Reprint of the original, first published in 1872. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

The Routledge Dictionary of Latin Quotations completes our enormously successful and award-winning Latin for the Illiterati series of volumes, rounding off the trilogy with a comprehensive treasury of classic Latin quotations, mottoes, proverbs, and maxims collected from the worlds of philosophy, rhetoric, politics, science, religion, literature, drama, poetics, and war.Distinguished by the combination of user-friendliness and comprehensiveness, this book will provide students, scholars, and general readers with an eminently browsable resource that is as useful as it is enjoyable.

Before Buddha there were religions but never a pure religiousness. Man was not yet mature. With Buddha, humanity enters into a mature age. All human beings have not yet entered into that, that's true, but Buddha has heralded the path; Buddha has opened the gateless gate. It takes time for human beings to understand such a deep message. Buddha's message is the deepest ever. Nobody has done the work that Buddha has done, the way he has done. Nobody else represents pure fragrance. Other founders of religions, other enlightened people, have compromised with their audience. Buddha remains uncompromised, hence his purity. He does not care what you can understand, he cares only what the truth is. And he says it without being worried whether you understand it or not. In a way this looks hard; in another way this is great compassion.

What is the relationship between a cinematic grid of color and that most visceral of negative affects, disgust? How might anxiety be a matter of an interrupted horizontal line, or grief a figure of blazing light? Offering a bold corrective to the emphasis on embodiment and experience in recent affect theory, Eugenie Brinkema develops a novel mode of criticism that locates the forms of particular affects within the specific details of cinematic and textual construction. Through close readings of works by Roland Barthes, Hollis Frampton, Sigmund Freud, Peter Greenaway, Michael Haneke, Alfred Hitchcock, Søren Kierkegaard, and David Lynch, Brinkema shows that deep attention to form, structure, and aesthetics enables a fundamental rethinking of the study of sensation. In the process, she delves into concepts as diverse as putrescence in French gastronomy, the role of the tear in philosophies of emotion, Nietzschean joy as a wild aesthetic of repetition, and the psychoanalytic theory of embarrassment. Above all, this provocative work is a call to harness the vitality of the affective turn for a renewed exploration of the possibilities of cinematic form.

This dictionary results from the titanic work by Rev. James Wood who collected quotations from ancient and modern English and foreign sources and put them in alphabetic order. The dictionary contains phrases, mottoes, maxims, proverbs, definitions, aphorisms, and sayings of different prominent people.