall of the House of Usher, movies like The Wizard of OZ and Frankenstein, and TV shows like The Outer Limits and One Step Beyond رفقي الحميم.
كنت استلقي على ارض غرفت النوم خاصتي لعدة ساعات أحيانا بعد مشاهدة حلقة تلفزيونية أو مسلسل درامي، وأتخيل شخصيات ومسرحيات وأفكار وأفلام. حتى أنني قمت على إعداد أستوديو لصناعة الأفلام، مجهز بكافة التفاصيل مثل التعاقد مع ممثلين، والنصوص، والرسومات والألعاب المطلوبة للتصوير.
وعندما تقدمت في السن تحولت هذه الغزوات التخيلية إلى كتابة قصص قصيرة وأشعار وشغف بالفلسفة وعلم النفس.

تابع...ترجمة مقال عن اثر الصدمة في ايقاظ الذهن كما يقول العنوان وهو للكدتور كيرك سنايدر

In sum, I became fascinated by existence and the grand questions of existence: who are we, what are we, and what is being all about? I was not so much directed to these questions as supported to discover them, wrestle with their implications, and follow out their leads. This was not an easy road, to be sure—or a linear one—but, ultimately, for me, it was a rewarding one. This was my road to awe.

اليقظة المرتبطة بالصدمة المروعة .......أغسطس 23 عام 2011 .
اليقظة الكبرى المرتبطة بالصدمة
كم مرة نسمع هذه الأيام الصغار وهم يتعجبون من وقع الأحداث عليهم باستخدام كلمة مذهل أو مروع! أو قولهم أنا مرتاع! أو مذهول! وفي مجال آخر كم مرة سمعنا وما نزال نسمع القادة العسكريين يصفون أعمالهم الحربية بكلمات ملحمية وبأنها تقوم على الصدمة والترويع... أتصور أن ذلك يتكرر كثيرا هذه الأيام.

