The Revelation of the Corpse. Poetry, Fiction, and Magic 1
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Contents Introduction
Contents Introduction....................................3 Act I: Spell Lists...............................4 Act II: Spell Descriptions..................6 Act III Spells By School....................23 Sample file 2 Introduction: The Book of Yerf ail and well met, dear reader. It seems you've found my book. Whether through luck, perserverance, guile or coin, these pages and all their magics now belong to you. Across the years I have scoured tomes and tombs in search of power over that simplest of spells: Hthe cantrip. But these pages aren't enough for an autobiography, so I'll save you the chore of listening to me retell old stories of past glories and get to the point. Good luck, and have fun. After all, what's the point of using magic if you can't enjoy it? Sample file INTRODUCTION 3 Spell Lists Artificer Cleric Advanced Mathematics (Enchantment) Animate Minion (Necromancy) Bass Cannon (Evocation) Breaking (Transmutation) Breaking (Transmutation) Dazzling Flourish (Evocation) Captivating Fey-grance (Conjuration) Dreadnought's Rush (Evocation) Distracting Shout (Enchantment) Earbusting Snore (Evocation) Earbusting Snore (Evocation) Explosive Corpse (Necromancy) Enhanced Improvisation (Transmutation) Explosive Itty-Bitty-Pieces-of-Gore (Necromancy) Experimental Dart (Evocation) Fist (Transmutation) Glimpse the Red (Divination) Friend's Defense (Abjuration) Glitch (Divination) Ghostly Hook (Necromancy) Gravity Press (Transmutation) Gravehound's Jaws (Necromancy) Inkball Splat (Transmutation) Hasty Attack (Transmutation) Mad Cackle (Enchantment) -
Peter Pan As a Trickster Figure 2013
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Teaching English Language and Literature for Secondary Schools Bc. Eva Valentová The Betwixt and Between: Peter Pan as a Trickster Figure Master‘s Diploma Thesis Supervisor: doc. Michael Matthew Kaylor, Ph.D. 2013 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Eva Valentová 2 I would like to thank my supervisor, doc. Michael Matthew Kaylor, Ph.D., for his kind help and valuable advice. 3 Table of Contents Introduction ....................................................................................................................... 5 1 In Search of the True Trickster .................................................................................. 7 2 The Betwixt and Between: Peter Pan as a Trickster Figure .................................... 26 2.1 J. M. Barrie: A Boy Trapped in a Man‘s Body ................................................ 28 2.2 Mythological Origins of Peter Pan ................................................................... 35 2.3 Victorian Child: An Angel or an Animal? ....................................................... 47 2.4 Neverland: The Place where Dreams Come True ............................................ 67 Conclusion ...................................................................................................................... 73 Appendix ........................................................................................................................ -
Non-Wood Forest Products from Conifers
Page 1 of 8 NON -WOOD FOREST PRODUCTS 12 Non-Wood Forest Products From Conifers FAO - Food and Agriculture Organization of the United Nations The designations employed and the presentation of material in this publication do not imply the expression of any opinion whatsoever on the part of the Food and Agriculture Organization of the United Nations concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. M-37 ISBN 92-5-104212-8 (c) FAO 1995 TABLE OF CONTENTS FOREWORD ACKNOWLEDGMENTS ABBREVIATIONS INTRODUCTION CHAPTER 1 - AN OVERVIEW OF THE CONIFERS WHAT ARE CONIFERS? DISTRIBUTION AND ABUNDANCE USES CHAPTER 2 - CONIFERS IN HUMAN CULTURE FOLKLORE AND MYTHOLOGY RELIGION POLITICAL SYMBOLS ART CHAPTER 3 - WHOLE TREES LANDSCAPE AND ORNAMENTAL TREES Page 2 of 8 Historical aspects Benefits Species Uses Foliage effect Specimen and character trees Shelter, screening and backcloth plantings Hedges CHRISTMAS TREES Historical aspects Species Abies spp Picea spp Pinus spp Pseudotsuga menziesii Other species Production and trade BONSAI Historical aspects Bonsai as an art form Bonsai cultivation Species Current status TOPIARY CONIFERS AS HOUSE PLANTS CHAPTER 4 - FOLIAGE EVERGREEN BOUGHS Uses Species Harvesting, management and trade PINE NEEDLES Mulch Decorative baskets OTHER USES OF CONIFER FOLIAGE CHAPTER 5 - BARK AND ROOTS TRADITIONAL USES Inner bark as food Medicinal uses Natural dyes Other uses TAXOL Description and uses Harvesting methods Alternative -
