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Written by some of India's best-known critics and scholars of contemporary art, including Tapati Guha-Thakurta, Geeta Kapur, Yashodhara Dalmia, Rupika Chawla and Geeti Sen, this volume traces the significant contribution of women on the Indian art scene from the early presence of Amrita Sher-Gil in the 1930s to the artists of the 1990s.
Author : Alec J. Lucas Publisher : Walter de Gruyter GmbH & Co KG Page : 281 pages File Size : 47,83 MB Release : 2014-12-11 Category : Religion ISBN : 3110384647
This study proposes that both constitutively and rhetorically (through ironic, inferential, and indirect application), Ps 106(105) serves as the substructure for Paul’s argumentation in Rom 1:18–2:11. Constitutively, Rom 1:18–32 hinges on the triadic interplay between “they (ex)changed” and “God gave them over,” an interplay that creates a sin–retribution sequence with an a-ba-ba-b pattern. Both elements of this pattern derive from Ps 106(105):20, 41a respectively. Rhetorically, Paul ironically applies the psalmic language of idolatrous “(ex)change” and God’s subsequent “giving-over” to Gentiles. Aiding this ironic application is that Paul has cast his argument in the mold of Hellenistic Jewish polemic against Gentile idolatry and immorality, similar to Wis 13–15. In Rom 2:1–4, however, Paul inferentially incorporates a hypocritical Jewish interlocutor into the preceding sequence through the charge of doing the “same,” a charge that recalls Israel’s sins recounted in Ps 106(105). This incorporation then gives way to an indirect application of Ps 106(105):23, by means of an allusion to Deut 9–10 in Rom 2:5–11. Secondarily, this study suggests that Paul’s argumentation exploits an intra-Jewish debate in which evocations of the golden calf figured prominently.
Summoning spirits (evocation) does not have the best reputation ... as long as they are not called "apparitions of Mary", "cult of the dead", "invocations of gods", "spiritualism" or "family constellations" ... What is so scary about contact with spirits? In dream journeys one also meets all kinds of spirits - and poltergeists always come quite unasked. The problem is mainly the fear of death, of the spirits of the dead. This has not always been the case - close contact with the dead was first demonized by the Christian missionaries: They put the one God Father in place of the deceased physical father of every human being - and formed the devil from the archetype of the ancestor spirit. There is hardly an early culture in which spirits were not conjured up. Examples of this can be found in the Neolithic Age, in Egypt, Sumer, among the Hittites, the Romans, in Africa, in the Old and New Testaments, among the Germanic peoples, the Celts, in Islam, and so on. There is a great variety in the methods of evocation, in the reasons for them, in their procedure and in their place in the culture - but the basic principle is very simple.
All societies are shaped by arts, media, and other persuasive practices that can awe, captivate, enchant or otherwise seem to cast a spell on the audience. Likewise, scholarship itself often is driven by a sense of wonder and a willingness to be open to what lies beyond the obvious. This book broadens and deepens this perspective. Inspired by Stephen Tyler’s view of ethnography as an art of evocation, international scholars from the fields of aesthetics, anthropology, and rhetoric explore the spellbinding power of elusive meanings as people experience them in daily life and while gazing at works of art, watching films or studying other cultures. The book is divided into three parts covering the evocative power of visual art, the immersion in ritual and performance, and the reading, writing, and interpretation of texts. Taken as a whole, the contributions to the book demonstrate how astonishment and evocation deserve an important place in the conceptual repertoire of the human sciences.
The Devil knows your name, David Aristarkhov. As a teen, David Aristarkhov was a psychic prodigy, operating under the shadow of his oppressive occultist father. Now, years after his father’s death and rapidly approaching his thirtieth birthday, he is content with the high-powered life he’s curated as a Boston attorney, moonlighting as a powerful medium for his secret society. But with power comes a price, and the Devil has come to collect on an ancestral deal. David’s days are numbered, and death looms at his door. Reluctantly, he reaches out to the only person he’s ever trusted, his ex-boyfriend and secret Society rival Rhys, for help. However, the only way to get to Rhys is through his wife, Moira. Thrust into each other’s care, emotions once buried deep resurface, and the trio race to figure out their feelings for one another before the Devil steals David away for good… The first book in a spellbinding and vibrant new series from The Sunday Times bestselling author of A Dowry of Blood.
