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]
Contents

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.]

==
===========================================

]

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.