An Assessment of the Chesrow Complex (Older Than Clovis?) in Southeast Wisconsin Matthew Allen Neff Iowa State University
Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2015 An assessment of the Chesrow complex (older than Clovis?) in southeast Wisconsin Matthew Allen Neff Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Neff, Matthew Allen, "An assessment of the Chesrow complex (older than Clovis?) in southeast Wisconsin" (2015). Graduate Theses and Dissertations. 14534. https://lib.dr.iastate.edu/etd/14534 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. An Assessment of the Chesrow Complex (Older Than Clovis?) in Southeast Wisconsin by Matthew Allen Neff A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: Anthropology Program of Study Committee: Matthew G. Hill Grant Arndt Alan D. Wanamaker, Jr. Iowa State University Ames, Iowa 2015 ii TABLE OF CONTENTS LIST OF TABLES ................................................................................................................................ iii LIST OF FIGURES .............................................................................................................................. -
DIVINATION SYSTEMS Written by Nicole Yalsovac Additional Sections Contributed by Sean Michael Smith and Christine Breese, D.D
DIVINATION SYSTEMS Written by Nicole Yalsovac Additional sections contributed by Sean Michael Smith and Christine Breese, D.D. Ph.D. Introduction Nichole Yalsovac Prophetic revelation, or Divination, dates back to the earliest known times of human existence. The oldest of all Chinese texts, the I Ching, is a divination system older than recorded history. James Legge says in his translation of I Ching: Book Of Changes (1996), “The desire to seek answers and to predict the future is as old as civilization itself.” Mankind has always had a desire to know what the future holds. Evidence shows that methods of divination, also known as fortune telling, were used by the ancient Egyptians, Chinese, Babylonians and the Sumerians (who resided in what is now Iraq) as early as six‐thousand years ago. Divination was originally a device of royalty and has often been an essential part of religion and medicine. Significant leaders and royalty often employed priests, doctors, soothsayers and astrologers as advisers and consultants on what the future held. Every civilization has held a belief in at least some type of divination. The point of divination in the ancient world was to ascertain the will of the gods. In fact, divination is so called because it is assumed to be a gift of the divine, a gift from the gods. This gift of obtaining knowledge of the unknown uses a wide range of tools and an enormous variety of techniques, as we will see in this course. No matter which method is used, the most imperative aspect is the interpretation and presentation of what is seen. -
OCCULT BOOKS Catalogue No
THOMPSON RARE BOOKS CATALOGUE 45 OCCULT BOOKS Catalogue No. 45. OCCULT BOOKS Folklore, Mythology, Magic, Witchcraft Issued September, 2016, on the occasion of the 30th Anniversary of the Opening of our first Bookshop in Vancouver, BC, September, 1986. Every Item in this catalogue has a direct link to the book on our website, which has secure online ordering for payment using credit cards, PayPal, cheques or Money orders. All Prices are in US Dollars. Postage is extra, at cost. If you wish to view this catalogue directly on our website, go to http://www.thompsonrarebooks.com/shop/thompson/category/Catalogue45.html Thompson Rare Books 5275 Jerow Road Hornby Island, British Columbia Canada V0R 1Z0 Ph: 250-335-1182 Fax: 250-335-2241 Email: [email protected] http://www.ThompsonRareBooks.com Front Cover: Item # 73 Catalogue No. 45 1. ANONYMOUS. COMPENDIUM RARISSIMUM TOTIUS ARTIS MAGICAE SISTEMATISATAE PER CELEBERRIMOS ARTIS HUJUS MAGISTROS. Netherlands: Aeon Sophia Press. 2016. First Aeon Sophia Press Edition. Quarto, publisher's original quarter black leather over grey cloth titled in gilt on front cover, black endpapers. 112 pp, illustrated throughout in full colour. Although unstated, only 20 copies were printed and bound (from correspondence with the publisher). Slight binding flaw (centre pages of the last gathering of pages slightly miss- sewn, a flaw which could be fixed with a spot of glue). A fine copy. ¶ A facsimile of Wellcome MS 1766. In German and Latin. On white, brown and grey-green paper. The title within an ornamental border in wash, with skulls, skeletons and cross-bones. Illustrated with 31 extraordinary water-colour drawings of demons, and three pages of magical and cabbalistic signs and sigils, etc. -