This volume contains all three books of theoretical and practical use by Franz Bardon. Franz Bardon needs no introduction in the field of Magic, Evocation, occultism, practical use of the first three tarot cards, use of magical words and letters. A Course of Instruction of Theory & Practice of Magic+ Magical Evocation + Magical Words Anyone who should believe to find in this work nothing else but a collection of recipes, with the aid of which he can easily and without any effort attain to honor and glory, riches and power and aim at the annihilation of his enemies, might be told from the very inception, that he will put aside this book, being very disappointed. Numerous sects and religions do not understand the expression of “magic” otherwise than black art, witchcraft or conspiracy with evil powers. It is therefore not astonishing that many people are frightened by a certain horror, whenever the word “magic” is pronounced. Jugglers, conjurers, and charlatans have discredited this term and, considering this circumstance, there is no surprise that magic knowledge has always been looked upon with a slight disregard. Even in the remotest times the MAGUS has been regarded as one of the highest adepts and it might be of interest to learn that, as a matter of fact, the word “magic” is derived from this word. The so called “sorcerers” are by no means initiates but only imitators o the mysteries, who counting partly on the ignorance and partly on the credulity of the individuality or a whole nation in order to reach their selfish aims by, lies and fraud. The true magician will always despise such practices. In reality, magic is a sacred science, it is, in the very true sense the sum of all knowledge because it teaches how to know and utilize the sovereign rules. There is no difference between magic and mystic or any other conception of the name. Wherever authentic initiation is at stake, one has to proceed on the same basis, according to the same rules, irrespective of the name given by this or that creed. Considering the universal polarity rules of good and evil, active and passive, light and shadow, each science can serve good as well as bad purposes. Let us take the example of a knife, an object that virtually ought to be used for cutting bread only, which, however, can become a dangerous weapon in the hands of a murderer. All depends on the character of the individual. This principle goes just as well for all the spheres of the occult sciences. In my book I have chosen the term of “magician” for all of my disciples, it being a symbol of the deepest initiation and the highest wisdom. Many of the readers will know, of course, that the word “tarot” does not mean a game of cards, serving mantical purposes, but a symbolic book of initiation which contains the greatest secrets in a symbolic form. The first tablet of this book introduces the magician representing him as the master of the elements and offering the key to the first Arcanum, the secret of the ineffable name of Tetragrammaton*, the quabbalistic Yod-He-Vau-He. Here we will, therefore, find the gate to the magician’s initiation. The reader will easily realize, how significant and how manifold the application of this tablet is. Not one of the books published up to date does describe the true sense of the first Tarot card so distinctly as I have done in my book. It is – let it be noted – born from the own practice and destined for the practical use of a lot of other people, and all my disciples have found it to be the best and most serviceable system. *Tetragrammaton literally means “the four-letter word”. It was a subterfuge to avoid the sin of uttering the sacred name YHVH (Yahveh) or Jehova as it later became when the vowels of another word were combined with the consonants of YHVH. But I would never dare to say that my book describes or deals with all the magic or mystic problems. If anyone should like to write all about this sublime wisdom, he ought to fill folio volumes. It can, however, be affirmed positively that this work is indeed the gate to the true initiation, the first key to using the universal rules. I am not going to deny the fact of fragments being able to be found in many an author’s publications, but not in a single book will the reader find so exact a description of the first Tarot card. I have taken pains to be as plain as possible in the course of the lectures to make the sublime Truth accessible to everybody, although it has been a hard task sometimes to find such simple words as are necessary for the understanding of all the readers. I must leave it to the judgment of all of you, whether or not my efforts have been successful. At certain points I have been forced to repeat myself deliberately to emphasize some important sentences and to spare the reader any going back to a particular page. There have been many complaints of people interested in the occult sciences that they had never got any chance at all to be initiated by a personal master or leader (guru). Therefore only people endowed with exceptional faculties, a poor preferred minority seemed to be able to gain this sublime knowledge. Thus a great many of serious seekers of the truth had to go through piles of books just to catch one pearl of it now and again. The one, however, who is earnestly interested in his progress and does not pursue this sacred wisdom from sheer curiosity or else is yearning to satisfy his own lust, will find the right leader to initiate him in this book. No incarnate adept, however high his rank may be, can give the disciple more for his start than the present book does. If both the honest trainee and the attentive reader will find in this book all they have been searching for in vain all the years, then the book has fulfilled its purpose completely. The Author.
In his Preface, Robert Morse states that both Vergil and Tolkien present myth as an aspect of an historical continuum. For these authors, myth does not seem to represent a falsehood, but rather it seems to narrate a record of experience from which humanity learns. Thus, myth is...a form of memory. In Evocation of Vergil in Tolkien's Art, Robert Morse asks the question: does this syncretism of myth and history serve a similar purpose in each author?
So this English professor comes into class and starts talking about the textual organization of jokes, the taxonomy of puns, the relations between the linguistic form and the content of humorous texts, and other past and current topics in language- based research into humor. At the end he stuffs all the various approaches to verbal humor into linguistic theory as a whole. Nobody gets it, see, so he tells them to buy the book.
After the glorious Demonic victory, the inhabitants of the new world continue their normal lives under the protection of their new masters. Numerous gods still have not surrendered, fighting to restore the old world. Tetsuo, supported by Lucifer, will have to confronta brigade of humans with extraordinary demonic powers, whose aim is to exterminate the last reincarnated believers in the new world. Satan, by passively participating in the war, exploiting the creation of the new world, implements his ultimate goal: Summon a creature of unimaginable power, the Nephilim.