Journal articles on the topic 'Wisdom, William B'

Abstrak: Pembacaan Mazmur 5 dengan menggunakan metode penelitian puitis (poetic criticism) menyingkapkan pesan berbeda dengan metode pemberian makna teks oleh para penafsir mazmur ratapan (lament psalm) sebelumnya. Metode penelitian puitis memperhatikan keluhan pemazmur, perasaan pemazmur yang disebabkan keluhannya, pengertiannya dan pengakuannya tentang Allah di dalam keluhannya dan perubahan suasana teks (mood) dalam menguak pesan mazmur ratapan. Penerapan penelitian puitis terhadap Mazmur 5 menghasilkan pesan tentang Allah yang mendengar seruan dan tempat berlindung. Pengenalan pemazmur akan Allah yang mendengar seruan dan tempat berlindung mengubah ratapan (lament) pemazmur menjadi pujian. Abstract: Reading psalm 5 by using poetic criticism reveals differing message with the methods used by lament psalms’ interpreters when reading psalm 5. The method of poetic criticism takes into consideration the lamentation of the psalmist, the feelings resulted from the lament, the psalmist understanding dan knowledge of God in the midst of psalmist lamentation dan the mood of the text in examining lament psalms. Applying poetic criticism to psalm 5 produces a message concerning God who hears and protects. The personal knowledge of the psalmist of God who hears dan protects radically changes the lament into joy. Kata-kata Kunci: Mazmur ratapan, penelitian puitis, keluhan, perasaan, Allah, perubahan suasana teks (mood), takut akan Allah, ibadah. Kepustakaan Anderson, A.A. The Book of Psalms: Psalms 1-72. Vol. 1. New Century Bible Commentary. Grand Rapids, Michigan: William B. Eerdmans, 1972.Barrett, C.K. The Gospel according to St John: An Introduction with Commentary and Notes on the Greek Text. 2 ed. London: SPCK, 1978.Barth-Frommel, Marie-Claire, dan B. A. Pareira. Kitab Mazmur 1-72: Pembimbing dan Tafsirannya. Jakarta: BPK Gunung Mulia, 2012.Barus, Armand. Mengenal Tuhan Melalui Penderitaan. Jakarta: Scripture Union Indonesia, 2016._____________. "Menghadapi Kebohongan: Penelitian Puitis Mazmur 4." Amanat Agung 14, no. 1 (Juni 2018): 1-24._____________. "Sembuhkanlah Aku: Penelitian Puitis Mazmur 6." Amanat Agung 12, no. 2 (Desember 2016): 175-206.Blocher, Henri. "The fear of the Lord as the "principle" of wisdom." Tyndale Bulletin 28 (1977): 3-28.Broyles, Craig C. "Psalms Concerning the Liturgies of Temple Entry." Dalam The Book of Psalms: Composition and Reception, disunting oleh Peter W. Flint dan Patrick D. Miller, Jr, 248-287. Leiden: Brill, 2005.Craigie, Peter C. Psalms 1-50. Word Biblical Commentary 19. Dallas: Word Books, 1983.Davidson, Robert. The Vitality of Worship: A Commentary on the Book of Psalms. Grand Rapids, Michigan: William B. Eerdmans, 1998.Dyrness, William. Themes in Old Testament Theology. Downers Grove: IVP Press, 1979.Eichrodt, Walther. Theology of the Old Testament. Vol. 1. Philadelphia: Westminster, 1961._____________. Theology of the Old Testament. Vol. 2. Philadelphia: Westminster, 1967.Goldingay, John. Psalms 1-41. Vol. 1. Baker Commentary on the Old Testament Wisdom and Psalms. Grand Rapids: Baker Academic, 2006._____________. Psalms 90-150. Vol. 3. Baker Commentary on the Old Testament Wisdom and Psalms. Grand Rapids, Michigan: Baker Academic, 2008.Keel, Othmar. The Symbolism of the Biblical World: Ancient Near Eastern Iconography and the Book of Psalms. Winona Lake: Eisenbrauns, 1997.Lee, Sung-Hun. "Lament and the Joy of Salvation in the Lament Psalms." Dalam The Book of Psalms: Composition and Reception, disunting oleh Peter W. Flint dan Patrick D. Miller, Jr, 224-247. Supplements to Vetus Testamentum XCIX. Leiden: Brill, 2005.O’Connor, Michael Patrick, dan Bruce K. Waltke. Introduction to Biblical Hebrew Syntax. Winona Lake: Eisenbrauns, 2004.Ridderbos, Herman N. The Gospel according to John: A Theological Commentary. Grand Rapids, Michigan: William B. Eerdmans, 1997.Roberts, J.J.M. "Mowinckel’s Enthronement Festival: A Review." Dalam The Book of Psalms: Composition and Reception, disunting oleh Peter W. Flint dan Patrick D. Miller, Jr, 97-115. Supplements to Vetus Testamentum XCIX. Leiden: Brill, 2005.Routledge, Robin. Old Testament Theology: A Thematic Approach. Downers Grove: IVP Academic, 2008.Schwab, Zoltàn. "Is Fear of the LORD the Source of Wisdom or Vice Versa?" Vetus Testamentum 63, no. 4 (Oktober 2013): 652-662.Villanueva, Federico G. The ’Uncertainty of a Hearing’: A Study of the Sudden Change of Mood in the Psalms of Lament. Supplements to Vetus Testamentum 121. Leiden: Brill, 2008.Waltke, Bruce K., James M. Houston, dan Erika Moore. The Psalms as Christian Lament: A Historical Commentary. Grand Rapids, Michigan: William B. Eerdmans, 2014.Weiser, Artur. The Psalms: A Commentary. The Old Testament Library. Philadelphia: Westminster, 1962.

صورة الإسلام في أوروبا في القرون الوسطى، ريتشارد سوذرن، ترجمة، تحقيق: رضوان السيد، بيروت: دار المدار الإسلامي، 2006، 166 صفحة. الصراع على الإسلام: الأصولية والإصلاح والسياسات الدولية، رضوان السيد، بيروت: دار الكتاب العربي، 2004، 277 صفحة. نحن والعالم.. من أجل تجديد رؤيتنا إلى العالم، زكي الميلاد، الرياض: مؤسسة اليمامة الصحفية، الطبعة الأولى 2005، 196صفحة. بين أخلاقيات العرب وذهنيات الغرب، إبراهيم القادري بوتشيش، القاهرة: رؤية للنشر والتوزيع، 2005، 224 صفحة. خصائص التصور الإسلامي ومقوماته، سيد قطب، القاهرة: دار الشروق، ط9، 2000، 207 صفحة. الفلسفة السياسية، أحمد داود أوغلو، ترجمة: إبراهيم البيومي غانم، القاهرة: مكتبة الشروق الدولية، ط1، 2006، 77 صفحة. الدَّين الخفي للحضارة الإسلامية، صالح الجزائري، لندن: دار الحكمة، ط1، 2006، 526 صفحة. مشروع الوحدة العربية.. ما العمل؟، سعدون حمادي، بيروت: مركز دراسات الوحدة العربية, الطبعة: الأولى، 2006، 171 صفحة. تناقض الرؤى: الجذور الإيديولوجية للصراعات السياسية، توماس سوويل، ترجمة: رنده حسين الحسيني، بيروت: الشركة العالمية للكتاب، ط1، 2006، 331 صفحة. The Truth About Worldviews: A Biblical Understanding Of Worldview Alternatives, James P. Eckman, Crossway Books, 2004, P. 134. Naming the Elephant: Worldview As a Concept, James W. Sire, InterVarsity Press, 2004, P. 172. Hollywood Worldviews: Watching Films With Wisdom & Discernment, Brian Godawa, InterVarsity Press, 2002, P. 204. Worldviews: An Introduction to the History and Philosophy of Science, Richard DeWitt, Blackwell Publishing, Incorporated, 2004, P. Worldview: The History of a Concept, David K. Naugle, B. Eerdmans Publishing Company, 2002, P. 384. Worldview Skills: Transforming Conflict from the Inside Out, Jessie Sutherland, Worldview Strategies, 2005, P. 183. Arab Representations of the Occident: East-West Encounters in Arabic Fiction (Culture and Civilization in the Middle East), Rasheed El-Enany, Routledge, 2006, P. 255. The Universe Next Door: A Basic Worldview Catalog, James W. Sire, InterVarsity Press; 4th edition, 2004, P. 252 A Spectrum of Worldviews: An Introduction to Philosophy of Religion in a Pluralistic World, Hendrik M. Vroom, Editions Rodopi BV, 2006, P. 342 The impact of cross-cultural experience on worldviews (China), Haiwen Yang, PhD (year: 2005), Reno: University of Nevada, 2006, P. 97. War of the World Views, Multiple, Kerby Lisle, New Leaf Press, 2006, P. 176. The Science of Oneness: A Worldview for the Twenty-First Century, Malcolm Hollick, O Books, 2006, P. 447. World's Religions: Worldviews and Contemporary Issues, William A. A. Young, Pearson Education, 2004, P. 432 Existo: Worldview and a Meaningful Existence, Neil Soggie, Hamilton Books, 2005, P. 148. Worldviews: Think for Yourself About How You See God (Think Reference Series), John M. Yeats, John Blase, Mark Tabb (Editor), NavPress Publishing Group, 2006, P. 228 Rebuild Your Worldview to be Healthy, James W. Stark Jr., Trafford Publishing, 2005, P. 310. Reflections in a Bloodshot Lens: America, Islam, and the War of Ideas, Lawrence Pintak, Pluto Press, 2006, P. 392 The World Is Flat: A Brief History of the Twenty-first Century, Thomas L. Friedman, Farrar Straus Giroux; Expanded and updated edition, 2006, P. 593. The Integration Of Faith And Learning: A Worldview Approach , Robert A. Harris, Cascade Books, 2004, P.314. Basic Principles of Islamic Worldview, Sayyid Qutb, Hamid Algar (Preface), Rami David (Translator), Islamic Pubns Intl, 2005, P.255. The Origin of Culture and Civilization: The Cosmological Philosophy of the Ancient Worldview Regarding Myth, Astrology, Science, and Religion, Thomas Dietrich, Turnkey Press, 2005, P. 360. للحصول على كامل المقالة مجانا يرجى النّقر على ملف ال PDF في اعلى يمين الصفحة.

