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Unlock the Secret Wisdom of an Ancient Culture! Embark on an illuminating journey steeped in history and mythology with our exclusive Special Report: Unlocking the Dogon Legends: West Africa's Hidden Wisdom. Uncover the rich cultural heritage, profound astronomical knowledge, and captivating folklore woven into the vibrant fabric of the Dogon tribe. Located in the rugged heartland of Mali, the Dogon people have fostered a civilization that defies modern conventions, leaving you enthralled and eager for more. This report invites you to traverse this uncharted world, exploring: Complex societal structures Mythical beings and their importance in the Dogon cosmology The tribe's intricate communication system Remarkable architectural wonders Renowned for her immersive exploration of the world's most intriguing cultures, author Britney Gibson expertly guides you through this expedition. Gibson's decade-long experience living with the Dogon people has allowed her to produce a report that's honest, reverent, and enthralling, underlining the intrinsic value of these diverse cultural identities on our global tapestry. Unearth the vibrancy, resilience, and wisdom of the Dogon tribe with this comprehensive guide. Witness the spectacle of a culture untamed by modernization, an experience that promises to be as enriching as it is enlightening. Unlocking the Dogon Legends: West Africa's Hidden Wisdom is your passport to a journey of incredible discovery! Order a copy today!
This completely reworked second edition of Modern Esoteric includes new information, over a dozen additional images, and up-to-date revisions. Winner of the Best Book Design 2014, Modern Esoteric examines the flaws in modern history and looks at how conspiracy theories, esoteric knowledge, and fringe subjects can be used to help change the dead-end course humanity seems to be following. The Lifeology section explores the long and storied "alternative narrative" of life on this planet. In the Control section, author Brad Olsen examines how Big Brother is here in the form of the New World Order, and how they keep the knowledge of humankind's true nature from the mass population. Finally, the Thrive section looks at all the ways humans are evolving to achieve their full potential.
This is a volume about the life and power of ritual objects in their religious ritual settings. In this Special Issue, we see a wide range of contributions on material culture and ritual practices across religions. By focusing on the dynamic interrelations between objects, ritual, and belief, it explores how religion happens through symbolic materiality. The ritual objects presented in this volume include: masks worn in the Dogon dance; antique ecclesiastical silver objects carried around in festive processions and shown in shrines in the southern Andes; funerary photographs and films functioning as mnemonic objects for grieving children; a dented rock surface perceived to be the god’s footprint in the archaic place of pilgrimage, Gaya (India); a recovered manual of rituals (from Xiapu county) for Mani, the founder of Manichaeism, juxtaposed to a Manichaean painting from southern China; sacred stories and related sacred stones in the Alor–Pantar archipelago, Indonesia; lotus symbolism, indicating immortalizing plants in the mythic traditions of Egypt, the Levant, and Mesopotamia; lavishly illustrated variations of portrayals of Ravana, a Sinhalese god-king-demon; figurines made of cow dung sculptured by rural women in Rajasthan (India); and mythical artifacts called ‘Apples of Eden’ in a well-known interactive game series.
2014 Locus Awards Finalist, Nonfiction Category In this hip, accessible primer to the music, literature, and art of Afrofuturism, author Ytasha Womack introduces readers to the burgeoning community of artists creating Afrofuturist works, the innovators from the past, and the wide range of subjects they explore. From the sci-fi literature of Samuel Delany, Octavia Butler, and N. K. Jemisin to the musical cosmos of Sun Ra, George Clinton, and the Black Eyed Peas' will.i.am, to the visual and multimedia artists inspired by African Dogon myths and Egyptian deities, the book's topics range from the "alien" experience of blacks in America to the "wake up" cry that peppers sci-fi literature, sermons, and activism. With a twofold aim to entertain and enlighten, Afrofuturists strive to break down racial, ethnic, and social limitations to empower and free individuals to be themselves.
