Bücher von Robin Bright

The concept of training is interesting; if the term business is dropped in favor of vampirism. It then becomes illuminating, as teachers are drained by the vampire, rather than trained, which allows the employee to gain insight into the nature of the activity, that is, death camp slavery. It won¿t have escaped the notice of the profession that chalk and cheese is what schools are about, for example, the IT engineer that helpfully shows the educator how to connect their smart ¿phone to the overhead projector (OHP) in the classroom, using Bluetooth, is cheese to the colleague who politely explains that there aren¿t any modern conveniences, and shows the new teachers from the Philippines and Sidcup the tin with the bits of chalk inside beside a blackboard. The doyen of IT will live and thrive, while the beggars with the tin will plod on until they dodder off the scaffolding and plummet to extinction.

The myth associated with Diana was Actaeon, turned into a stag, and torn into pieces by his own hunt dogs,4 after seeing her bathing with other women, which suggests SARS was reader¿s digest, on the theme of Di Heer ring, as she was the German duchy of Saxe-Coburg-Gothäs people of Thuringia state¿s English rose. Despite Diana enthusing New Romantic pop music, for example, the group Duran Duran, with Simon Le Bon singing, ¿Girls on Film¿ (1981), ¿Rio¿ (1982), and ¿Union of the Snake¿ (1983), and Spandau Ballet, with Tony Hadley singing, ¿To Cut A Long Story Short¿ (1980), ¿Chant No. 1 (I Don¿t Need This Pressure On) (1981), and ¿True¿ (1983), after the discovery of AIDS in 1983, homosexuality made it a New AIDS ¿fag¿ seen, with the group Culture Club (originally Sex Gang Children) and Boy George singing, ¿Do You Really Want To Hurt Me¿ (1982) and ¿Victims¿ (1983), while the vaccine for a slave virus, that insisted everyone wear protective condoms, and suspect each other of sex crime, was still absent when everyone was fag doubt by SARS in the third decade of the 21st century.

Primarily facilitated by the mass media, centered upon the Hollywood district of the city of Los Angeles, West coast state of California, the human penis has been banned since the President of the Motion Picture Producers and Distributors of America (MPPDA), Will Hays, introduced the ¿Hays code¿ of 1930, `... women, in love scenes, at all times have `at least one foot on the floor` (in other words, no love scenes in bed).` Although the ban was lifted for the romantic comedy, featuring actress Jane Fonda and actor Robert Redford, as the naked and in bed together newly wed couple, Corie and Paul Bratter, in a New York city apartment almost overlooking Central Park, Barefoot in the Park (1967) ¿cocked a snoot¿ at the idea of women¿s foot race ever being seen naked and humanly erect for mainstream cinema and TV audiences, thereby effectively decapitating the human species, which would never know that was how the alien brain eaters had feasted on their race as the ¿food of the gods¿ in vampirism.

Jesus¿ ¿Second Coming¿, as foretold by Jesus¿ disciple John, in his apocalyptic vision of the future, Revelation, is a metaphor used by extremist Catholic terrorists for the countless lives destroyed by repeated ejaculations and condom usage, before Jesus came a second time, ¿The dragon stood before the woman, who was about to give birth, so that it might devour her child the moment it was born.¿ (Rev: 12. 4) The dragon is what developmental psychologist Carl Gustav Jung (1875-1961) called an ¿archetype¿, which is a facultas preformandi in the human psyche. According to Jung, images, symbols, and figures from ¿the God archetype¿ appear in the collective unconscious through dreams, art and the imagination, as guides to individual growth. Consequently, the archetype of the dragon actually warns against the Catholic belief in hellfire for heterosexuals for ejaculating, that is, the dragon is homosexuality, for example, the ¿incurable killer disease¿, which was the virus of hell in the late 20th century, was the AIDS virus, discovered by DR Congo in 1983, being transmitted through infected semen by homosexuals impaling each other¿s anuses on each other¿s penises.

