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This volume offers a survey about what is known about the Ancient Egyptians' vision of the afterlife and an examination of these beliefs that were written down in books that were later discovered in royal tombs. The contents of the texts range from the collection of spells in the Book of the Dead, which was intended to offer practical assistance on the journey to the afterlife, to the detailed accounts of the hereafter provided in the Books of the Netherworld. The author looks closely at these latter works, while summarizing the contents of the Book of the Dead and other widely studied examples of the genre. For each composition, he discusses the history of its ancient transmission and its decipherment in modern times, supplying bibliographic information for any text editions. He also seeks to determine whether this literature as a whole presents a monolithic conception of the afterlife. The volume features many drawings from the books themselves.
Reveals the dependence of American ethnic identity on Spain and Spanish imperialism.
The original purpose of this book was to explore various religious ideas and beliefs relating to the hereafter. The title was to be The Hereafter-Maybe! On completion of the first few chapters, the author concluded that every major religion's philosophy-theology had included much 'nonsense', at least if viewed solely from common sense. Thus, this text took on an increased scope. It has a wealth of imagination on holy belief and the possibilities of an afterlife. Most nonfiction writers on the subject of religion generally endorse a preconditioned, accepted view as truth and even the only truth. This book's author believes all truth is partial and that any human belief about God from any religion is, at best, partial. Both the expert and the layman will find food for thought regarding the reality of their own religious philosophy.
'There is probably no single quality or characteristic – besides love of the countryside – that must inevitably distinguish a rural writer,' notes W.J. Keith. However, 'what distinguishes rural writing that belongs to literature from that belonging to natural history, agricultural history, etc., is, as Richard E. Haymaker has observed, the writer's "means of revealing Nature as well as describing her"...In the final analysis the rural essayist paints neither landscapes nor self-portraits; instead he communicates the subtle relationship between himself and his environment, offering for our inspection his own attitudes and his own vision. We may be asked to look or to agree, but more than anything else we are invited to share. Ultimately, then, the best rural writing may be said to provide us, in a phrase adapted from Robert Langbaum, with a prose of experience.' Keith argues that non-fiction rural prose should be recognized as a distinct literary tradition that merits serious critical attention. In this book he tests the cogency of thinking in terms of a 'rural tradition,' examines the critical problems inherent in such writing, and traces significant continuities between rural writers. Eleven of the more important and influential writers from the seventeenth century to modern times come under individual scrutiny: Izaak Walton, Gilbert White, William Cobbett, Mary Russell Mitford, George Borrow, Richard Jefferies, George Sturt/'George Bourne', W.H. Hudson, Edward Thomas Williamson, and H.J. Massingham. In examining these writers within the context of the rural tradition, Keith rescues their works from the literary attic where they have too often been relegated as awkward misfits. When studied together, each throws fascinating light on the others and is seen to fit into a loose but nonetheless discernible 'line.'
With contributions from leading scholars and detailed catalog entries that interpret the spells and painted scenes, this fascinating and important work affords a greater understanding of ancient Egyptian belief systems and poignantly reveals the hopes and fears about the world beyond death.
This book refutes the claim that tragedy is no longer a vital and relevant part of contemporary American theatre. Tragedy in the Contemporary American Theatre examines plays by multiple contemporary playwrights and compares them alongside the works of America’s major twentieth-century tragedians: Eugene O’Neill, Arthur Miller, and Tennessee Williams. The book argues that tragedy is not only present in contemporary American theatre, but issues from an expectation fundamental to American culture: the pressure on characters to create themselves. Tragedy in the Contemporary American Theatre concludes that tragedy is vital and relevant, though not always in the Aristotelian model, the standard for traditional evaluation.
Bringing together criticism on both African American and Native American women writers, this book offers fresh perspectives on art and beauty, truth, justice, community, and the making of a good and happy life. The essays draw on interdisciplinary, feminist, and comparative methods in the works of writers such as Toni Morrison, Leslie Silko, Alice Walker, Linda Hogan, Paula Gunn Allen, Luci Tapahonso, Phillis Wheatley, and Sherley Anne Williams, making them more accessible for critical consideration in the fields of aesthetics, philosophy, and critical theory. The contributors formulate unique frameworks for interpreting the multiple levels of complex, cultural play between Native American and African American women writers in America, and pave the way for innovative hermeneutic possibilities for reassessing writers of both traditions.
Life, as we know it, will end. It’s not a thought that tends to occupy our minds when we are young and in full health and vigor. We take risks, some foolhardy. We live as though we were immortal. And then when we have our own children we are renewed and life is good. But we can’t look in the mirror every day without noticing subtle signs of change. We can’t lose a loved one without reflecting on the passage of time and being nagged by the question, “What is it in life that I have yet to accomplish?” Then it’s not a giant leap from asking that question about ourselves to wanting to know “What happens when I die?” Brian Stiller, author of When Life Hurts took on the task of answering this challenging question. Where is the proof that anything is going to happen after death? Why not just live life for the day, because that may be all there is? What Happens When I Die? is a journey toward understanding the nature of life after death, one that leads ultimately to the Scriptures and the promise given by God. It is a promise rooted in faith and joy. It is a promise that has everything to do with what we make of our life here on earth. What Happens When I Die? is not just about death, but about living a fulfilled, loving and caring life. The choice is ultimately ours to seek and God’s gift—or not. But the way had been prepared as this insightful and thought-provoking book affirms