The Akan are an African indigenous group found primarily in the southern parts of Ghana, as well as in Cote d'Ivoire and in Togo. This book explores certain aspects of Akan language, culture and tradition that point to association with star beings from the Sirius star system. Akan language and culture offers clues and revelations that point to links with the ancient cultures of Mesopotamia and of the Nile valley. Among these revelations, Kwame Adapa shows that names of Akan deities can be traced back to Egyptian and Mesopotamian deities who have links with the Sirius star system. Having grown up in Akan culture, it was a starting point for Kwame Adapa to do more research on the Akan and other African people. Among the revelations in this book are language and cultural connections between the Akan and other African groups as well as with human groups beyond Africa. Kwame Adapa tells an engaging story that implies that the Akan, the Bakwama, the Bambara, the Dogon and just about every African ethnic group is connected to the Sirius star system in one way or another. These connections can be found in their legends, their language and their culture.
Books on intercultural communication are rarely written with an intercultural readership in mind. In contrast, this multinational team of authors has put together an introduction to communicating across cultures that uses examples and case studies from around the world. The book further covers essential new topics, including international conflict, social networking, migration, and the effects technology and mass media play in the globalization of communication. Written to be accessible for international students too, this text situates communication theory in a truly global perspective. Each chapter brings to life the links between theory and practice and between the global and the local, introducing key theories and their practical applications. Along the way, you will be supported with first-rate learning resources, including: • theory corners with concise, boxed-out digests of key theoretical concepts • case illustrations putting the main points of each chapter into context • learning objectives, discussion questions, key terms and further reading framing each chapter and stimulating further discussion • a companion website containing resources for instructors, including multiple choice questions, presentation slides, exercises and activities, and teaching notes. This book will not merely guide you to success in your studies, but will teach you to become a more critical consumer of information and understand the influence of your own culture on how you view yourself and others.
This introduction to the art of tribal peoples of North America, Africa, and the South Pacific does not briefly cover the hundreds of artistic traditions in these three vast areas but rather studies in depth thirty-six art styles within all three areas using the methods of art history, including stylistic analysis and iconographic interpretation. Emphasis is on the art in cultural context and as a system of visual communication within each tribal area. Where appropriate for a more complete understanding of the art, data from archaeology, ethnology, linguistics, religion, and other humanistic disciplines are included.Among the peoples and cultures whose art is studied are the Haida, Kwakiutl, and Tlingit; the Hohokam and Mongollon, the Anasazi and Hopi; the Dogon and Bamana of Mali; the Asante of Ghana; the Benin, Yoruba, and Ibo of Nigeria; the Fan, the Bamum, and the Kuba of Central Africa; Australian aboriginal and Island New Guinea art; Island Melanesia art; central and eastern Polynesia; Hawaii and the Maori in Marginal Polynesia.The format of the text and selected illustrations is based on seventeen years of teaching African, North American Indian, and South Pacific art to undergraduate and graduate students at Herbert H. Lehman College (CUNY), New York University, and Columbia University. The book is intended for art history and anthropology students and the interested lay reader or collector. The detailed notes at the end of the book are for further study, research, and understanding of the tribal art style under discussion.
It has been 12 months since Beary has arrived at the Academy from his tour aboard the Saber Claw. He enjoyed teaching the classes he had been assigned. At first, some of the older cadets resented the fact that their instructor was younger than they were. Then they would see the ribbons on his uniform and hear the rumors. Ben, of course, helped spread them. Flight training was going well. His many hours in jump ships were proving to be a blessing instead of a curse. He expected to graduate early from flight training. Caesar had spent six months at the academy then shipped off to aid a hospital ship that had lost one of its surgeons to an accident. The Hospital ship was trying to combat a new disease that had cropped up on an agricultural colony in the Darius system. Once again, his work under Dr Maxumus was proving invaluable. Ben, along with taking accelerated classes, was teaching a class in survival and weapons. Ben had taken to this task with enthusiasm. With the help of two of the Marine Professors, he wrote the training manual for the course, which they used as a major project in two of his classes. The class he taught was so popular there