إن الإحساس بالهلع والترويع يعود ليتجسد بعدة أشكال في تاريخ البشرية. في العصور القديمة، مثلا ، كان ينظر إلى الترويع من زاوية ضيقة تتمثل في الرهبة المثبطة للهمة أو الهلع من أحداث الطبيعة المروعة . إن التجارب التي تصيب الناس بالهلع يقول رادولف اتو، في دراسته الكلاسيكية للدين بعنوان ( فكرة المقدس) كانت التجارب الأساسية في عملية الخلق والتجارب الأساسية للخلق يقول اتو، هي الأرض الخصبة لولادة الدين.
في المقابل نجد انه المعنى أو الإحساس المرتبط بكلمة الهلع awe في العصور الحديثة نجد انه قد تم إهماله وذلك ما حصل مثلا أثناء الثورة الصناعية وصعود العلوم. بينما نجد أن المعنى المرتبط بالكلمة في عصرنا الحاضر يقتصر على المعنى الايجابي والذي يقصد به التمجيد مثل قدرة الكلمة على التأثير.
والصحيح أن الشعور بالهلع لا يؤدي إلى شل الحركة ولا إلى الإحساس الطيب، ولكنه وضع أو موقف عميق ومعقد. وهذا الوضع الذي يحصل مع من له حظ يؤدي إلى حصول زيادة في الإدراك واللذة والمرتبطة بالتواضع والعظمة لعملية الخلق.
وعليه فعندما يقول الشباب بأنهم أصيبوا بالهلع أو الدهشة أو الروعة...فهم غالبا ما يكونوا قد اختبروا شيء من الإحساس بالروعة وليس الهلع أو الروعة المرتبط بالكلمة بمعناها الكامل.
إن الصدمة المريعة التي أيقظتني أنا شخصيا بدأت منذ 50 سنة وعندما كنت في سن الثانية والنصف. حدث ذلك عندما انهار أخي الذي كان في السابعة من عمره على سرير إحدى المستشفيات بعد معركة طويلة مع مرض الجدري تضاعف أثره بسبب إصابته بذات الرئة. ومع انهيار آخى انهار عالمي أيضا. فلم يبق شيء على ما كان عليه. فقد ذهبت براءتي وروتين حياتي وأحدثت صدمة الموت أثرا كبيرا على والدي فلم يعودا أبدا كما كانا. لقد احدث موت أخي مزقا في نسيج طفولتي الذي كان يمنحني الأمان. ومن خلال ذلك الشق الذي وقع للنسيج الذي كان يمنحني الآمان دخلت العفاريت من كل جنس ونوع يمكن للإنسان أن يتخيله- ومن ذلك الساحرات وفرانكيشتيان والوحوش وقتله من دون وجوه.
لقد كنت أخشى الليل بشكل خاص لان مشاعر الفقد والفراغ والهوة التي كنت أحسها تزداد اتساعا في ساعات العتمة...حيث كانت أكثر الشخوص التي يمكن تخليها شرا... تتربص بي لتدخل من تلك الكوة الفارغة. .
ذلك ما كان عليه الحال.. لقد كنت في سن الثالثة وكنت على شفا الكارثة. لقد كنت اغرق لكنني لم أدرك حينها أنني كنت أيضا على شفا يقظة استثنائية، أمر عجيب، تتمثل في أن الجريح إنسان محظوظ أو منعم عليه، ( أو انه ربما انه سيء الحظ ملعون! ).
لكنني لم اشعر حينها أبدا أنني إنسان محظوظ ( منعم عليه ) . لقد كنت اشعر بالرعب..وحاولت بشكل يائس أن امنعه عنى..أو أن اصرخ حتى يذهب ما بداخلي من شعور مرعب.
بهذه الطريقة التغيير والمجهول أصبحتا تدريجيا بالنسبة لي بوابات فتحت المجال لليقظة عندي. من هذه البوابات صدمة نفسية مصحوبة بشعور عميق أن الحياة أمر مؤقت وان قيمة اللحظة يكمن في مدى اليقظة المصحوبة بها.
أما البوابة الثانية فتتمثل في اكتشاف شعوري بالوحدة والتفرد aloneness ، واكتشاف الأمور العجائبية المرحة التي يمكن أن تنتج عن ذلك الشعور بالوحدة .
والبوابة الأخرى والأخيرة هو الإدراك المفاجئ بالأشياء غير المؤكدة والمشكوك فيها في الحياة.والتي يمكن أن تكون خادعة ومثيرة للفضول ذلك إذا لم نقل مثير للجنون.
والحساسية الأخيرة هذه أدت إلى إفراطي في حب الخيال العلمي. حيث كنت امضي ساعات في تخيل أو مطالعة قصص عن أراضي بعيدة، وعوالم خفية، أو حالات عقلية غريبة الأطوار.
لم أكن أتأثر بهذه السيناريوهات لكنها كانت أيضا تأسرني. وقد أصبحت الكتب والأفلام والمسلسلات التلفزيونية مثل Wrinkle in Time and The Fall of the House of Usher, movies like The Wizard of OZ and Frankenstein, and TV shows like The Outer Limits and One Step Beyond رفقي الحميم.
كنت استلقي على ارض غرفت النوم خاصتي لعدة ساعات أحيانا بعد مشاهدة حلقة تلفزيونية أو مسلسل درامي، وأتخيل شخصيات ومسرحيات وأفكار وأفلام. حتى أنني قمت على إعداد أستوديو لصناعة الأفلام، مجهز بكافة التفاصيل مثل التعاقد مع ممثلين، والنصوص، والرسومات والألعاب المطلوبة للتصوير.
وعندما تقدمت في السن تحولت هذه الغزوات التخيلية إلى كتابة قصص قصيرة وأشعار وشغف بالفلسفة وعلم النفس.

25/8/2013.date:

Hello Dr. Schneider
I have just finished reading your article "The Great Awe-Wakening".
I have been doing a research on the effect of death on the mind for almost 40 years by now. I would like to discuss with you some of my findings and hear your opinion on the issue.
I will awaiting to hear from you.

