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Baluchi folk tales.
The word Eugenics first appears in this book. Also, in this book, Galton shows mathematically "the results of his experiments on the relations between the powers of visual imagery and of abstract thought."
Isis Magic: Cultivating a Relationship with the Goddess of 10,000 Names enables the many women and men who are today exploring Goddess spirituality to build a relationship with the Divine Feminine by focusing their exploration through the worship of one of the most well-known and well-loved Goddesses of all time: the Egyptian Isis. Today, as in ancient times, Isis, known as the Goddess of Ten Thousand Names, can become for Her devotees the One Goddess Who is All Goddesses. Isis Magic begins with a well-researched and in-depth history of the nature and worship of Isis from Her ancient Egyptian origins to the modern day. In the first part of the book, readers discover the many faces of Isis, from Ancient Bird of Prey Goddess and Lady of Magic to Queen of the Mysteries and Savior. Readers will learn how Isis later became disguised as a Black Madonna, a historical Queen of Egypt, and even as an Alchemical Principle--as well as how Her true identity as a Goddess was retained in the inner teachings of secret societies. Finally, readers follow Isis into the 20th and 21st centuries as Her undisguised worship is revived, first by colorful personalities like Dion Fortune and influential groups such as the Hermetic Order of the Golden Dawn, and today by worldwide associations like the Fellowship of Isis. The book's second part applies this knowledge to a four-part spiritual journey to the heart of the Goddess. With each step, the reader enters a successively deeper stage of relationship with Isis. By participating in exercises, meditations, and powerful, beautifully written rituals, readers can initiate themselves into the magical religion of Isis and become, if they so desire, a dedicated priestess or priest. Written by M. Isidora Forrest, an ordained Priestess of Isis and Hermetic Adept, Isis Magic brings the worship of Isis to life. It is the perfect resource to aid the individual seeker, to inspire a circle, coven, or Iseum, or to serve as a program of spiritual growth and personal development for those called by Isis to be Her priestesses and priests.
von Bomhard presents an edition of the stela found during underwater excavations in the Abukir Bay, at the site of ancient Thonis-Heracleion, and inscribed with the Decree of Sais. The text is a parallel to that inscribed on another stela found at Naucratis at the turn of last century. The author gives an introduction to the discovery of the two stelae, as well as a description of the monuments, including the scenes and captions found in the lunette (Part II). von Bomhard goes on to discuss the arrangement of the texts and figures depicted on the decree, and the possible symbolism behind them. The bulk of the text is occupied by a careful transliteration and translation of the text, followed by an exhaustive bibliography, an index of words discussed, a synoptic overview of orthographic and figurative variations, and an index of Egyptian words. This is an important work that contributes to the understanding of royal benefactions to temples and aspects of trade and taxation systems in force at the time of the decree.
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
The Ptolemaic period witnessed an enormous increase in the number of hieroglyphic signs and iconographic elements (composite crowns, scepters, and cult objects). The ancient scribes exploited this complexity when composing the reliefs used in temple decoration, selecting particular words, hieroglyphic signs, and iconographic elements in order to create interconnected multiple layers of meaning, forming a tapestry of sound and sight. The Theology of Hathor of Dendera examines these techniques on both micro- and macro-levels, from their smallest details to their broadest thematic connections, foregrounding individual techniques to determine the words and phrases singled out for emphasis. By synthesizing their use in the three-dimensional space of the most important cult chamber in the Temple of Hathor at Dendera, this new method of analysis not only reveals the most essential characteristics of the local theology, but also shows how the ancient scribes envisioned the universe and the place of humankind within it.
A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950 is the first work to consider all the arts and to discuss the role of the avant-garde not only in aesthetic terms but in its cultural and political context.