TH="50%" VALIGN="TOP">

1. Verbal thinking, awareness of one's own thinking; psycholinguistics, studying of the resources of verbal thinking; schools (K. Jackobson, A. Reformatsky, etc.)

2. ( ).

2. Rational involvement of language (chaining of definitions as the means of foreign language involvement).

3. () .

3. Non-equivalence of FC to the stream of verbal (logical) presentation of thought.

4. ; - (" "); "CLUB TOAST MASTERS INTERNATIONAL". ( ), ; , ; , ( ).

4. Verbal complexes; incapability of words to exist solely ("not to block complex formations"); "CLUB TOAST MASTERS INTERNATIONAL". Speaking to the audiences (including numerous ones), studying rhetoric; codex of professional civilised communication; emotional communication; vivid, convincing presentation of one's thoughts in the native language (as the starting point for speaking in a foreign language).

5. : " " -, quasi-- ( , - ).

5. FC and artistic image: "Qualitative flood of consciousness" - artistic and philosophical, or quasi-artistic and philosophical (enrichment of cliches, experimental embroadening - automatic search).

6. ; . "", . (. );

6. FC and philology; J. Joyce "Ulysses"; L. Tolstoy (L. Stern);

- ;

the poetical in literature as a condensate of an artistic and philosophic personality's FC;

, ( -> );

poetical, ethical and FC (poetry in daily life - sense of beauty in silence figures);

.

intuitive perception of another person's FC.

7. .

7. Foothold languages.

tez23

* * *

.

.

.

, .

, ,

,

, ,

,

,

,

, , ,

.

* * *

I dream about the ancient and new books

about bold statements with the past connected.

My wish is clear and even may be acted

in drama where the actors are the spooks

of this reality that's like imagined looks,

and steady every days' and nights' play last

a process of a prolongated lust,

of a converting good men into crooks.

But clearness ends abruptly in a dim

wet from the tears, my sleep transforming stream

of memory, that is like time existence

on things; events' and feelings' broad space.

And everything then is reversed and plays

a mystic part in Theatre of Distance.

23.

Theme 23

The amount of reading

I. .

I. Books and the autodidact.

1. , .

1. Chance to come back and re-read.

2. ( , , , ..).

2. System of outwritings (with compulsory reference to the source, year of publishing, the author, the number of the page, etc.)

3. " ".

3. Books and "that world."

4. .

4. Guidance of reading and actual goals of the personality.

5. ; , .

5. Reading of feelings; informative reading, mixed type reading.

6. legenda libri, ().

6. System and legenda libri, the principle of making up (going on).

7. .

7. Re-reading and life experience.

8. :

8. Image of a book and thinking with states:

) ;

a) imagination training;

) ;

b) enrichment of a personality and a book's image;

) - ;

c) thinking with states as a relaxing and hedonistic instrument;

) ;

d) a book image as the storage of the essential;

) , ( -);

e) definition, clarification of a book image and spiritual growth (increase of intellectual and spiritual level);

) ;

f) connection of book images and thesaurus of states;

) ;

g) a book image as a transmitter of a state;

) ;

h) a book image before and after reading;

) ;

i) footholding book images;

) ;

j) quantity of reading and book image;

) ( , , , , "" ..).

k) parameters of a book image (type of a book, level, style, genre, "necessity", etc.);

9. :

9. Collected works and the autodidact;

) .-. ;

a) unlikening to the autodidact by I.-P. Sartre;

) ;

b) thinking and conjecturing;

) ", , -".

c) "an extract often re-read is more valuable then seldom full reading."

10. .

10. Interest and persistence.

11. .

11. Densation of states.

12. - :

12. The law of compulsory narrating of feelings as soon as possible after reading:

) ;

a) the role of a social group;

) ;

b) narration of feelings as an instrument of spiritual communication;

) , , , , ..;

c) growing skills of narration and level of culture; ability to define nuances, compare, sum up, apply, etc.;

) (" ", );

d) written narration ("a letter to oneself grown old," etc.)

) ( ) - - ;

e) narration and thinking (under impression) - using technique of tuning;

) (- 9 );

f) narration of the feeling and fixation of the read (no longer than 9 hour after reading);

) (-- ).

g) value of findings in narration (writing-erasing with the help of the associative list).

13. - , .

13. Shakespeare as a reader, the repertoire of reading.

14. - .

14. Petrarca as a reader.

II. . .

II. Types of readers. Dialectics of quality and quantity.

1. ( ).

1. Shakespearian type (depth of comprehension with relatively moderate amount of reading).

2. ( , ).

2. Petrarcian type (quantative insaturation combined with depth of comprehension).

3. ( ). " - !!! , .. , ".

3. Preference to Petrarcian type (or a mixed type). "Risk of non-understanding - Shakespeare was a genius!! He understood Montaigne, Petrarca, etc. without any preparation necessary for an ordinary person."

