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By Jon Fosse

A visionary masterpiece from 'the new Ibsen.' In her previous residence by way of the fjord, Signe lies on a bench and sees a imaginative and prescient of herself as she used to be greater than 20 years prior: status through the window awaiting her husband Asle, on that poor past due November day whilst he took his rowboat out onto the water and not again. Her stories widen out to incorporate their complete lifestyles jointly, and past: the bonds of 1 relatives and their battles with implacable nature stretching again over 5 generations, to Asle's great-great- grandmother Aliss. In Jon Fosse's brilliant, hallucinatory prose, a lot of these moments in time inhabit a similar house, and the ghosts of the previous collide with those that nonetheless survive. Aliss on the hearth is a haunting exploration of affection, rating one of the maximum meditations on marriage and loss.

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These traditional bhavas and their corresponding rasa are as follows: Bhava Rati (love) Hasya (mirth) Soka (sorrow) Jugupsa (disgust) Bhaya (terror) Krodha (anger) Utsaha (energy) Vismaya (astonishment) 2 Rasa Srngaram (Love, eroticism) Hasyam (laughter, comedy) Karunyam (compassion, mercy) Bibhatsam (disgust, aversion, pathos) Bhayanakam (horror, the terrible) Raudram (fury) Viram (heroism) Adbhutam (wonder, amazement) The Sanskrit term nātya means “drama” and shāstra means “science of”. Forging roads into consciousness 47 In later developments of aesthetic theory, another rasa of Santam, peace or tranquillity, and its associated bhava of “aesthetic bliss” or “serenity” was added to explain an important and essential audience reaction to dramatic performance (Rayan 1972).

6 Roger Penrose also links consciousness with questions regarding issues such as free will and human morality (See Blackmore 2005: 184). 52 Beyond Bodies Such hope of liberation is liable to end in dejection and disappointment, because the wonder of all-knowingness, heightened awareness of nature and meaning inherent in the universe, and bliss, cannot be sustained. Similarly, the lovers in Wuthering Heights, as Catherine describes so dramatically, crash back down to “reality”, and cannot find a way to encounter a similar state of bliss again: “ heaven did not seem to be my home; and so I broke my heart with weeping to come back to earth” (68).

39), the source of Self is the “home” of all knowledge, thus the subjective experience of opening up one’s knowledge of the Self results in an expansion of consciousness—of self-actualisation. In this traditional perspective, with the understanding of the Self, all is known: Heart and mind, perception, injunction, understanding, knowledge, wisdom, vision, firmness, thinking, considering, helping, memory, resolution, will, breath, love and desire. All these are only names of knowledge […] all that is guided by knowledge, it rests on knowledge.

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