Indonesia is the fourth country with the largest population in the world and rich of cultural heritage and local wisdom. However, the majority of Indonesian people are less caring, less knowing and minimum understanding about Indonesian culture because of the lack of facilities to provide information of Indonesian culture. On the other hand, Android development is increasingly rapid and free to develop. This is an opportunity that can be used to build a culture of learning systems to maintain the existence Indonesia culture in the eyes of Indonesian people. This research aims to create a system of Indonesian Culture Learning android based mobile application that can be used as a medium of learning Indonesian culture. The methodology of this development is using SDLC which starting from planning, requirements analysis, system design, implementation, testing and maintenance. And using Android Studio as the main program, Photoshop and Microsoft Paint for image processing, and DIA to design UML. Indonesian Learning Culture can display ten kinds of culture, that is: traditional house, traditional food, traditional clothes, traditional dance, traditional language, traditional music instruments, traditional song, tribe, handy craft and tourist attraction. Where each category shows an example of each of the provinces in Indonesia. Keyword— Android, Indonesian Culture, Mobile Application, SDLC. REFERENCES [1] Alwan, Motea. (2015), what is system development life cycle, retrieved 19 September 2016, <https://airbrake.io/blog/insight/what-is-system-developmentlife-cycle >.J. Clerk Maxwell, A Treatise on Electricity and Magnetism, 3rd ed., vol. 2. Oxford: Clarendon, 1892, hal.68- 73. [2] Arif, Akbarul Huda. 24 JAM!! Pintar Pemrograman ANDROID, Ebook Version 2.1 [3] Arismadhani, A., Yuhana, U.L., Kuswardayan,I. 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The recent death of J. B. Priestley, in the same year as that of the finest exponent of his plays, Sir Ralph Richardson, seems to signal the close of an era. We had hoped in an early issue of New Theatre Quarterly to arrange an interview with the playwright to coincide with his ninetieth birthday, and although generous tributes have been paid to Priestley's work in the theatre, two aspects of this work (incidentally of crucial importance to the policy of this journal) have been somewhat neglected. After the end of the Second World War, during the discussions and plans for building the new Britain (and by extension Europe) from the ruins of the old, Priestley stood for a particular kind of integrity in the British theatre: and his role in the creation of the International Theatre Institute and his own conception of the British Theatre Conference of 1947 raised many interesting questions about the social, national, and international role that theatre could play. If the intervening years have not seen developments to match that vision, our theatre nevertheless owes a great deal to the various reforms that have followed from such initiatives, and in future issues we intend to return to those ideals and ideas – to see what basis they constitute for a critique of our own time, and to assess what continuing relevance they have for our future. Any theatre journal today also owes a debt to Priestley for his pioneering championship and criticism of the various forms of popular entertainment in which he so delighted, and in which he discerned strong social values – essentially, the inspiration for a line of criticism carried forward brilliantly by Raymond Williams and others over the last three decades. Tragically, two of the great comedians who earned his admiration, Tommy Cooper and Eric Morecambe, departed before him, too far short of his own fullness of years. The world's stock of laughter has slumped since their passing and, as Priestley showed us, we have lost two innovators in the art of theatre. Tommy Cooper's deconstruction, if not demolition, of the stage was a masterly exposure of the polished sales techniques of showbusiness, and his exploitation of the art of anti-climax showed new ways through which to hold an audience and relate to them. Eric Morecambe, equally ruthless and proficient at puncturing the pretensions and posturings of glib naturalism and pseudo-aestheticism, had also the self-deflating wisdom of the true philosopher. One day, when we have grown over-familiar with the reruns of the reruns of the shows he has left behind, a retrospective examination of all the work of Morecambe and Wise will surely show that, underlying the technical brilliance of the comic playing, there is also a serious progression through the process of ageing, as brash optimism is tempered by the disillusionment of experience in the struggle to survive and extract what advantages one can from life. We learned a great deal about theatre from Tommy Cooper, and a lot about living and growing older from Eric Morecambe: they have gone leaving that education unfinished, but to commemorate them in the power of their effect, and to remind us of our debt to Priestley, we reproduce here the two pieces he wrote about them as living performers in the collection of essays Particular Pleasures, published in 1975 by Heinemann (to whom our grateful acknowledgements are extended).

Character education in early childhood is not new, and character education is also not just a transfer of knowledge, but something that needs to be built early on through various stimula- tions. This study aims to develop the character of early childhood through audio-visual media with traditional Javanese songs. Using educational design-based research to develop audio-visual media from traditional songs, this media was tested in the field with an experimental design with a control group. Respondents involved 71 kindergarten students from one experimental class in one control class. The data revealed that character education in children shows the average value of the experi- mental class is higher than the control group, this means character education in children can be built through traditional songs. Further research can be done to improve the character of early childhood through a variety of media that interests children. 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More Than Words: Using Nursery Rhymes and Songs to Support Domains of Child Development. Journal of Childhood Studies, 42(2), 42. https://doi.org/10.18357/jcs.v42i2.17841 Mutema, F. (2008). Shona Traditional Children ’ s Games and Play : Songs as Indigenous Ways of Knowing. English, 2(4), 189–203. Nakashima, D., Prott, L., & Bridgewater, P. (2000). Tapping Into the World’s Wisdom. UNESCO Sources, 1–24. Nyota, S., & Mapara, J. (2008). Shona Traditional Children ’ s Games and Play : Songs as Indigenous Ways of Knowing. English, 2(4), 189–203. Rogoff, B., Moore, L., Najafi, B., Dexter, A., Correa-Chávez, M., & Solís, J. (2007). Children’s development of cultural repertoires through participation in everyday routines and practices. Handbook of socialization (In J. E. G). New York: Guilford Press. Selasih, N. N., & Sudarsana, I. K. (2018). Education Based On Ethnopedagogy In Maintaining And Conserving The Local Wisdom: A Literature Study. Jurnal Ilmiah Peuradeun, 6(2), 293–306. Sizer, T. R., & Sizer, N. F. (1999). The students are watching: Schools and the moral contract. Boston: Beacon. Smeyers, P., Smith, R., & Standish, P. (2010). The therapy of education: Philosophy, happiness and personal growth. Basingstoke: Palgrave Macmillan. Sukoyo, J. (2016). The Development of Javanesenese Songs Containing Character Values as a Learning Medium of Early Childhood Education. Widyaparwa, 44(1), 1–9. Yang, L. H., Kleinman, A., Link, B. G., Phelan, J. C., Lee, S., & Good, B. (2007). Culture and stigma: Adding moral experience to stigma theory. Social Science and Medicine, 64(7), 1524–1535. https://doi.org/10.1016/j.socscimed.2006.11.013 Zeidler, Dana L; Keefer, M. (2003). the Role of Moral Reasoning on Socioscientific Issues and.

