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The Golden Spindle is wonderful fun-filled adventure will enchant your young ones, as they meet the honeybee princess, Raya, and all her buggy friends in the sequel to The Magic Amphora. An amphora is an ancient jar. Raya and her pals discovered this fascinating jar in the Blue Meadow, where they are now involved in another quest. In the second book of the series, The Golden Spindle, it seems the mischievous spider, Mr. Ralphe, knows a secret about the Blue Meadow and he's not telling! But when an ancient code must be solvet to save a group of bees, it is up to Raya, Mr. Ralphe, and all their Blue Meadow friends to break an evil spell and save the day.
The councilors had placed a book upon the table, its cover pale blue edged in silver. The title was The Theosophon. They slid it towards me. Philomena Wilcox, Ph.D., retired professor of music, pianist, passionate devotee of Russian composers like Scriabin and Rachmaninov, thinks she is merely editing a series of prolix journals by the desert recluse Blaise. One day in 2029 she took delivery of 7,000 pages of his arcane diary entries spanning a 20-year period. His story what he thinks and writes about is exceedingly odd, mystical, and perplexing. He is anticipating a planetary event to take place in 2033. Soon enough, Philomena discovers she, impossibly, is part of this story, in fact, will be a keystone in this epochal event. It's as if through the journal pages Blaise talks directly to her and pulls her into his world of wisdom-angels, geomantic patterns, and designer planets. The pages are encoded with activation triggers. Over a three-year period, she starts to remember her true story, her astonishing past. It's a nonstop tutorial in the Mysteries. Taught by the human Blaise and his angelic mentors, also called Blaise, seemingly right now, in the present moment. Except upwards of 35 years or more separate them in the world of linear time. Her familiar world starts to fall apart. The event is called the Theosophon. Blaise writes about it, but she designed it. That's startling enough, but Philomena is astonished to remember that she designed it eons ago in another galaxy. The Earth was created as a performance stage for it. The Theosophon is a multidimensional musical event involving the collective consciousness of humanity, the Earth, and the spiritual world. The overture of the fulfillment of the purpose of the Earth and humanity. Yes, Philomena is an integral part of this unique event, but it will cost her more than she ever thought possible.
Time-honored tales from Mother Russia include "Vasilisa the Beauty," "The Little Sister and Little Brother," "The White Duckling," "The Bright-Hawk's Feather," 3 more. Superb translations by noted scholar.
If Nor can’t spin gold, she can always spin lies. When seventeen-year-old Nor rescues a captured faerie in the woods, he gifts her with a magical golden thread she can use to summon him for a favor. Instead, Nor uses it for a con—to convince villagers to buy straw that can be transformed into gold. Her trick works a little too well, attracting the suspicion of Prince Casper, who hates nobody more than a liar. Intent on punishing Nor, he demands that she spin a room of straw into gold and as her reward, he will marry her. Should she refuse or fail, the consequences will be dire. Desperate for help, Nor summons the faerie’s aid, launching a complicated dance as she must navigate between her growing feelings for both the prince and faerie boy and who she herself wishes to become.
Originally published in 1958, this book contains a selection of 28 traditional stories from the French, German, Danish, Russian and Japanese traditions. Includes The Sleeping Beauty, The Frog Prince, Puss in Boots, Thumbelina, Cinderella, Little Red Riding Hood, and Beauty and the Beast.
Daniel Meyer-Dinkgräfe and co-authors take the exploration of the subjective dimension of theatre, its spiritual context, its relation to consciousness and natural law, further than ever before, thanks to the context provided by the thinking of German geobiologist Hans Binder. We present relevant aspects of Binder’s approach as precisely as possible, then take Binder’s approach for granted to tease out the implications of that approach to the issues of theatre, including nostalgia, intercultural theatre, theatre criticism, dealing with demanding roles, the canon, theatre and philosophy, digital performance, practice as research, and applied theatre. Overall, the book proposes an overarching emphasis on the importance of living in the present and the concomitant need to abandon obsolete but still powerful patterns of the past. In this context, theatre, according to Binder, has a global responsibility for the new world in which humans are liberated from the scourge of the past. Theatre has the power and thus the responsibility to be path-breaking for a new “fiction”, to show to people, in a playful and creative manner, the direction in which the new consciousness can move. Daniel Meyer-Dinkgräfe is Professor of Drama at the Lincoln School of Performing Arts, University of Lincoln. He has numerous publications on the topic of ‘Theatre and Consciousness’ to his credit, and is founding editor of the peer-reviewed web-journal Consciousness, Literature and the Arts and the book series of the same title with Rodopi.