4. :

4. Well-readness and snobbism:

) ;

a) development of the sense of a book;

) ;

b) resistance to the diktat of mass culture;

) ;

c) independence of choice;

) .

d) information about not read yet.

5. -.

5. Systematic re-reading of masterpieces and quality of reading.

6. .

6. Adequate understanding.

7. ( ):

7. Languages (being in shape):

) ;

a) securing;

) ;

b) making breaks and coming back;

) ("!").

c) refreshment of knowledge ("precedent!").

tez24

***

"" ,

"-"

-

!

,

- !

-

, !

, ,

,

,

, ,

- ,

...

* * *

It will be last headache and joy and point

in long-long way, that finally abridged

by steps with journey to the death enriched.

it will be real past that future'd joined.

And both times - old and new - invisible joint

will suddenly be visible like switched

in being like fulfilled and reached

and out of worthless dust to gold overcoined.

Pain travels with us. May be - moving us

towards in evolutionary fuzz,

and particles of the troubles are everlasting.

Our world endure because we tolerate

and thus existence has its own rate

proportioned by the fact that seeds are casting.

24.

Theme 24

...

To be continued...

I. .

I. Spiritual and harmonious development of a human being.

1. .

1. Harmony as an aesthetic term.

2. .

2. Harmony as an antinomy to one-sidedness.

3. .

3. Spiritual beauty and harmony.

4. .

4. Need for perfection as an aspiration for harmony.

5. -- (" , ").

5. Total development of a personality and accentuation on spiritual and intellectual studies ("there is nothing useless for my occupation").

6. : (-), , .

6. Harmony as a dynamic process; disharmony (anthropy), temporary one-sidedness as a source of developing creativity, power.

7. :

7. Re-valuation of harmonization and level of understanding: correlation of concepts.

8. : "" " " ( ).

8. Spirituality as interrelation of individual and collective eidoses: "inner" and "exterior inner" (souls akin).

9. :

9. Spirituality and development of thinking:

) ();

a) embroadening of outlook (concepts);

) - ;

b) thinking with feeling and spiritual-intellectual layers;

) ;

c) growing up to high ideas;

) "" "" - ( ).

d) effect of "losing one's name" and omnipresence of "ego" - a harmonious personality (in the unity of opposites).

II. - .

II. Creative experiment as an instrument of development.

1. - (: . , ...).

1. Experiment is life (philosophers: F. Nietzshe, Socrates...)

2. - ( - - - -).

2. Experiment as a fragment of life (attempt - failure - phobia of experiments - experiment - proscopia).

3. - : - -; ( ) .

3. Experiment-reception: connection between macro- and micro-experimentality; coefficient of heuristic abilities and personal parameters (ability to make experiments on oneself) are in proportion to the coefficient of experimentality.

4. " ".

4. "Ratio of activeness in making experiments to the material is equal to the ratio of felling of comfort to the life of an individual."

5. .

5. Living out as a consequence of refusing experimentality.

6. :

6. Principal model of an experiment:

) ;

a) hypothesis as the starting point for thinking;

) ;

b) selection of material;

) - ;

c) determination of the type of process movement or its supposed duration;

) ;

d) account for moral aspects;

) ;

e) choice of means;

) .

f) production of results.

III. .

III. Thought direction and a personality.

1. ( ); "" . .

1. Selection of thoughts (inner control); appliance of the "ethics" principle by B. Spinoza.

.

Sub specie aeternitalis, sub specie rei publicae.

It is inherent to the nature of mind to comprehend things under the dome of eternity.

Sub specie aeternitalis, sub specie rei publicae.

2. ( ):

2. Accommodation of thoughts (close and remote):

- . - - - ;

- B. Franklin - up and down - bifocal glasses:

- ;

- accommodation training;

- " - ";

- "bifocality of moral and intellectual vision";

- - .

- outlook - bifocal glasses.

3. .

3. Spiritual gravitation and orientation of thoughts.

4. "" (" , ...") - .

4. "Prominence" of thoughts and their global equality under subjectively momentary importance.

5. " " (. ) - :

5. "The focal thought is feeling." (F. Dostoevsky about the major thought of a writer) and life is a work of literature:

) " ";

a) uniqueness of the opus "My Life";

) ( ), ;

b) life composing (or partial composing), composing of fate;

) ( );

c) theme and idea of life (occupation and moral aspect);

) (, , - );

d) architectonics of life (introduction, main part, conclusion as conventional divisions);

) .

e) creative work and hyperintimate states.

IV. , , .

IV. Intention, richness of intentions, intentional excitement.

1. - , .

1. Intentions as samples of spiritual and intellectual acts, microintentions and macrointentions.

2. .

2. Intentions and their realization as the beginning and the end of the creative process.

3. ( -).

3. Obligation to intention (intentional responsibility).

4. , - .

4. Cancelling an intention under correction, decaying of unrealized intentions.

5.