Despite the period's fashionable aspiration to a materialist, scientific objectivity, the new wilderness revealed by the microscope in the nineteenth century did not lend itself quickly or easily to sober, observational consensus. Rather, the nature of the microscopic world was, like the cosmos, largely open to interpretation. Since techniques of observation were largely undeveloped, many microscopists were not certain precisely what it was they were to look for, nor of the nature of their subjects. Did monstrosity lurk at the threshold, or was the microscope a window to the divine designs of the creator? Monstrosity and the microscopic may be a familiar relationship today, but prior to Pasteur and Koch's development of a germ theory of disease in the 1870s, the invisible world revealed by the microscope was not especially horrific, nor did it invalidate long-standing notions of the divinity of Nature. It is more than probable that many microorganisms were, prior to their identification as causal agents of disease, looked upon and admired as beautiful natural specimens. Certain microscopists may have suspected early on that all was not well at the microscopic level (suspicion of wilderness is traditional within the Western cartographic project), but by and large nineteenth century microscopy was deeply enmeshed in the extensive romanticism of the period, and most texts on the nature of the microorganism prior to the late nineteenth century tend to emphasise (in retrospect, a little naively), their embodiment of the amazing, wonderful complexity of the natural world. Germany was the center of this modern fusion of romanticism, naturalism, and microscopic visuality, where the prolific microgeologist, Christian Godfried Ehrenberg (1795 - 1876) achieved considerable attention through his discovery of the intricately symmetrical, skeletal remains of unknown microorganisms in the calacerous tertiaries of Sicily and Greece, and Oran in Africa. Documenting these fossils in Microgeologie (1854), he established for them the group Polycystina, in which he also included a series of forms making up nearly the whole of a silicious sandstone prevailing through an extensive district of Barbadoes. These widely admired microscopic sea-dwelling organisms were later discovered and studied in their living state by Johannes Muller, who named them Radiolaria. Ehrenberg's pursuit of natural beauty, rather than monstrosity, was clearly appealing throughout the mid-to-late nineteenth century. Central to the aesthetic evaluation of the natural world inspired by his discoveries was a privileging of symmetrical forms as divine signifiers. Drawing heavily from Ehrenberg's approach to the natural world, it had been the intention of Gideon Algernon Mantell, Vice-President of the Geological Society of London and author of The Invisible World Revealed by the Microscope (1850), to "impart just and comprehensive views of the grandeur and harmony of the Creation, and of the Infinite Wisdom and Beneficence of its Divine Author; and which, in every condition and circumstance of life, will prove a never-failing source of pleasure and instruction" (ix-x). An admirable project indeed, but increasingly problematic in the wake of evidence suggesting the infinite wisdom and beneficence of the divine author included the scripting of destructive, ruthless, mindless, invisible agents of suffering and death against which human beings were granted little, if any, defence. What did such evidence say of our allegedly privileged role in the story of life on Earth? Where might the raw, biological body reside within such an arrangement? Precisely at the vulnerable center of the controversy surrounding the nature of its own existence. Not surprisingly, consensus on what the body actually is has always been fairly frail, since it closed its modern formation in conjunction with the revelation of the body's mysterious, "hidden powers" through the lens of the microscope, which radically expanded, and confused, the cartographic field. Renaissance anatomical representation, thought once to be so authoritative and thorough (maybe too thorough), now seemed superficial. And moreover, as shown by the discovery of electricity and its extensive, shockingly experimental application to the body, we were enigmatic entities indeed, consisting of, and vulnerable to, mysterious, untamed forces of attraction and repulsion. The invention of the "Leyden jar" in the eighteenth century, which allowed the storage and regulation of electrical charge, had been turned almost immediately to the human body, often with all the playful naivete of a child. As Sarah Bakewell (2000) writes: One experimenter, Jean-Antoine Nollet (1700-70), liked to demonstrate the power of the new equipment by lining up 180 of the king's guards with hands clasped and connecting the man on the end to a Leyden jar, so that the whole line leaped involuntarily into the air. (36) The discovery that the biological body was an electrical organism unquestionably inspired the exorbitant interest in the "ether" that underpinned much nineteenth century spiritualism, horror fiction, and the emergence of paranoia as a cultural condition in the modern era. Most notably, it disrupted the notion of an external God in favour of a "divine power" running through, and thus connecting, all life. And as psychiatry has since discovered, the relation of the body to such a deeper, all-pervasive, unmappable power - an ontology in which matter has no empty spaces - is "profoundly schizoid" (Anti-Oedipus 19). But this did not prevent its intrusion into nineteenth century science. Biologist Ernst Haeckel (1834 - 1919), nineteenth century Germany's most vocal advocator of Darwinism, openly subscribed to a mystical, arguably delusional approach to the natural world. Drawn to study of the microscopic by Ehrenberg, Haeckel was likewise attracted to the patterned aesthetic of the natural world, especially its production of symmetrical forms. Although he drew his fair share of critics, it is unlikely he was ever considered "sick", since neither paranoia nor schizophrenia were recognised illnesses at the time. Yet in retrospect his writings clearly indicate a commitment to what would now be regarded as a paranoid/schizophrenic ontology in which "matter has no empty spaces". Haeckel's recourse to monism may be understood, at least in part, as a reaction to the agency panic provoked by the invasion narrative central to the germ theory of disease: if all is One, notions of "invasion" become redundant and transformed into the internalised self-regulation of the whole. Devoted to monism, Haeckel was adamant that "ever more clearly are we compelled by reflection to recognise that God is not to be placed over against the material world as an external being, but must be placed as a "divine power" or "moving spirit" within the cosmos itself" (Monism 15). This conception of God is synonymous with that discussed by Deleuze and Guttari in their exploration of the nervous illness of Judge Daniel Schreber, in which God is defined as the Omnitudo realitatis, from which all secondary realities are derived by a process of division (Anti-Oedipus 13). Like a textbook schizophrenic, Haeckel stressed the oneness of the cosmos, its operation under fundamental conditions of attraction and repulsion, the indissoluble connection between energy and matter, the mind and embodiment, and God and the world. His obsession with the "secret powers" of the Creator led him to adopt the notion of a "cosmic ether", which was itself almost totally dependent on contemporary research into the properties of electricity. Haeckel wrote that "the ether itself is no longer hypothetical; its existence can at any moment be demonstrated by electrical and optical experiment" (Monism 23). Recognising the inherent conflict of nature whilst providing convincing evidence of its divine, harmonious beauty through his hundreds of spectacularly symmetrical, mandala-like representations of Radiolarians and other microscopic forms in Die Radiolarian (1862) and Kunstformen der Natur (1899), Haeckel furthered his views through several popular manifestos such as Monism as Connecting Religion and Science: The Confession of Faith of a Man of Science (1894), The Wonders of Life: A Popular Study of Biological Philosophy (1905), and The Riddle of the Universe at the Close of the Nineteenth Century (1911). For Haeckel, clearly entranced by the hypersignificance of nature, the struggle for biological survival was also a mystical one, and thus divinely inspired. Tying this notion together with the Volkish tradition, and clearly influenced by the emerging germ theory, which emphasised conflict as precondition for (apparently mythic) harmony, Haeckel wrote that: We now know that the whole of organic nature on our planet exists only by a relentless war of all against all. Thousands of animals and plants must daily perish in every part of the earth, in order that a few chosen individuals may continue to subsist and to enjoy life. But even the existence of these favoured few is a continual conflict with threatening dangers of every kind. Thousands of hopeful germs perish uselessly every minute. The raging war of interests in human society is only a feeble picture of the unceasing and terrible war of existence which reigns throughout the whole of the living world. The beautiful dream of God's goodness and wisdom in nature, to which as children we listened so devoutly fifty years ago, no longer finds credit now - at least among educated people who think. It has disappeared before our deeper acquaintance with the mutual relations of organisms, the advancement of ecology and sociology, and our knowledge of parasite life and pathology. (Monism 73-74). The "war of existence", according to Haeckel, was ultimately an expression of the ethereal power of an omnipresent God. Denying real difference between matter and energy, he also implicitly denied the agency of the subject, instead positing the war of existence as a self-regulating flow of divine power. Biological survival was thus