ترجمة الخطاب

د. شنايدر
تحية وبعد،
لقد انتهيت للتو من قراءة مقالكم بعنوان "اليقظة المرتبطة بالصدمة المروعة " . انا باحث اقوم على دراسة اثر الموت على الدماغ منذ اربعين عام تقريبا. اود ان اناقش معكم بعض الاستنتاجات التي توصلت لها والاستماع لرأيكم في الموضوع. ساكون بانتظار ردكم الكريم.
---------------------------------------

On Wed, Aug 28, 2013 at 1:12 AM
Kindly note that my research revolve around the idea of the effect of parental loss on the brain. I myself lost my mother when I was 2 years old. I never so her picture because there was no photography where I was born in 1954. Before I was 16 I became fond with literature and was already writing verse as well as poetry. One day I was reading about the life of the great Russian writer Leo Tolstoy and discovered that he lost his mother in similar circumstances and he never so her picture too.

This led me to think of the possible connections between the love of literature and in particular creativity i.e. the urge to create and parental loss. I then decided to focus my attention on finding the possible connection. I started searching the biographies of known writers and discovered that many of them did go through an experience of loss of some sort and few of them did lose one or two of their parents.
For my M.A degree at San Diego State University I wrote a thesis entitled " Creativity and the search for fulfillment" in which I discussed the connection between creativity and parental loss. To prove my argument I used basic analysis of 3 writers life and works and I was able to convince the committee that my argument is valid. A copy of my thesis is available at the library of San Diego State University.
My interest in the issue continued even after my graduation with an M.A. Degree in literature by the year 1983 from San Diego State.
I carried out further research on the issue and in conclusion I now have statistical evidence that among any group of genius achievers in any field more than 50% have lost one or both of their parents , and the rest of the group have experienced some sort of a traumatic experience or their childhood is not known.
I even have a theory now on what really happens in the brain that makes it creative. It is not what Freud, Adler, or Carl Young have said it is something else. I believe the object loss causes a heightened level of brain energy and this is what lie behind the creative impulse and the creative activity. And parental loss being the most critical traumatic experience produces the highest level of energy therefore if the proper conditions are made available it result on not only creative results but rather genius achievement.
Now I am thinking to do a PhD on the issue :
-Which school in the United States would be the right school for such and an issue.
-Which Lab would be the write Lab to do testing on the issue i.e look into the possibility that there is a heightened level of energy among orphans.
-I read an article about the connection between social class and the brain done by Martha Farah of Pennsylvania University, she is heading the Neurology Lab there and I have been trying to contact her but they are telling me that she is in her summer vacation and hope she will response to my message in due course..but meanwhile the question is : Is Pennsylvania University the right school for this type of research explained above.
-Finally, what do you personally think? Is there a connection between parental loss and genius? And could the effect be a heightened level of brain energy that is translated into high level of creative activity.
Awaiting to hear from you,
BR

I think your general direction is a good one. You'll find corroboration of your thesis in a book by Dean Keith Simmonton called "Greatness" in which he found the death of a parent, especially a father, but also other close family in a very high percentage of great figures in history.

I don't personally give much truck to the neuroscience angle, although I'm sure neurology figures in--but more as a symptom than a cause, which I believe is much more complex than can be revealed by brain imaging (my book,The Polarized Mind, goes into this some)

Having lost a brother and a father some years later, I know for myself that complex themes were at play, including existential fears, rages, and discoveries that depth psychotherapy was key to unveiling.

I don't know much about the Pennsylvania U. program, but I suggest you try to find Dean Keith Simmonton and find out what he would suggest for you.

I also don't know about other programs that may be compatible with your interest area, although I would guess programs that specialize in neuropsychology--perhaps someone like Dan Siegal could give you some suggestions there, he's written quite eloquently about brain and behavior.