English science fiction writer, Arthur C. Clarke, wrote a short story, ¿Sentinel of Eternity¿ (1951), about a monolith left by a highly technologically advanced extraterrestrial civilization, which enhanced the brains of the animals that encountered it. Film director, Stanley Kubrick, collaborated with Clarke to produce a 1968 movie version of the story, 2001: A Space Odyssey, in which apes are depicted killing an animal resembling a pig from the Ypresian stage of the early Eocene epoch in Earth¿s history (56-47.8 m.a.); Eohippus angustidens: ¿dawn horse¿. Although in the future the hippo-like creature would evolve into the horse, the theme of the enhanced brain of an animal becoming that of a killer is central to the plot of the author, whose alien intelligence is obviously a self-extrapolation, because the E. angustidens is a pig, which means that the apes are evolving into killers, as they develop human intellectual power, while the pigs will develop into ¿long pig¿, that is, human food in the sense of food being humans.

Robert Anson Heinlein (1907-88) by¿ zazwyczaj opisywany jako solipista. Centralnym motywem amerykäskiego pisarza science fiction jest jednak "solipsystyczny" motyw samo¿eraj¿cego si¿ i po¿eraj¿cego samego siebie w¿¿a uurobouros, który wed¿ug teorii indywiduacji szwajcarskiego psychoanalityka Carla Gustava Junga (1875-1961) reprezentuje symboliczne kazirodztwo. Jung argumentuje, ¿e kazirodztwo mo¿e by¿ rozumiane w kategoriach pragnienia unii ego z nie¿wiadomo¿ci¿, która, kobieca w m¿¿czy¿nie i m¿ska w kobiecie, jest uosobieniem sk¿adnika przeciwnego (anima w m¿¿czy¿nie; animus w kobiecie). Poniewä m¿¿czy¿ni s¿ przyci¿gani do kobiet przez ich sk¿adnik przeciwny do p¿ci i na odwrót, wszystkie relacje mi¿dzy m¿¿czyznami i kobietami charakteryzuj¿ si¿ interakcjami anima-animus, czyli przewidywanymi wariantami endogamicznego pop¿du, wi¿c celem procesu indywiduacji jest rozpoznanie projekcji i introjekcji, czyli samodzielno¿ci lub samodzielno¿ci charakteryzuj¿cej si¿ indywidualn¿ relacj¿ mi¿dzy m¿¿czyzn¿ i kobiet¿, a nie relacj¿ mi¿dzy anima i animus.

Poniewä wzorców zachowä nie da si¿ oddzieli¿ od osi¿gni¿¿, wi¿c brak osi¿gni¿¿ w kategoriach finansowych wskazuje na nieracjonalno¿¿. Racjonalno¿¿ nie jest jednak prosta. Osoba jest cenna, gdy plastikowy pier¿cie¿, lub dziewi¿tnastowiecznego niemieckiego kompozytora Richarda Wagnera Ring Opera (1848-74), jest tak samo cenne jak rubinowy pier¿cie¿ do nich, poniewä ci, którzy nie s¿ cenne nie ceni¿ niczego, co ma znaczenie w zakresie finansów behawioralnych, czyli racjonalnego inwestora lub arbiträu, musi by¿ cenne same; je¿li nauka finansów behawioralnych jest mie¿ udany wp¿yw na inwestycje.Do przet¿umaczenia tej ksi¿¿ki wykorzystano sztuczn¿ inteligencj¿.

As attitudinal behavior patterns aren`t separable from achievement, so a lack of achievement in financial terms is indicative of irrationality. However, rationality isn`t simple. A person is valuable when a plastic ring, or nineteenth century German composer Richard Wagner`s Ring opera (1848-74), is as valuable as a ruby ring to them, because those who aren`t valuable don`t value anything, which has importance in terms of behavioral finance, that is, the rational investor, or arbitrageur, needs to be valuable themselves; if the science of behavioral finance is to have a successful impact on investment.