synonymous with the triumph of divine embodiment. Since Haeckel was resolutely convinced that nature was hierarchically structured (with the Aryan Volk fairly close to the top), so too were its expressions of God. And since God was not a being external to the Self, but rather the vital spirit or soul running through all being, divinity may be contained by organisms in varying degrees depending on their level of evolution. Domination of others was thus a prerequisite for the pursuit of God. And this was the essence of Haeckel's highly problematic distortion of the Darwinist theory of evolution: At the lowest stage, the rude - we may say animal - phase of prehistoric primitive man, is the "ape-man", who, in the course of the tertiary period, has only to a limited degree raised himself above his immediate pithecoid ancestors, the anthropoid apes. Next come successive stages of the lowest and simplest kind of culture, such as only the rudest of still existing primitive peoples enable us in some measure to conceive. These "savages" are succeeded by peoples of a low civilisation, and from these again, by a long series of intermediate steps, we rise little by little to the more highly civilised nations. To these alone - of the twelve races of mankind only to the Mediterranean and Mongolian - are we indebted for what is usually called "universal history. (Monism 5-6) This fairly crude, very German take on Darwinism, with its emphasis on the transference of biological principles to the social realm, contributed to the establishment of the preconditions for the emergence of National Socialism in that country shortly after Haeckel's death in 1919. In The Scientific Origins of National Socialism (1971), Daniel Gasman reveals the extent of Haeckel's descent into mysticism and its part in the wider development of the Volkish myths that underpinned Nazism in the twentieth century. And although the "sick" ideals of Nazism are undeniably deplorable, upon review of the cultural circumstances in which Haeckel's ideas developed, many of them seem inevitable for a frightened, paranoid culture convinced - based on scientific evidence - that life itself can only ever be a form of war: the very notion that continues to underpin, and indeed sustain, the germ theory of disease in the modern era References Bakewell, Sarah. "It's Alive!" Fortean Times October 2000: 34-39. Carpenter, William B. The Microscope and its Revelations. London: J & A Churchill, 1891. Deleuze, Gilles, and Felix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. 1972. Trans. Robert Hurley, Mark Seem, and Helen R. Lane. Minneapolis: U of Minnesota P, 1983. Gasman, Daniel. The Scientific Origins of National Socialism: Social Darwinism in Ernst Haeckel and the German Monist League. London: McDonald, 1971. Haeckel, Ernst. Die Radiolarien (Rhizopoda Radiaria). Berlin, 1862. ---. Monism as Connecting Religion and Science: The Confession of Faith of a Man of Science. London: Adam and Charles Black, 1894. ---. Kunstformen der Natur. 2 vols. Leipzig and Wien, 1899. ---. The Riddle of the Universe at the Close of the Nineteenth Century. Watts and Co., 1911. ---. The Wonders of Life. London: Watts and Co., 1905. Mantell, Gideon Algernon. The Invisible World Revealed by the Microscope; or, Thoughts on Animalcules. London: John Murray, 1850. Tomes, Nancy. The Gospel of Germs: Men, Women, and the Microbe in American Life. Cambridge: Harvard UP, 1998.

‘Complex(ity)’ is currently fashionable in the humanities. Fashions come and go, but in this article I argue that the interest in complexity connects with something deeper, an intellectual revolution that began before complexity became trendy, and will continue after the spotlight passes on. Yet to make this case, and understand and advance this revolution, we need a better take on ‘complexity’. ‘Complex’ is of course complex. In common use it refers to something ‘composed of many interrelated parts’, or problems ‘so complicated or intricate as to be hard to deal with’. I will call this popular meaning, with its positive and negative values, complexity-1. In science it has a more negative sense, complexity-2, referring to the presenting complexity of problems, which science will strip down to underlying simplicity. But recently it has developed positive meanings in both science and humanities. Complexity-3 marks a revolutionarily more positive attitude to complexity in science that does seek to be reductive. Humanities-style complexity-4, which acknowledges and celebrates the inherent complexity of texts and meanings, is basic in contemporary Media and Cultural studies (MaC for short). The underlying root of complex is plico bend or fold, plus con- together, via complector grasp (something), encompass an idea, or person. The double of ‘complex’ is ‘simple’, from Latin simplex, which less obviously also comes from plico, plus semel once, at the same time. ‘Simple’ and ‘complex’ are closer than people think: only a fold or two apart. A key idea is that these elements are interdependent, parts of a single underlying form. ‘Simple(x)’ is another modality of ‘complex’, dialectically related, different in degree not kind, not absolutely opposite. The idea of ‘holding together’ is stronger in Latin complex, the idea of difficulty more prominent in modern usage, yet the term still includes both. The concept ‘complex’ is untenable apart from ‘simple’. This figure maps the basic structures in ‘complexity’. This complexity contains both positive and negative values, science and non-science, academic and popular meanings, with folds/differences and relationships so dynamically related that no aspect is totally independent. This complex field is the minimum context in which to explore claims about a ‘complexity revolution’. Complexity in Science and Humanities In spite of the apparent similarities between Complexity-3 (sciences) and 4 (humanities), in practice a gulf separates them, policed from both sides. If these sides do not talk to each other, as they often do not, the result is not a complex meaning for ‘complex’, but a semantic war-zone. These two forms of complexity connect and collide because they reach into a new space where discourses of science and non-science are interacting more than they have for many years. For many, in both academic communities, a strong, taken-for-granted mindset declares the difference between them is absolute. They assume that if ‘complexity’ exists in science, it must mean something completely different from what it means in humanities or everyday discourse, so different as to be incomprehensible or unusable by humanists. This terrified defence of the traditional gulf between sciences and humanities is not the clinching argument these critics think. On the contrary, it symptomises what needs to be challenged, via the concept complex. One influential critic of this split was Lord Snow, who talked of ‘two cultures’. Writing in class-conscious post-war Britain he regretted the ignorance of humanities-trained ruling elites about basic science, and scientists’ ignorance of humanities. No-one then or now doubts there is a problem. Most MaC students have a science-light education, and feel vulnerable to critiques which say they do not need to know any science or maths, including complexity science, and could not understand it anyway. To understand how this has happened I go back to the 17th century rise of ‘modern science’. The Royal Society then included the poet Dryden as well as the scientist Newton, but already the fissure between science and humanities was emerging in the elite, re-enforcing existing gaps between both these and technology. The three forms of knowledge and their communities continued to develop over the next 400 years, producing the education system which formed most of us, the structure of academic knowledges in which culture, technology and science form distinct fields. Complexity has been implicated in this three-way split. Influenced by Newton’s wonderful achievement, explaining so much (movements of earthly and heavenly bodies) with so little (three elegant laws of motion, one brief formula), science defined itself as a reductive practice, in which complexity was a challenge. Simplicity was the sign of a successful solution, altering the older reciprocity between simplicity and complexity. The paradox was ignored that proof involved highly complex mathematics, as anyone who reads Newton knows. What science held onto was the outcome, a simplicity then retrospectively attributed to the universe itself, as its true nature. Simplicity became a core quality in the ontology of science, with complexity-2 the imperfection which challenged and provoked science to eliminate it. Humanities remained a refuge for a complexity ontology, in which both problems and solutions were irreducibly complex. Because of the dominance of science as a form of knowing, the social sciences developed a reductivist approach opposing traditional humanities. They also waged bitter struggles against anti-reductionists who emerged in what was called ‘social theory’. Complexity-4 in humanities is often associated with ‘post-structuralism’, as in Derrida, who emphasises the irreducible complexity of every text and process of meaning, or ‘postmodernism’, as in Lyotard’s controversial, influential polemic. Lyotard attempted to take the pulse of contemporary Western thought. Among trends he noted were new forms of science, new relationships between science and humanities, and a new kind of logic pervading all branches of knowledge. Not all Lyotard’s claims have worn well, but his claim that something really important is happening in the relationship between kinds and institutions of knowledge, especially between sciences and humanities, is worth serious attention. Even classic sociologists like Durkheim recognised that the modern world is highly complex. Contemporary sociologists agree that ‘globalisation’ introduces new levels of complexity in its root sense, interconnections on a scale never seen before. Urry argues that the hyper-complexity of the global world requires a complexity