was a waiting list. Pompey kept busy trying to prepare for the cub, which was due in three months, running two homes, plus working for her new father- in- law on special issues. Senator Maxumus was busy trying to get the Senate to strengthen its rules. He did not want to see new conspiracies flair up. The idea that eight senators some in critical positions could become traitors had shaken the Senate. The Bearilian house of Representatives was demanding a full and open investigation as it scrutinized its own members. The Arcrilians had suffered such a devastating defeat that they were asking for terms for a treaty and for aid. The Bearilian President immediately started negotiations along with the Antillean Supreme Council. The result was the removal of all Arcrilian ships from Bearilian and Antillean territory, in exchange for food and raw materials purchased at a reasonable price. For the Antilleans this was a big win. For Angelina Maxumus the last 12 months had been hectic as she tried to balance her time between Bearilia Prime and Andreas Prime. She enjoyed being a Neuro-surgeon a lot more than being an Empress. She even found that she had to show up at State functions not as a wife of a prominent Senator, but as a Head of State. There had also been a need to appoint representatives to the two Bearilian Houses. One of her second Brother's sons, Iacomus Augustus, had joined his cousins on Andreas Prime. He found some unclaimed land near the western ocean connected to the Augustan land. A young Dragon, Silver Tail agreed to be his Family Dragon. The Dragon Counsel suggested that he be appointed as the Planet's Senator. A young nomad also moved to Andreas Prime. He had no family or land. A young Dogon, Saraina, approached the Dogon Counsel and asked that this young Nomad be given its sheep and become its family. His name was Khristophoros. The Dogon Counsel gave him the last name Theodoros. Khristophoros Theodoros was called before Angelina. She questioned him for several cycles. She found out that he had been part of a servant family to the Pompaius family. She found goodness and strength in this young Bear. After talking with both counsels, she appointed him to the House of Representatives. He would prove to be a loyal and excellent choice. Savato Artemus was not happy. He loved the Crimson Blade but he could not find a gunner that met his standards. He also missed his friends. Captain Centaurus found he hated the paper work of a ship's captain as much as Atilus had. Yet he loved the Saber Claw, especially with the new upgrades. Commodore Atilus was a taskmaster with his Destroyer Squadron. Only Centaurus had no complaints. Yet Destroyer Squadron 9 was shapin
For few verses in the Bible is the relationship between scripture and the artistic imagination more intriguing than for the conclusion of Genesis 4:15: "And the Lord set a mark upon Cain, that whosoever found him should not kill him." What was the mark of Cain? The answers set before us in this sensitive study by art historian Ruth Mellinkoff are sometimes poignant, frequently surprising. An early summary of rabbinic answers, for examples runs as follows: R. Judah said: "He caused the orb of the sun to shine on his account." Said R. Nehemiah to him: "For that wretch He would cause the orb of the sun to shine! Rather, he caused leprosy to break out on him...." Rab said: "He gave him a dog." Abba Jose said: "He made a horn grow out of him." Rab said: "He made him an example to murderers." R. Hanin said: "He made him an example to penitents." R. Levi said in the name of R. Simeon b. Lakish: "He suspended judgment until the flood came and swept him away." After a review of such early Jewish and Christian exegesis, Mellinkoff divides physical interpretations on the mark into three groups: "A Mark on Cain's Body," "A Movement of Cain's Body," and "A Blemish Associated with Cain's Body." Her discussion of these groups is the heart of her study and offers its richest examples of interplay among medieval art and imaginative literature, on the one hand, and biblical exegesis, on the other. Thus in one remarkable tour de force, she shows us how a poetic misprision of Genesis 4:24 - "Sevenfold vengeance will be taken for Cain: but for Lamech seventy times sevenfold" - made Lamech the murderer of Cain; how there then grew up the legend that Lamech, a hunter, had killed Cain when he mistook him for an animal; how from that, the notion that the mark of Cain was a horn or horns on Cain's head arose (in the poignant formulation of the Tanhuma Midrash: "Oh father, you have killed something that resembles a man except it has a horn on its forehead!"); and how from that, in the maturity of the legend, there flowered Cornish drama, Irish saga, and stunning reliefs of a dying, antlered Cain in the cathedrals of Vezelay and Autun. Like Genesis 4:15 itself, 'The Mark of Cain' is suggestive rather than comprehensive. Concluding chapters on "Intentionally Distorted Interpretations of Cain's Mark" and "Cain's Mark and the Jews" bring the history down to our own day, but Mellinkoff does not claim to have said the last word on the subject. Her achievement is neither documentary nor exegetical but rather demonstrative: she shows us with brilliant economy how the artistic imagination functioned in a world whose intellectual definition was a closed canonical text.