Best to you,
Kirk Schneider

LEFT] Born in Paris, a descendant of an aristocratic
family, he was educated at the Lycée Janson de Sailly and the Sainte-Croix boarding school at Neuilly-sur-Seine. Henry's father was a hard-line reactionary (to the extent of despising the post-Dreyfus Affair army as too subservient to the Republic, and refusing to have electricity or the telephone installed in his house).
In 1912, he was expelled from the Sainte-Croix de Neuilly academy for a homosexual relationship with a fellow student. After the deaths of his father and mother in 1914 and 1915, he went to live with his doting grandmother and eccentric uncles.[2]
Mobilised in 1916, he was wounded and decorated. Marked by his experience of war, he wrote Songe ('Dream'), an autobiographic novel, as well as his Chant funèbre pour les morts de Verdun (Funeral Chant for the Dead at Verdun), both exaltations of heroism during the Great War.
Montherlant was attacked and beaten in the streets of Paris in 1968. He was seriously injured and blinded in one eye. The British writer Peter Quennell, who edited a collection of translations of Montherlant's works, recalls that Montherlant attributed the eye injury to "a fall"; he dates the incident to 1968, and mentions that Montherlant suffered from vertigo.[7]
After becoming almost blind in his last years, Montherlant died from a self-inflicted[8] gunshot wound to the head after swallowing a cyanide capsule in 1972.
His standard biography was written by Pierre Sipriot, and published in two volumes (1982 and 1990). It revealed that Montherlant had, apparently throughout his life, been an active paedophile.

Julien Green (September 6, 1900 – August 13, 1998), was an American writer, who authored several novels (The Dark Journey, The Closed Garden, Moira, Each Man in His Darkness, the Dixie trilogy, etc.), a four-volume autobiography (The Green Paradise, The War at Sixteen, Love in America and Restless Youth) and his famous Diary (in nineteen volumes, 1919-1998). He wrote primarily in French and was the first non-French national to be elected to the Académie française.

brother, François, who at age 15 would tragically die of rheumatic fever contracted while both were attending the Marianist College Villa St. Jean in Fribourg, Switzerland during World War I. Saint-Exupéry attended to his brother, his closest confidant, beside François' death bed, and later wrote that François "...remained motionless for an instant. He did not cry out. He fell as gently as a [young] tree falls", an imagery which would much later be recrafted in the climactic ending of The Little Prince. At age 17, and now the only "man" in the family following the death of his brother, the young author was left as distraught as his mother and sisters, but he soon assumed the mantle of a protector and took to consoling them.[14]

Marguerite Yourcenar (8 June 1903 – 17 December 1987) was a Belgian-born French novelist and essayist. Winner of the Prix Femina and the Erasmus Prize, she was the first woman elected to the Académie française, in 1980, and the seventeenth person to occupy
LEFT]Biographye]

Yourcenar was born Marguerite Antoinette Jeanne Marie Ghislaine Cleenewerck de Crayencour in Brussels, Belgium to Michel Cleenewerck de Crayencour, of French bourgeois descent, and a Belgian mother, Fernande de Cartier de Marchienne, of Belgian nobility, who died ten days after her birth. She grew up in the home of her paternal grandmother.

Claude Simon (10 October 1913 – 6 July 2005) was a French novelist and the 1985 Nobel Laureate in Literature. He was born in Antananarivo, Madagascar, and died in Paris, France.
His parents were French, his father being a career officer who was killed in the First World War. He grew up with his mother and her family in Perpignan in the middle of the wine district of Roussillon. يAmong his ancestors was a general from the time of the French يتRevolution.

Daudy was born on 17 June 1925 and spent his childhood in Ethiopia, where his father, Bernard Daudy, was the medical officer for the French-run Imperial Railway Company of Ethiopia,[1] but died young from a snake bite. Daudy’s mother, a great beauty, later married Hubert Jules Deschamps, the historian and sociologist who governed French Somalia, Côte d'Ivoire and Senegal and ended his career in 1960 as Governor-General of the Colonies, at the peak of French colonial administration

Perec was born the only son of Icek Judko and Cyrla (Schulewicz) Peretz – Polish Jews who had emigrated to France in the 1920s – in a working-class district of Paris. He was a distant relative of the Yiddish writer Isaac Leib Peretz. Perec's father, who enlisted in the French Army during World War II, died in 1940 from unattended gunfire or shrapnel wounds, and Perec's mother perished in the Nazi Holocaust, probably in Auschwitz after 1943. Perec was taken into the care of his paternal aunt and uncle in 1942, and in 1945 he was formally adopted by them.

==
GREATNESS

Published in :1994
Language:English
Page count:502
ISBN:0898622018
ISBN-13:9780898622010

Description
What do Madonna, Confucius, and Jackie Robinson have in common? What does it take to go down in history as a great political leader? Why do revolutions occur, riots break out, and lynch mobs assemble? Which events do people find the most shocking or memorable? This path-breaking work offers the first comprehensive examination of the important personalities and events that have influenced the course of history. It discusses whether people who go down in history are different from the rest of us; whether specific personality traits predispose certain people to become world leaders, movie stars, scientific geniuses, and athletes, while others are relegated to ordinary lives.