approach, combining complexity-3 and 4. Lyotard’s ‘postmodernism’ has too much baggage, including dogmatic hostility to science. Humanities complexity-4 has lost touch with the sceptical side of popular complexity-1, and lacks a dialectic relationship with simplicity. ‘Complexity’, incorporating Complexity-1 and 3, popular and scientific, made more complex by incorporating humanities complexity-4, may prove a better concept for thinking creatively and productively about these momentous changes. Only complex complexity in the approach, flexible and interdisciplinary, can comprehend these highly complex new objects of knowledge. Complexity and the New Condition of Science Some important changes in the way science is done are driven not from above, by new theories or discoveries, but by new developments in social contexts. Gibbons and Nowottny identify new forms of knowledge and practice, which they call ‘mode-2 knowledge’, emerging alongside older forms. Mode-1 is traditional academic knowledge, based in universities, organised in disciplines, relating to real-life problems at one remove, as experts to clients or consultants to employers. Mode-2 is orientated to real life problems, interdisciplinary and collaborative, producing provisional, emergent knowledge. Gibbons and Nowottny do not reference postmodernism but are looking at Lyotard’s trends as they were emerging in practice 10 years later. They do not emphasise complexity, but the new objects of knowledge they address are fluid, dynamic and highly complex. They emphasise a new scale of interdisciplinarity, in collaborations between academics across all disciplines, in science, technology, social sciences and humanities, though they do not see a strong role for humanities. This approach confronts and welcomes irreducible complexity in object and methods. It takes for granted that real-life problems will always be too complex (with too many factors, interrelated in too many ways) to be reduced to the sort of problem that isolated disciplines could handle. The complexity of objects requires equivalent complexity in responses; teamwork, using networks, drawing on relevant knowledge wherever it is to be found. Lyotard famously and foolishly predicted the death of the ‘grand narrative’ of science, but Gibbons and Nowottny offer a more complex picture in which modes-1 and 2 will continue alongside each other in productive dialectic. The linear form of science Lyotard attacked is stronger than ever in some ways, as ‘Big Science’, which delivers wealth and prestige to disciplinary scientists, accessing huge funds to solve highly complex problems with a reductionist mindset. But governments also like the idea of mode-2 knowledge, under whatever name, and try to fund it despite resistance from powerful mode-1 academics. Moreover, non-reductionist science in practice has always been more common than the dominant ideology allowed, whether or not its exponents, some of them eminent scientists, chose to call it ‘complexity’ science. Quantum physics, called ‘the new physics’, consciously departed from the linear, reductionist assumptions of Newtonian physics to project an irreducibly complex picture of the quantum world. Different movements, labelled ‘catastrophe theory’, ‘chaos theory’ and ‘complexity science’, emerged, not a single coherent movement replacing the older reductionist model, but loosely linked by new attitudes to complexity. Instead of seeing chaos and complexity as problems to be removed by analysis, chaos and complexity play a more ambiguous role, as ontologically primary. Disorder and complexity are not later regrettable lapses from underlying essential simplicity and order, but potentially creative resources, to be understood and harnessed, not feared, controlled, eliminated. As a taste of exciting ideas on complexity, barred from humanities MaC students by the general prohibition on ‘consorting with the enemy’ (science), I will outline three ideas, originally developed in complexity-3, which can be described in ways requiring no specialist knowledge or vocabulary, beyond a Mode-2 openness to dynamic, interdisciplinary engagement. Fractals, a term coined by mathematician Benoit Mandelbrot, are so popular as striking shapes produced by computer-graphics, circulated on T-shirts, that they may seem superficial, unscientific, trendy. They exist at an intersection between science, media and culture, and their complexity includes transactions across that folded space. The name comes from Latin fractus, broken: irregular shapes like broken shards, which however have their own pattern. Mandelbrot claims that in nature, many such patterns partly repeat on different scales. When this happens, he says, objects on any one scale will have equivalent complexity. Part of this idea is contained in Blake’s famous line: ‘To see the world in a grain of sand’. The importance of the principle is that it fundamentally challenges reductiveness. Nor is it as unscientific as it may sound. Geologists indeed see grains of sand under a microscope as highly complex. In sociology, instead of individuals (literal meaning ‘cannot be divided’) being the minimally simple unit of analysis, individuals can be understood to be as complex (e.g. with multiple identities, linked with many other social beings) as groups, classes or nations. There is no level where complexity disappears. A second concept is ‘fuzzy logic’, invented by an engineer, Zadeh. The basic idea is not unlike the literary critic Empson’s ‘ambiguity’, the sometimes inexhaustible complexity of meanings in great literature. Zadeh’s contribution was to praise the inherent ambiguity and ambiguity of natural languages as a resource for scientists and engineers, making them better, not worse, for programming control systems. Across this apparently simple bridge have flowed many fuzzy machines, more effective than their over-precise brothers. Zadeh crystallised this wisdom in his ‘Principle of incompatibility’: As the complexity of a system increases, our ability to make precise and yet significant statements about its behaviour decreases until a threshold is reached beyond which precision and significance (or relevance) become almost mutually exclusive characteristics (28) Something along these lines is common wisdom in complexity-1. For instance, under the headline “Law is too complex for juries to understand, says judge” (Dick 4), the Chief Justice of Australia, Murray Gleeson, noted a paradox of complexity, that attempts to improve a system by increasing its complexity make it worse (meaningless or irrelevant, as Zadeh said). The system loses its complexity in another sense, that it no longer holds together. My third concept is the ‘Butterfly Effect’, a name coined by Lorenz. The butterfly was this scientist’s poetic fantasy, an imagined butterfly that flaps its wings somewhere on the Andes, and introduces a small change in the weather system that triggers a hurricane in Montana, or Beijing. This idea is another riff on the idea that complex situations are not reducible to component elements. Every cause is so complex that we can never know in advance just what factor will operate in a given situation, or what its effects might be across a highly complex system. Travels in Complexity I will now explore these issues with reference to a single example, or rather, a nested set of examples, each (as in fractal theory) equivalently complex, yet none identical at any scale. I was travelling in a train from Penrith to Sydney in New South Wales in early 2006 when I read a publicity text from NSW State Rail which asked me: ‘Did you know that delays at Sydenham affect trains to Parramatta? Or that a sick passenger on a train at Berowra can affect trains to Penrith?’ No, I did not know that. As a typical commuter I was impressed, and even more so as an untypical commuter who knows about complexity science. Without ostentatious reference to sources in popular science, NSW Rail was illustrating Lorenz’s ‘butterfly effect’. A sick passenger is prosaic, a realistic illustration of the basic point, that in a highly complex system, a small change in one part, so small that no-one could predict it would matter, can produce a massive, apparently unrelated change in another part. This text was part of a publicity campaign with a scientific complexity-3 subtext, which ran in a variety of forms, in their website, in notices in carriages, on the back of tickets. I will use a complexity framework to suggest different kinds of analysis and project which might interest MaC students, applicable to objects that may not refer to be complexity-3. The text does two distinct things. It describes a planning process, and is part of a publicity program. The first, simplifying movement of Mode-1 analysis would see this difference as projecting two separate objects for two different specialists: a transport expert for the planning, a MaC analyst for the publicity, including the image. Unfortunately, as Zadeh warned, in complex conditions simplification carries an explanatory cost, producing descriptions that are meaningless or irrelevant, even though common sense (complexity-1) says otherwise. What do MaC specialists know about rail systems? What do engineers know about publicity? But collaboration in a mode-2 framework does not need extensive specialist knowledge, only enough to communicate with others. MaC specialists have a fuzzy knowledge of their own and other areas of knowledge, attuned by Humanities complexity-4 to tolerate uncertainty. According to the butterfly principle it would be foolish to wish our University education had equipped us with the necessary other knowledges. We could never predict what precise items of knowledge would be handy from our formal and informal education. The complexity of most mode-2 problems is so great that we cannot predict in advance what we will need to know. MaC is already a complex field, in which ‘Media’ and ‘Culture’ are fuzzy terms which interact in different ways. Media and other organisations we might work with are often imbued with linear forms of thought (complexity-2), and want simple answers to simple questions about complex systems. For instance, MaC researchers might be asked as consultants to determine the effect of this message on typical commuters. That form of analysis is no longer respectable in complexity-4 MaC studies. Old-style (complexity-2) effects-research modelled Senders, Messages and Receivers to measure effects. Standard research methods of complexity-2 social sciences might test effects of the message by a survey instrument, with a large sample to allow statistically significant results. Using this, researchers could claim to know whether the publicity campaign had its desired effect on its targeted demographic: presumably inspiring confidence in NSW Rail. However, each of these elements is complex, and interactions between them, and others that don’t enter into the analysis, create further levels of complexity. To manage this complexity, MaC analysts often draw on Foucault’s authority to use ‘discourse’ to simplify analysis. This does not betray the principle of complexity. Complexity-4 needs a simplicity-complexity dialectic. In this case I propose a ‘complexity discourse’ to encapsulate the complex relations between Senders, Receivers and Messages into a single word, which can then be related to other such elements (e.g. ‘publicity discourse’). In this case complexity-3 can also be produced by attending to details of elements in the S-M-R chain, combining Derridean ‘deconstruction’ with expert knowledge of the situation. This Sender may be some combination of engineers and planners, managers who commissioned the advertisement, media professionals who carried it out. The message likewise loses its unity as its different parts decompose into separate messages, leaving the transaction a fraught, unpredictable encounter between multiple messages and many kinds of reader and sender. Alongside its celebration of complexity-3, this short text runs another message: ‘untangling our complex rail network’. This is complexity-2 from science and engineering, where complexity is only a problem to be removed. A fuller text on the web-site expands this second strand, using bullet points and other signals of a linear approach. In this text, there are 5 uses of ‘reliable’, 6 uses of words for problems of complexity (‘bottlenecks’, ‘delays’, ‘congestion’), and 6 uses of words for the new system (‘simpler’, ‘independent’). ‘Complex’ is used twice, both times negatively. In spite of the impression given by references to complexity-3, this text mostly has a reductionist attitude to complexity. Complexity is the enemy. Then there is the image. Each line is a different colour, and they loop in an attractive way, seeming to celebrate graceful complexity-2. Yet this part of the image is what is going to be eliminated by the new program’s complexity-2. The interesting complexity of the upper part of the image is what the text declares is the problem. What are commuters meant to think? And Railcorp? This media analysis identifies a fissure in the message, which reflects a fissure in the Sender-complex. It also throws up a problem in the culture that produced such interesting allusions to complexity science, but has linear, reductionist attitudes to complexity in its practice. We can ask: where does this cultural problem go, in the organisation, in the interconnected system and bureaucracy it manages? Is this culture implicated in the problems the program is meant to address? These questions are more productive if asked in a collaborative mode-2 framework, with an organisation open to such questions, with complex researchers able to move between different identities, as media analyst, cultural analyst, and commuter, interested in issues of organisation and logistics, engaged with complexity in all senses. I will continue my imaginary mode-2 collaboration with Railcorp by offering them another example of fractal analysis, looking at another instant, captured in a brief media text. On Wednesday 14 March, 2007, two weeks before a State government election, a very small cause triggered a systems failure in the Sydney network. A small carbon strip worth $44 which was not properly attached properly threw Sydney’s transport network into chaos on Wednesday night, causing thousands of commuters to be trapped in trains for hours. (Baker and Davies 7) This is an excellent example of a butterfly effect, but it is not labelled as such, nor regarded positively in this complexity-1 framework. ‘Chaos’ signifies something no-one wants in a transport system. This is popular not scientific reductionism. The article goes on to tell the story of one passenger, Mark MacCauley, a quadriplegic left without power or electricity in a train because the lift was not working. He rang City Rail, and was told that “someone would be in touch in 3 to 5 days” (Baker and Davies 7). He then rang emergency OOO, and was finally rescued by contractors “who happened to be installing a lift at North Sydney” (Baker and Davies 7). My new friends at NSW Rail would be very unhappy with this story. It would not help much to tell them that this is a standard ‘human interest’ article, nor that it is more complex than it looks. For instance, MacCauley is not typical of standard passengers who usually concern complexity-2 planners of rail networks. He is another butterfly, whose specific needs would be hard to predict or cater for. His rescue is similarly unpredictable. Who would have predicted that these contractors, with their specialist equipment, would be in the right place at the right time to rescue him? Complexity provided both problem and solution. The media’s double attitude to complexity, positive and negative, complexity-1 with a touch of complexity-3, is a resource which NSW Rail might learn to use, even though it is presented with such hostility here. One lesson of the complexity is that a tight, linear framing of systems and problems creates or exacerbates problems, and closes off possible solutions. In the problem, different systems didn’t connect: social and material systems, road and rail, which are all ‘media’ in McLuhan’s highly fuzzy sense. NSW Rail communication systems were cumbrously linear, slow (3 to 5 days) and narrow. In the solution, communication cut across institutional divisions, mediated by responsive, fuzzy complex humans. If the problem came from a highly complex system, the solution is a complex response on many fronts: planning, engineering, social and communication systems open to unpredictable input from other surrounding systems. As NSW Rail would have been well aware, the story responded to another context. The page was headed ‘Battle for NSW’, referring to an election in 2 weeks, in which this newspaper editorialised that the incumbent government should be thrown out. This political context is clearly part of the complexity of the newspaper message, which tries to link not just the carbon strip and ‘chaos’, but science and politics, this strip and the government’s credibility. Yet the government was returned with a substantial though reduced majority, not the swingeing defeat that might have been predicted by linear logic (rail chaos = electoral defeat) or by some interpretations of the butterfly effect. But complexity-3 does not say that every small cause produces catastrophic effects. On the contrary, it says that causal situations can be so complex that we can never be entirely sure what effects will follow from any given case. The political situation in all its complexity is an inseparable part of the minimal complex situation which NSW Rail must take into account as it considers how to reform its operations. It must make complexity in all its senses a friend and ally, not just a source of nasty surprises. My relationship with NSW Rail at the moment is purely imaginary, but illustrates positive and negative aspects of complexity as an organising principle for MaC researchers today. The unlimited complexity of Humanities’ complexity-4, Derridean and Foucauldian, can be liberating alongside the sometimes excessive scepticism of Complexity-2, but needs to keep in touch with the ambivalence of popular complexity-1. Complexity-3 connects with complexity-2 and 4 to hold the bundle together, in a more complex, cohesive, yet still unstable dynamic structure. It is this total sprawling, inchoate, contradictory (‘complex’) brand of complexity that I believe will play a key role in the up-coming intellectual revolution. But only time will tell. References Baker, Jordan, and Anne Davies. “Carbon Strip Caused Train Chaos.” Sydney Morning Herald 17 Mar. 2007: 7. Derrida, Jacques. Of Grammatology. Baltimore: Johns Hopkins, 1976. Dick, Tim. “Law Is Now Too Complex for Juries to Understand, Says Judge.” Sydney Morning Herald 26 Mar. 2007: 4. Empson, William. Seven Types of Ambiguity. London: Chatto and Windus, 1930. Foucault, Michel. “The Order of Discourse.” In Archaeology of Knowledge, trans. A.M Sheridan Smith. London: Tavistock, 1972. Gibbons, Michael. The New Production of Knowledge. London: Sage, 1994. Lorenz, Edward. The Essence of Chaos. London: University College, 1993. Lyotard, Jean-Francois. The Postmodern Condition. Manchester: Manchester UP, 1984. McLuhan, Marshall. Understanding Media. London: Routledge, 1964. Mandelbrot, Benoit. “The Fractal Geometry of Nature.” In Nina Hall, ed. The New Scientist Guide to Chaos. Harmondsworth: Penguin, 1963. Nowottny, Henry. Rethinking Science. London: Polity, 2001. Snow, Charles Percy. The Two Cultures and the Scientific Revolution. London: Faber 1959. Urry, John. Global Complexity. London: Sage, 2003. Zadeh, Lotfi Asker. “Outline of a New Approach to the Analysis of Complex Systems and Decision Processes.” ILEE Transactions on Systems, Man, and Cybernetics 3.1 (1973): 28-44. Citation reference for this article MLA Style Hodge, Bob. "The Complexity Revolution." M/C Journal 10.3 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0706/01-hodge.php>. APA Style Hodge, B. (Jun. 2007) "The Complexity Revolution," M/C Journal, 10(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0706/01-hodge.php>.

Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems. Cuttack: Vishvanatha Kaviraj Institute, 2020, ISBN: 978-81-943450-3-9, Paperback, pp. viii + 152. Like his earlier collection, The Door is Half Open, Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems has three sections consisting of forty-two poems of varied length and style, a detailed Glossary mainly on the proper nouns from Indian culture and tradition and seven Afterwords from the pens of the trained readers from different countries of four continents. The structure of the book is circular. The first poem “Snapshots” indicates fifteen kaleidoscopic patterns of different moods of life in about fifteen words each. It seems to be a rumination on the variegated images of everyday experiences ranging from individual concerns to spiritual values. Art-wise, they can be called mini-micro-poems as is the last poem of the book. While the character limit in a micro poem is generally 140 (the character limit on Twitter) Susheel has used just around 65 in each of these poems. Naturally, imagery, symbolism and cinematic technique play a great role in this case. In “The End of the Road” the poet depicts his individual experiences particularly changing scenario of the world. He seems to be worried about his eyesight getting weak with the passage of time, simultaneously he contrasts the weakness of his eyesight with the hypocrisy permeating the human life. He compares his diminishing eyesight to Milton and shows his fear as if he will get blind. He changes his spectacles six times to clear his vision and see the plurality of a reality in human life. It is an irony on the changing aspects of human life causing miseries to the humanity. At the end of the poem, the poet admits the huge changes based on the sham principles: “The world has lost its original colour” (4). The concluding lines of the poem make a mockery of the people who are not able to recognise reality in the right perspective. The poem “Durga Puja in 2013” deals with the celebration of the festival “Durga Puja” popular in the Hindu religion. The poet’s urge to be with Ma Durga shows his dedication towards the Goddess Durga, whom he addresses with different names like ‘Mai’, ‘Ma’ and ‘Mother’. He worships her power and expresses deep reverence for annihilating the evil-spirits. The festival Durga Puja also reminds people of victory of the goddess on the elusive demons in the battlefield. “Chasing a Dream on the Ganges” is another poem having spiritual overtones. Similarly, the poem “Akshya Tritya” has religious and spiritual connotations. It reflects curiosity of people for celebration of “Akshya Tritya” with enthusiasm. But the political and economic overtones cannot be ignored as the poem ends with the remarkable comments: The GDP may go up on this day; Even, Budia is able to Eat to his fill; Panditji can blow his Conch shell with full might. Outside, somebody is asking for votes; Somebody is urging others to vote. I shall vote for Akshya Tritya. (65-66) “On Reading Langston Hughes’ ‘Theme for English B’” is a long poem in the collection. In this poem, the poet reveals a learner’s craving for learning, perhaps who comes from an extremely poor background to pursue his dreams of higher education. The poet considers the learner’s plights of early childhood, school education and evolutionary spirit. He associates it with Dronacharya and Eklavya to describe the mythical system of education. He does not want to be burdened with the self-guilt by denying the student to be his ‘guru’ therefore, he accepts the challenge to change his life. Finally, he shows his sympathy towards the learner and decides to be the ‘guru’: “It is better to face/A challenge and change/Than to be burden with a life/Of self-guilt. /I put my signatures on his form willy-nilly” (11). The poem “The Destitute” is an ironical presentation of the modern ways of living seeking pleasure in the exotic locations all over the world. It portrays the life of a person who has to leave his motherland for earning his livelihood, and has to face an irreparable loss affecting moral virtues, lifestyle, health and sometimes resulting in deaths. The poem “The Black Experience” deals with the suppression of the Africans by the white people. The poem “Me, A Black Doxy”, perhaps points out the dilemma of a black woman whether she should prostitute herself or not, to earn her livelihood. Perhaps, her deep consciousness about her self-esteem does not allow her to indulge in it but she thinks that she is not alone in objectifying herself for money in the street. Her voice resonates repeatedly with the guilt of her indulgence on the filthy streets: At the dining time Me not alone? In the crowded street Me not alone? They ’ave white, grey, pink hair Me ’ave black hair – me not alone There’s a crowd with black hair. Me ’ave no black money Me not alone? (14) The poem “Thus Spake a Woman” is structured in five sections having expressions of the different aspects of a woman’s love designs. It depicts a woman’s dreams and her attraction towards her lover. The auditory images like “strings of a violin”, “music of the violin” and “clinch in my fist” multiply intensity of her feelings. With development of the poem, her dreams seem to be shattered and sadness know the doors of her dreamland. Finally, she is confronted with sadness and is taken back to the past memories reminding her of the difficult situations she had faced. Replete with poetic irony, “Bubli Poems” presents the journey of a female, who, from the formative years of her life to womanhood, experienced gender stereotypes, biased sociocultural practices, and ephemeral happiness on the faces of other girls around her. The poem showcases the transformation of a village girl into a New Woman, who dreams her existence in all types of luxurious belongings rather than identifying her independent existence and finding out her own ways of living. Her dreams lead her to social mobility through education, friendships, and the freedom that she gains from her parents, family, society and culture. She attempts her luck in the different walks of human life, particularly singing and dancing and imagines her social status and wide popularity similar to those of the famous Indian actresses viz. Katrina and Madhuri Dixit: “One day Bubli was standing before the mirror/Putting on a jeans and jacket and shaking her hips/She was trying to be a local Katrina” (41). She readily bears the freakish behaviour of the rustic/uncultured lads, derogatory comments, and physical assaults in order to fulfil her expectations and achieves her individual freedom. Having enjoyed all the worldly happiness and fashionable life, ultimately, she is confronted with the evils designs around her which make her worried, as if she is ignorant of the world replete with the evils and agonies: “Bubli was ignorant of her agony and the lost calm” (42). The examples of direct poetic irony and ironic expressions of the socio-cultural evils, and the different governing bodies globally, are explicit in this poem: “Bubli is a leader/What though if a cheerleader./The news makes her family happy.”(40), “Others were blaming the Vice-Chancellor/ Some others the system;/ Some the freedom given to girls;”(45), and “Some blame poverty; some the IMF;/ Some the UN; some the environment;/ Some the arms race; some the crony’s lust;/ Some the US’s craving for power;/Some the UK’s greed. (46-47). Finally, Bubli finds that her imaginative world is fragile. She gives up her corporeal dreams which have taken the peace of her mind away. She yearns for shelter in the temples and churches and surrenders herself before deities praying for her liberation: “Jai Kali,/ Jai Mahakali, Jai Ma, Jai Jagaddhatri,/ Save me, save the world.” (47). In the poem “The Unlucky”, the poet jibes at those who are lethargic in reading. He identifies four kinds of readers and places himself in the fourth category by rating himself a ‘poor’ reader. The first three categories remind the readers of William Shakespeare’s statement “Some are born great, some achieve greatness, and some have greatness thrust upon them.” At the end of the poem, the poet questions himself for being a poet and teacher. The question itself reflects on his ironic presentation of himself as a poor reader because a poet’s wisdom is compared with that of the philosopher and everybody worships and bows before a teacher, a “guru”, in the Indian tradition. The poet is considered the embodiment of both. The poet’s unfulfilled wish to have been born in Prayagraj is indexed with compunction when the poem ends with the question “Why was I not born in Prayagraj?” (52). Ending with a question mark, the last line of the poem expresses his desire for perfection. The next poem, “Saying Goodbye”, is elegiac in tone and has an allusion to Thomas Gray’s “The Elegy Written in a Country Churchyard” in the line “When the curfew tolls the knell of the parting day”; it ends with a question mark. The poem seems to be a depiction of the essence and immortality of ‘time’. Reflecting on the poet’s consideration of the power and beauty of ‘time’, Pradeep Kumar Patra rightly points out, “It is such a phenomena that nobody can turn away from it. The moment is both beautiful as well as ferocious. It beautifies and showcases everything and at the same time pulls everything down when necessary” (146). Apparently, the poem “The Kerala Flood 2018”is an expression of emotions at the disaster caused by the flood in 2018. By reminding of Gandhi’s tenets to be followed by people for the sake of morality and humankind, the poet makes an implicit criticism of the pretentions, and violation of pledges made by people to care of other beings, particularly, cow that is worshiped as “mother” and is considered to be a symbol of fertility, peace and holiness in Hinduism as well as the Buddhist culture. The poet also denigrates people who deliberately ignore the sanctity of the human life in Hinduism and slaughter the animal cow to satisfy their appetites. In the poem, the carnivorous are criticized explicitly, but those who pretend to be herbivorous are decried as shams: If a cow is sacrosanct And people eat beef One has to take a side. Some of the friends chose to Side with cow and others With the beef-eaters. Some were more human They chose both. (55) The poet infuses positivity into the minds of the Indian people. Perhaps, he thinks