This edition of The Mystery of the Cathedrals offers an English translation of the original 1926 edition of Le Myst re des Cath drales, retaining the original drawings from that edition.
In 1957, long after Fulcanelli's disappearance, a second edition of Le Myst re des Cath drales was published in France, with important changes. Most of the drawings were replaced by photographs. The 2nd edition also added a new preface and a new chapter, The Cyclic Cross of Hendaye, with more images.
Eug ne Canseliet, a disciple of Fulcanelli and in charge of his manuscripts, wrote the preface to the 2nd edition and to many other editions of Fulcanelli's works, but he never explained why the original drawings were replaced by photographs. Most of the photographs in the 2nd edition are similar to the original drawings, although they are not the same, and in three different images the differences are noticeable.
The current English edition of Le Myst re des Cath drales, translated by Mary Sworder, is based on the second edition of 1957, and shows photographs instead the original drawings.
This new translation faithfully preserves the drawings of Julien Champagne and the original numbering of the images, from 1 to 35. The text of the original edition was also translated anew, without introducing any of the changes found in most recent editions. The first edition of Le Myst re des Cath drales fills an important place in the history of Alchemy. Newer editions added more material, but they couldn't replace the first one.
Eug ne Canseliet, said, in the preface for the 1926 edition: the key to the major arcane is given, without any fiction, by one of the figures that adorn this work. Photographs and drawings are not the same and serve different purposes; photographs only show the same things that the naked eye can perceive, but drawings offer the illustrator a way to accentuate different aspects of the images, and thus add more symbolic depth to the scenes depicted.
There are also many small details that differ between the drawings and the photographs, but we will say no more, it is up to the reader to extract the symbolic meanings of the original drawings, aided by the masterful exposition of Fulcanelli, which is shown in this translation as originally presented in its first edition, including the dedication to the brothers of Heliopolis and the strange coat of arms at the end of the text.

La historia del diablo... cubre un amplio espectro, desde las antiguas culturas de la Mesopotamia hasta el siglo XIX. Partiendo de las creencias de los egipcios, asirios y persas, continuando con las concepciones religiosas del juda smo, brahmanismo, hinduismo, budismo, Grecia y Roma, hasta llegar al cristianismo. El concepto del diablo, y los excesos a que dio origen en occidente, desde los comienzos del cristianismo, pasando por la historia temprana de la iglesia, la Edad Media y la Inquisici n est analizado en minucioso detalle.
Esta obra nos muestra las diferentes formas en las que el diablo y el concepto del mal han sido vistos en distintos tiempos y culturas. Por supuesto, el t rmino diablo es occidental, pero similares concepciones personificadas del mal aparecen en muchas otras tradiciones religiosas. Carus muestra como la contraposici n de los principios del bien (Dios) y el mal (el diablo) son la base dial ctica de las religiones.
Este libro est profusamente ilustrado. Cientos de fascinantes im genes de esculturas y grabados de las diferentes pocas hist ricas nos muestran pict ricamente como el diablo fue imaginado a trav s del tiempo.
Una de las facetas m s interesantes de La historia del diablo... es la forma clara en que la trama oculta que enlaza todas las creencias religiosas es develada. Carus nos muestra como diferentes concepciones mitol gico-religiosas, incluyendo la idea del diablo, se han perpetuado a trav s de los milenios, pasando por diferentes culturas y religiones, metamorfose ndose, pero conservando sus ideas nucleares a trav s de las pocas.
En resumen, esta es una obra imprescindible para poder comprender la evoluci n del concepto del mal y su m ximo exponente, el diablo mismo.

This Chinese/English YiJing dictionary includes all Chinese characters found in the YiJing as well as a translation and a concordance. Both the traditional explanations for the character's meanings and the findings of the modern research on oracle bones characters are covered.
993 Chinese characters are explained in detail, both the classic and (in many cases) archaic representations of the characters, are shown to clarify their original meaning. Multi-character words are covered as well, to help understand some YiJing expressions better.
Includes all characters found in The Judgment, The Lines and The Image.

This bilingual, side-by-side edition of fantastic stories is perfect for students of Spanish or English, as it offers students an easy way to enjoy good literature and learn another language without having to constantly refer to a dictionary.

This anthology includes 6 fantastic stories of supernatural mystery and terror, selected for variety and quality.
Includes the following titles:

• El fresno / The Ash Tree, M.R. James
• La llamada de Cthulhu / The Call of Cthulhu, H.P. Lovecraft
• Esa maldita cosa / The Damned Thing, Ambrose Bierce
• Descripci n de las extra as perturbaciones en la calle Aungier / An Account of Some Strange Disturbances in Aungier Street, Sheridan Le Fanu
• El hombre que fue demasiado lejos / The Man Who Went Too Far, E.F. Benson
• Amour Dure, Vernon Lee

Categories

• Anthology of the supernatural
• Short horror stories
• Fantastic stories
• Myths of Cthulhu
• Ghost stories

This bilingual, side-by-side edition of fantastic stories is perfect for students of Spanish or English, as it offers students an easy way to enjoy good literature and learn another language without having to constantly refer to a dictionary.