Throughout, the book addresses two broad questions:
-what sorts of people are responsible for historic events and achievements and -what kinds of events are most likely to be seen as history-making at their time of occurrence.
Providing a wealth of examples, the text probes the lives of important figures, from charismatic political and military leaders to famous writers, Nobel Prize winners, child prodigies, and Olympic athletes.
The book covers history-making events such as international crises, technological innovations and scientific breakthroughs, popular TV shows, natural disasters, and many more.
With unerring insight, Simonton examines the full range of phenomena associated with greatness--everything from genetic inheritance, intuition, aesthetic appreciation, and birth order, to formal education, sexual orientation, aging, IQ, and alcohol and drug abuse

ملخص كتاب ...."العظمة" : من الذي يصنع التاريخ ولماذا.؟
د. دين كيث سايمنتن

ما العامل المشترك بين مادونا، كنفوشيوس، وجاكي روبنسون؟ ما الذي يجعل شخص قائد سياسي يذكره التاريخ؟ لماذا تحدث الثورات؟ لماذا تحدث الانتفاضات؟ ولماذا تقع علميات القتل من دون محاكمة من قبل حشود من الرعاع؟
ما هي الأحداث التي يجدها الناس صادمة بشكل لافت وتظل في الذاكرة؟ هذا العمل الدءوب يقدم ولأول مرة دراسة تفصيلية للأشخاص العظماء، وللإحداث التي كانت لها تأثير على مجرى التاريخ.
هذه الدراسة ( الكتاب ) تناقش هل الناس الذين يذكرهم التاريخ يختلفون عنا؟ وهل أن بعض السمات الشخصية المحددة هي التي تجعل بعض الأشخاص قادة عالميين، نجوم تمثيل، علماء عباقرة، أو رياضيين، بينما آخرون يرضون بعيش حياة عادية لا تترك اثرا.

Hello Sir,
A couple of years ago I read one of your books about creativity, leadership and genius and immediately I realized we have something in common. It looks like that the role of death in making a genius has caught our attention and we both have been researching it for a long time by now. Recently I was in contact with Dr. Kirk Schneider after reading his article entitled "Awakening to Awe. ~ Kirk J. Schneider Ph.D." and he recommended that I contact you, regarding my inquiry about the best school where I can do a PhD on the subject of my research which is briefed below:

My own journey with the observation that there is some kind of a relation between death and creativity goes back to the beginning of the 1970 when I was around 16 years old. Before that date I didn't give much attention to the fact that I was an orphan. I lost my mother when I was 2 years old and I never so her picture because there was no photography where I was born in 1954 and at that age I was fond with literature and was already writing verse as well as poetry until one day I was reading about the life of the great Russian writer Leo Tolstoy and discovered that he lost his mother in similar circumstances and he never so her picture as well. This triggered something in me, and led me to think of the possible connections between the love of literature and in particular creativity i.e. the urge to create and parental loss.
I then decided to focus my attention on finding that possible connection. I started searching the biographies of known writers and discovered that many of them did in fact go through an experience of loss of some sort and few of them did lose one or both their parents. I majored in English Literature and took advantage of this to deepen my search; and the more I dig in the more obvious the possible relation became.
For my M.A degree at San Diego State University which commenced at the beginning of the year 1980, I wrote a thesis entitled " Creativity and the search for fulfillment" in which I discussed the possible connection between creativity and parental loss. To prove my argument I used basic analysis of the life and works of 3 well known writers; and I was able to convince the committee that my argument is sound and valid and that there is in fact a relation between the experience of loss and the urge to create at least in the case of the 3 writers. A copy of my thesis is available at the library at San Diego State University and it abstract can probably be viewed at the "Dissertations Abstract".
My interest in the issue continued and didn’t stop there; but rather intensified after my graduation with an M.A. Degree in literature by the year 1983 from San Diego State University.
I carried out further research on the issue trying to find more evidence on the said relation. In conclusion I now have statistical evidence that among any group of genius achievers in any field; more than 50% have lost one or both of their parents , and the rest of the group members have experienced some sort of a traumatic experience or their childhood is not known. With such astonishing findingI became convinced more than ever that there is a connection and my interest turned into finding out how does the experience of loss affect the brain and avail the urge to create.
Initially and as reflected in my thesis I theorized that it is some kind of compensation or a search for fulfillment caused by the emptiness resulting from the object loss and this is mainly because the supervising committee ruled out other possibilities at the mentioned time.
I then thought that there is something more to it, and I now have a theory on what really happens in the brain that makes it creative. It is not what the major psychologists have said before i.e. (Freud, Adler, or Carl Young) , it is something else.
In brief I believe the object loss causes a heightened level of brain energy and this is what lie behind the creative impulse and the creative activity and parental loss being the most critical traumatic experience with mega effect produces the highest level of energy therefore, if and when the proper conditions are made available to the subject orphan, it results on genius achievement.
My finding on the issue ( statistical and historical evidence ) I came about so far are published in a book I wrote a couple of years ago entitled " Orphans are genius in the making " the book is sin my mother language Arabic.
I realize you are an authority in this field of study and I more recently and at the suggestion of Dr. Kirk reviewed the abstract of your book "Greatness" in which you seem to further emphasis the effect of parental loss on making a genius but so far didn't see or find what did you have to say regarding the nature of this effect.
Now I hope your time will allow you to answer some of my queries:
- I am thinking to do a PhD on the issue in your opinion which school in the United States would be the write school for such and an issue; and will you take me as one of your students at Davis for the purpose.
-Which Lab would be the write Lab to do testing on the issue i.e look into the possibility that there is a heightened level of energy among orphans' brains.
-I read an article about the connection between social class and the brain done by Martha Farah of Pennsylvania University, she is heading the Neurology Lab there and I have been trying to contact her but they are telling me that she is in her summer vacation and hope she will response to my message in due course..but meanwhile the question is : Is Pennsylvania University Lab is the right lab for this type of research explained above.
-Moreover and more importantly, what do think happens? In other words, how does parental loss affect and produces creativity? What is the nature of the effect?
- Could the effect be a heightened level of brain energy as I theorize, that is translated into high level of creative activitywith the right channeling?
- Could the effect be on the hormone components of the brain?
Awaiting to hear from you and I will be glad to further discuss the issue with you,
BR

مرحبا د. سامنتون
لقد اطلعت قبل عامين تقريبا على واحد من كتبكم والذي هو بعنوان " الإبداع، القيادة، والعبقرية" ، وأدركت فورا أن لدينا شيء مشترك. يبدو آن دور الموت في صناعة العبقرية قد لفت انتباهنا وكلانا كان يبحث في المجال منذ مدرة طويلة. كنت على اتصال مؤخرا مع د. كيرك شنايدر بعد قراءة مقاله بعنوان "الترويع ويقظة الذهن"، وقد اقترح علي أن أقوم على الاتصال بكم بخصوص تساؤلاتي حول أحسن الجامعات التي يمكنني أن انضم إليها لانجاز شهادة الدكتوراه في المجال.

رحلتي البحثية في المجال والتي تدور حول العلاقة ما بين اليتم والعبقرية تعود إلى بداية العام 1970 عندما كنت في سن السادسة عشرة. قبل ذلك التاريخ لم اكترث كثيرا لكوني يتيم. لقد فقدت والدتي وأنا في ن الثانية ولم أشاهد صورتها أبدا لعدم وجود تصوير في مكان سكناي في حينه وبعد ولادتي في العام 1954 .
في سن السادسة عشرة أصبحت مغرما بالأدب مطالعة كتابة وكنت قد بدأت فعلا في كتابة بعض المحاولات الكتابية النثرية والشعرية. وفي احد الأيام وبنما كنت اقرأ عن حياة الكاتب الروسي الشهير ليو تولستوي اكتشفت انه هو أيضا فقد والدته في ظروف مشابهه أي وهو في سن الثانية ولم يشاهد صورة لها أيضا. هذا الاكتشاف احدث هزة في داخلي وقادني للتفكير في احتمالية وجود علاقة بين حب الأدب خاصة الكتابة الإبداعية والدافع الإبداعي والفقدان ألوالدي.