that, for Indians, poverty, ignorance, dirt and mud are not taboos as if they are habitual to forbear evils by their instincts. They readily accept them and live their lives happily with pride considering their deity as the preserver of their lives. The poem “A Family by the Road” is an example of such beliefs, in which the poet lavishes most of his poetic depiction on the significance of the Lord Shiva, the preserver of people in Hinduism: Let me enjoy my freedom. I am proud of my poverty. I am proud of my ignorance. I am proud of my dirt. I have a home because of these. I am proud of my home. My future is writ on the walls Of your houses My family shall stay in the mud. After all, somebody is needed To clean the dirt as well. I am Shiva, Shivoham. (73) In the poem “Kabir’s Chadar”, the poet invokes several virtues to back up his faith in spirituality and simplicity. He draws a line of merit and virtue between Kabir’s Chadar which is ‘white’ and his own which is “thickly woven” and “Patterned with various beautiful designs/ In dark but shining colours” (50). The poet expresses his views on Kabir’s ‘white’ Chadar symbolically to inculcate the sense of purity, fortitude, spirituality, and righteousness among people. The purpose of his direct comparison between them is to refute artificiality, guilt and evil intents of humanity, and propagate spiritual purity, the stark simplicities of our old way of life, and follow the patience of a saint like Kabir. The poem “Distancing” is a statement of poetic irony on the city having two different names known as Bombay and Mumbai. The poet sneers at its existence in Atlas. Although the poet portraits the historical events jeering at the distancing between the two cities as if they are really different, yet the poet’s prophetic anticipation about the spread of the COVID-19 in India cannot be denied prima facie. The poet’s overwhelming opinions on the overcrowded city of Bombay warn humankind to rescue their lives. Even though the poem seems to have individual expressions of the poet, leaves a message of distancing to be understood by the people for their safety against the uneven things. The poem “Crowded Locals” seems to be a sequel to the poem “Distancing”. Although the poet’s purpose, and appeal to the commonplace for distancing cannot be affirmed by the readers yet his remarks on the overcrowded cities like in Mumbai (“Crowded Locals”), foresee some risk to the humankind. In the poem “Crowded Locals”, he details the mobility of people from one place to another, having dreams in their eyes and puzzles in their minds for their livelihood while feeling insecure especially, pickpockets, thieves and strangers. The poet also makes sneering comments on the body odour of people travelling in first class. However, these two poems have become a novel contribution for social distancing to fight against the COVID-19. In the poem “Buy Books, Not Diamonds” the poet makes an ironical interpretation of social anarchy, political upheaval, and threat of violence. In this poem, the poet vies attention of the readers towards the socio-cultural anarchy, especially, anarchy falls on the academic institutions in the western countries where capitalism, aristocracy, dictatorship have armed children not with books which inculcate human values but with rifles which create fear and cause violence resulting in deaths. The poet’s perplexed opinions find manifestation in such a way as if books have been replaced with diamonds and guns, therefore, human values are on the verge of collapse: “Nine radiant diamonds are no match/ To the redness of the queen of spades. . . . / … holding/ Rifles is a better option than/ Hawking groundnuts on the streets?” (67).The poet also decries the spread of austere religious practices and jihadist movement like Boko Haram, powerful personalities, regulatory bodies and religious persons: “Boko Haram has come/Obama has also come/The UN has come/Even John has come with/Various kinds of ointments” (67). The poem “Lost Childhood” seems to be a memoir in which the poet compares the early life of an orphan with the child who enjoys early years of their lives under the safety of their parents. Similarly, the theme of the poem “Hands” deals with the poet’s past experiences of the lifestyle and its comparison to the present generation. The poet’s deep reverence for his parents reveals his clear understanding of the ways of living and human values. He seems to be very grateful to his father as if he wants to make his life peaceful by reading the lines of his palms: “I need to read the lines in his palm” (70). In the poem “A Gush of Wind”, the poet deliberates on the role of Nature in our lives. The poem is divided into three sections, perhaps developing in three different forms of the wind viz. air, storm, and breeze respectively. It is structured around the significance of the Nature. In the first section, the poet lays emphasis on the air we breathe and keep ourselves fresh as if it is a panacea. The poet criticizes artificial and material things like AC. In the second section, he depicts the stormy nature of the wind scattering papers, making the bed sheets dusty affecting or breaking the different types of fragile and luxurious objects like Italian carpets and lamp shades with its strong blow entering the oriels and window panes of the houses. Apparently, the poem may be an individual expression, but it seems to be a caricature on the majesty of the rich people who ignore the use of eco-chic objects and disobey the Nature’s behest. In the third and the last section of the poem, the poet’s tone is critical towards Whitman, Pushkin and Ginsberg for their pseudoscientific philosophy of adherence to the Nature. Finally, he opens himself to enjoy the wind fearlessly. The poems like “A Voice” , “The New Year Dawn”, “The New Age”, “The World in Words in 2015”, “A Pond Nearby”, “Wearing the Scarlet Letter ‘A’”, “A Mock Drill”, “Strutting Around”, “Sahibs, Snobs, Sinners”, “Endless Wait”, “The Soul with a New Hat”, “Renewed Hope”, “Like Father, Unlike Son”, “Hands”, “Rechristening the City”, “Coffee”, “The Unborn Poem”, “The Fountain Square”, “Ram Setu”, and “Connaught Place” touch upon the different themes. These poems reveal poet’s creativity and unique features of his poetic arts and crafts. The last poem of the collection “Stories from the Mahabharata” is written in twenty-five stanzas consisting of three lines each. Each stanza either describes a scene or narrates a story from the Mahabharata, the source of the poem. Every stanza has an independent action verb to describe the actions of different characters drawn from the Mahabharata. Thus, each stanza is a complete miniscule poem in itself which seems to be a remarkable characteristic of the poem. It is an exquisite example of ‘Micro-poetry’ on paper, remarkable for its brevity, dexterity and intensity. The poet’s conscious and brilliant reframing of the stories in his poem sets an example of a new type of ‘Found Poetry’ for his readers. Although the poet’s use of various types images—natural, comic, tragic, childhood, horticultural, retains the attention of readers yet the abundant evidences of anaphora reflect redundancy and affect the readers’ concentration and diminishes their mental perception, for examples, pronouns ‘her’ and ‘we’ in a very small poem “Lost Childhood”, articles ‘the’ and ‘all’ in “Crowded Locals”, the phrase ‘I am proud of’ in “A Family by the Road” occur many times. Svitlana Buchatska’s concise but evaluative views in her Afterword to Unwinding Self help the readers to catch hold of the poet’s depiction of his emotions. She writes, “Being a keen observer of life he vividly depicts people’s life, traditions and emotions involving us into their rich spiritual world. His poems are the reflection on the Master’s world of values, love to his family, friends, students and what is more, to his beloved India. Thus, the author reveals all his beliefs, attitudes, myths and allusions which are the patterns used by the Indian poets” (150). W. H. Auden defines poetry as “the clear expression of mixed feelings.” It seems so true of Susheel Sharma’s Unwinding Self. It is a mixture of poems that touch upon the different aspects of human life. It can be averred that the collection consists of the poet’s seamless efforts to delve into the various domains of the human life and spot for the different places as well. It is a poetic revue in verse in which the poet instils energy, confidence, power and enthusiasm into minds of Indian people and touches upon all aspects of their lives. The poverty, ignorance, dirt, mud, daily struggle against liars, thieves, pickpockets, touts, politician and darkness have been depicted not as weaknesses of people in Indian culture but their strengths, because they have courage to overcome darkness and see the advent of a new era. The poems teach people morality, guide them to relive their pains and lead them to their salvation. Patricia Prime’s opinion is remarkable: “Sharma writes about his family, men and women, childhood, identity, roots and rootlessness, memory and loss, dreams and interactions with nature and place. His poised, articulate poems are remarkable for their wit, conversational tone and insight” (138). Through the poems in the collection, the poet dovetails the niceties of the Indian culture, and communicates its beauty and uniqueness meticulously. The language of the poem is lucid, elevated and eloquent. The poet’s use of diction seems to be very simple and colloquial like that of an inspiring teacher. On the whole the book is more than just a collection of poems as it teaches the readers a lot about the world around them through a detailed Glossary appended soon after the poems in the collection. It provides supplementary information about the terms used abundantly in Indian scriptures, myths, and other religious and academic writings. The Glossary, therefore, plays pivotal role in unfolding the layers of meaning and reaching the hearts of the global readers. The “Afterwords” appended at the end, enhances readability of poems and displays worldwide acceptability, intelligibility, and popularity of the poet. The Afterwords are a good example of authentic Formalistic criticism and New Criticism. They indirectly teach a formative reader and critic the importance of forming one’s opinion, direct reading and writing without any crutches of the critics.