This anthology includes 7 fantastic stories of supernatural mystery and terror, selected for variety and quality.
Includes the following titles:

• The Wendigo / El Wendigo, Algernon Blackwood
• The Monkey's Paw / La pata de mono, W.W. Jacobs
• No. 252 Rue M. le Prince / Calle M. Le Prince, N 252, Ralph Adams Cram
• The Mummy's Foot / El pie de la momia, Th ophile Gautier
• The Shining Pyramid / La pir mide brillante, Arthur Machen
• The Upper Berth / La litera de arriba, Francis Marion Crawford
• The Corner Shop / La tienda de la esquina, Cynthia Asquith

Categories

• Anthology of the supernatural
• Short horror stories
• Fantastic stories
• Ghost stories

Sub Terra. Cuadros Mineros is the first work by the Chilean short-story writer Baldomero Lillo (1867-1923), published on July 12, 1904. In its first edition it was composed of eight stories, almost all of them set in the coal mines of Lota in the Province of Concepci n. In the second edition, from 1917, other five stories were added, some of them with a different theme.
The book describes from various angles and characters the way coal miners lived and died, particularly those in the Lota mines in southern Chile, in the late nineteenth and early twentieth centuries, who worked from dawn to dusk in miserable conditions.
It is basically a description of life in the mine, and the life of its workers; it is also a critique of the exploiting power, which reduced the human condition of the miners to simple beasts. Lillo was considered the master of the genre of social realism in his country.
The first edition consisted of eight stories:

• The Invalids
• Gate Number 12
• Firedamp
• Payday
• The Devil's Pit
• The Well
• Juan Fari a
• Big Game Hunting

Later, in the second edition, Lillo modified the text of several of the original stories and added:

• The Search
• The Drill
• It was Him Alone...
• The Attached Hand
• Ca uela and Petaca

Juan Moreira is presented as a bilingual, Spanish/English book, with side-by-side texts.
Juan Moreira is a classic gaucho novel by the Argentine writer Eduardo Guti rrez, published as a serial history between November 1879 and January 1880 in the newspaper La Patria Argentina. It is inspired by a real police chronicle starring the legendary gaucho Juan Moreira, who was killed by the police in Lobos, in 1874. It is one of the most important texts of Argentine literature and Hispano-American romanticism.
As far as I know, there is only one other English translation of this book, made by John Charles Chasteen and published by Hackett under the title El Gaucho Juan Moreira. This translation is very different from Chasteen's, since instead of shortening and adapting the text to make it more pleasing to the English reader, my goal was to keep this translation as close as possible to the original, without sacrificing its legibility.
Some words couldn't be translated properly, because there are not English words for them, in such cases the Spanish word was left as it was, but we explain its meaning in the Glossary and/or in footnotes. All words included in the Glossary are underlined.
I hope this bilingual translation can help English readers to understand better this classic work of the Latin-American literature. Also this book is useful for students of Spanish, to learn Spanish through reading, since the side-by-side presentation of the Spanish and English texts, makes it easy following the original Spanish text.

The Translator

Esta traducci n del I Ching es concisa y orientada al uso divinatorio. Para permitir a los lectores entender mejor el significado del texto, notas con referencias hist ricas y culturales acompa an a muchos hexagramas.

Los principios fundamentales de la vida no han cambiado desde que el Libro de los Cambios fue escrito, nosotros no somos mejores ni peores que nuestros remotos antecesores. Las profundas percepciones sobre las relaciones humanas que el I Ching nos ofrece siguen siendo v lidas y pueden ser aplicadas a nuestras vidas de la misma forma en que fueron usadas en la China antigua.

Sus interpretaciones dan una idea general de la situaci n pero tambi n cubren reas espec ficas de la vida como Trabajo, Vida privada y Salud, sentimientos y relaciones sociales.

Al conocer qu tipo de tiempo estamos viviendo, podemos tomar medidas preventivas y planificar el mejor curso de acci n para evitar los posibles peligros y aprovechar al m ximo las oportunidades. Llamamos a ese tipo de adaptaci n al tiempo Navegando los cambios. Los cambios son las olas naturales que recorren el tiempo. Navegar los cambios significa tomar el mejor curso posible entre las olas del mar de la vida.