- أي مختبر سيكون أفضل مختبر لعلم التجارب المخبرية حول الموضوع وبهدف تحديد إذا ما كان هناك ارتفاع في مستوى الطاقة في دماغ الأيتام.
- لقد اطلعت على مقال حول العلاقة بين الوضع الاجتماعي والدماغ وقد كتب المقال من قبل سيدة اسمها مارثا فرح من جامعة بنسلفانيا وهي ترأس مركز الأعصاب هناك وكنت أحاول الاتصال معها لكنهم يخبروني في الجامعة أنها في العطلة الصيفية وأملي أن تجيب على رسالتي في القريب...لكن في هذه الأثناء هل تعتقدون أن مختبر الأعصاب في جامعة بنسلفانيا هو المكان المناسب لمثل تلك الاختبارات.

Diana Nyad

(born August 22, 1949) is an American author, journalist, and long-distance swimmer noted for her world-record endurance championships. She was once ranked 30th among U.S. women squash players. On September 2, 2013, on her fifth attempt at the feat, she became the first person to swim from Havana, Cuba, to Key West, Florida, without the assistance of a shark cage or swim fins.

Early years]
Nyad was born in New York City on August 22, 1949 to stockbroker William Sneed and his wife Lucy Curtis. Her father died when she was three and her mother soon remarried Aristotle Nyad, a Greek land developer, who adopted Diana.[4] The family then moved to Fort Lauderdale, Florida, where she grew up and began swimming seriously in grade seven. She was enrolled at the private Pine Crest School in the mid-1960s, swimming under the tutelage of Olympian and Hall of Fame coach Jack Nelson. She won three Florida state high school championships in the Backstroke at 100 and 200 yards (91 and 183m). She dreamed of swimming in the 1968 Summer Olympics, but in 1966 she spent three months in bed with endocarditis, an infection of the heart, and when she began swimming again she had lost speed.
After graduating from Pine Crest School in 1967, she entered Emory University, but was eventually expelled for jumping out a fourth-floor dormitory window wearing a parachute. She then enrolled at Lake Forest College in Illinois, where she played tennis for the Foresters and resumed swimming, concentrating on distance events. She soon came to the attention of Buck Dawson, director of the International Swimming Hall of Fame in Florida, who introduced her to marathon swimming. She began training at his Camp Ak-O-Mak in Ontario, Canada and set a women's world record of 4 hours and 22 minutes in her first race, a 10-mile (16km) swim in Lake Ontario in July 1970, finishing 10th overall. After graduating from Lake Forest College in 1973, with a degree in English and French, Nyad returned to south Florida to continue training with Dawson.
Nyad was inducted into the United States National Women's Sports Hall of Fame in 1986, and in 2003 was honored with her induction into the International Swimming Hall of Fame. According to her "Speaker Bio" posted for the Gold Star Speakers Bureau in 2006, she is also a Hall of Famer at both her college, Lake Forest College in Illinois and at her high school, Pine Crest School in Ft. Lauderdale, Florida.

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Carol Bly (April 16, 1930 – December 21, 2007) was a teacher[/COLOR] and an award-winning American author of short stories, essays, and nonfiction works on writing. Her work often featured Minnesota women who must identify the moral crisis that is facing their community or themselves and enact change through empathy, or opening one's eyes to the realities of the situation.
Childhood[]
Carolyn McLean Bly was the youngest child and only daughter of Charles Russell and Mildred Washburn Mclean of Duluth, Minnesota. She was raised in Duluth and Tryon, North Carolina, where she was sent to live with one of her father's sisters because her mother suffered from tuberculosis and was often away from the family being treated in sanitariums.
Bly's mother died in 1942, at a time when two of her older brothers were fighting in World War II. As a young teen, Bly worried for the safety of her family and often had nightmares about the Gestapo. Bly never lost her preoccupation with the damage that evil people could do.[1]

الاستاذ عمر مصلح
انا سعيد جدا بوصولك الى هنا ومرورك الكريم هذا. واضح انك انسان مطلع ومثقف وحتما سوف استفيد مما لديك من معلومات.