When Souad was seventeen she fell in love. In her West Bank village, as in so many other villages, sex before marriage is considered a grave dishonor to one's family and is punishable by death. This was her crime. Her brother-in-law was given the task of meting out her punishment. One morning while Souad was washing the family's clothes, he poured gasoline over her and set her ...(展开全部)

When Souad was seventeen she fell in love. In her village, as in so many others, sex before marriage was considered a grave dishonour to one's family and was punishable by death. This was her crime. Her brother-in-law was given the task of arranging her punishment. One morning while Souad was washing the family's clothes, he crept up on her, poured petrol over her and set her a...(展开全部)

When Souad was seventeen she fell in love. In her West Bank village, as in so many others, sex before marriage is considered a grave dishonor to one's family and is punishable by death. This was her crime. Her brother-in-law was given the task of meting out her punishment. One morning while Souad was washing the family's clothes, he poured gasoline over her and set her on fire....(展开全部)

RA: 无限的东西不能是许多个，因为许多(many-ness)是一个有限的概念。要有无限，你必须辨识或定义无限为合一(Unity)；否则这个词汇就没有任何意义。在一个无限的造物者之中只有合一的存在。你们都看过合一的简单例子，一个三棱镜(prism)展现所有颜色来自于阳光这是关于合一的简化示范。 事实上，没有对或错，也没有极性，你们舞动着穿越心身灵复合体(complex)，你们此刻以不同的变貌娱乐自己，但一切终会在某个时点达成和谐。 这些变貌在任何情况下都不是必须的，而是由你们每一位所选择，做为另一种理解包罗万有的完整合一的方式。现在不是说一个类似或有点像的东西，你是一切事物，每一个存有，每一个表情，每一个事件，每一种情境，你是合一，你是无限。你是爱/光，光/爱。你是你本是。这就是一的法则。

RA: 无限的东西不能是许多个，因为许多(many-ness)是一个有限的概念。要有无限，你必须辨识或定义无限为合一(Unity)；否则这个词汇就没有任何意义。在一个无限的造物者之中只有合一的存在。你们都看过合一的简单例子，一个三棱镜(prism)展现所有颜色来自于阳光这是关于合一的简化示范。 事实上，没有对或错，也没有极性，你们舞动着穿越心身灵复合体(complex)，你们此刻以不同的变貌娱乐自己，但一切终会在某个时点达成和谐。 这些变貌在任何情况下都不是必须的，而是由你们每一位所选择，做为另一种理解包罗万有的完整合一的方式。现在不是说一个类似或有点像的东西，你是一切事物，每一个存有，每一个表情，每一个事件，每一种情境，你是合一，你是无限。你是爱/光，光/爱。你是你本是。这就是一的法则。

Like Michael Cunningham's homage to Virginia Woolf in The Hours and Jean Rhys's to Charlotte Bronte in The Wide Sargasso Sea, Philippe Besson's extravagantly praised first novel pays tribute to Marcel Proust. It also dares to introduce an asthmatic middle-aged Proust into its masterfully manipulated plot and invents a series of deeply felt letters written by him to the novel's ...(展开全部)

Like Michael Cunningham's homage to Virginia Woolf in The Hours and Jean Rhys's to Charlotte Bronte in The Wide Sargasso Sea, Philippe Besson's extravagantly praised first novel pays tribute to Marcel Proust. It also dares to introduce an asthmatic middle-aged Proust into its masterfully manipulated plot and invents a series of deeply felt letters written by him to the novel's ...(展开全部)

布兰登·桑德森于1975年12月出生于美国内布拉斯加州。八年级时，一位老师向他推荐了奇幻小说《龙魇》，从此他对奇幻小说入了迷，开始疯狂地阅读罗伯特·乔丹、大卫·艾丁斯等名家的作品。 1994年，桑德森进入大学学习生物化学，1995年到1997年间他曾暂时中断学业，前往韩 国首尔做传教士，回国之后他重新选择了专业，转向英语文学。这期间，桑德森为坚持写作，同时也挣够学费，白天在学校上课，晚上在一家允许他值班时写作的医院值夜班。他以惊人的速度创作了超过十本小说并一一投稿，但起初没有一部得到出版。 2003年，在读研究生的桑德森收到Tor出版社编辑的一通电话，惊讶地得知自己一年之前投稿并几乎放弃希望的《伊岚翠》将得到出版。2005年，《伊岚翠》终于上市，此后Tor出版社又接连推出了桑德森的包括《迷雾之子》系列、《破战者》和《王者之路》在内大批小说，他一路走红...(展开全部)

In the philosophy of law there has been a proliferation of advanced work in the last thirty years on the normativity of law. Recent theories explore law's character as a special kind of convention, shared cooperative activity, and social artifact, among other perspectives, to explain the precise way in which law provides subjects with reasons for action. Yet, for all their soph...(展开全部)