Family Oi 15 Is Homeless? Fill' Settle %R Four Rooms Town Bows to Demand/ on Sewers
Coverage S4WNSHIR Complete News> Pictures A Newspapesv Devoted Presented Fairly, Clearly To the Community Interest And Impartially Each VOL. XIII—NO, 33 FORDS, N. J., THURSDAY, JULY 26, 1951 PRICE FIVE CENTS New Bolls Arrive Family oi 15 Is Homeless?Town Bows fill' Settle %r Four Rooms To Demand/ "—This tune-The .Inde- in Perth Amboy. pendent-Leader' lias Undertaken "We do not want to separate a , difficult task—but perhaps our family," Mrs." Jordan said, On Sewers some pJace in this, Township "because no good will come of it. A family should stay together if By CHARLES E. GREGORY May be Reintroduced there is someone who can help 4PS Snd a home for a family of 15. the members are to be happy. $2,500,000 Installation Later Including Quota " * S 2 : Maybe somebody can provide us Seen Unavoidable; May Just as soon as I wash out Of Licenses Permitted Yesterday, the family of Mr. with a home, even if it is only a few things today, I am go and Mrs. Alfred' Jordan, Frame four rooms. Even though we are Include Incinerator > ing to light out to see what I RARITAN TOWNSHIP — The, 1 Street, wa| dispossessed. The a big family, we take care of limited distribution liquor; li- JondSord has been trying- to gret things and are not destructive." WOODBRIDGE—Immediate ac- • can find out about building csnss ordinance which was due for the apartment for his own use :!: S :;: tion will be taken by the Town schools. pablic hearing last night was with- for over a year," and finally the Both local and county welfare Committee to create a Sewer Au- * * * di awn by Commissioner Julius courts decided that he had been boards have attempted to find thority as a result of a directive Engel, who introduced it originally, patient, indeed. -
MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1
MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1. This son of Zeus was the builder of the palaces on Mt. Olympus and the maker of Achilles’ armor. a. Apollo b. Dionysus c. Hephaestus d. Hermes 2. She was the first wife of Heracles; unfortunately, she was killed by Heracles in a fit of madness. a. Aethra b. Evadne c. Megara d. Penelope 3. He grew up as a fisherman and won fame for himself by slaying Medusa. a. Amphitryon b. Electryon c. Heracles d. Perseus 4. This girl was transformed into a sunflower after she was rejected by the Sun god. a. Arachne b. Clytie c. Leucothoe d. Myrrha 5. According to Hesiod, he was NOT a son of Cronus and Rhea. a. Brontes b. Hades c. Poseidon d. Zeus 6. He chose to die young but with great glory as opposed to dying in old age with no glory. a. Achilles b. Heracles c. Jason d. Perseus 7. This queen of the gods is often depicted as a jealous wife. a. Demeter b. Hera c. Hestia d. Thetis 8. This ruler of the Underworld had the least extra-marital affairs among the three brothers. a. Aeacus b. Hades c. Minos d. Rhadamanthys 9. He imprisoned his daughter because a prophesy said that her son would become his killer. a. Acrisius b. Heracles c. Perseus d. Theseus 10. He fled burning Troy on the shoulder of his son. a. Anchises b. Dardanus c. Laomedon d. Priam 11. He poked his eyes out after learning that he had married his own mother. -
Silencing the Female Voice in Longus and Achilles Tatius
Silencing the female voice in Longus and Achilles Tatius Word Count: 12,904 Exam Number: B052116 Classical Studies MA (Hons) School of History, Classics and Archaeology University of Edinburgh B052116 Acknowledgments I am indebted to the brilliant Dr Calum Maciver, whose passion for these novels is continually inspiring. Thank you for your incredible supervision and patience. I’d also like to thank Dr Donncha O’Rourke for his advice and boundless encouragement. My warmest thanks to Sekheena and Emily for their assistance in proofreading this paper. To my fantastic circle of Classics girls, thank you for your companionship and humour. Thanks to my parents for their love and support. To Ben, for giving me strength and light. And finally, to the Edinburgh University Classics Department, for a truly rewarding four years. 1 B052116 Table of Contents Acknowledgments………………………………………………………………………….1 List of Abbreviations………………………………………………………………………3 Introduction ……………………………………………………………………………….4 Chapter 1: Through the Male Lens………………………………………………………6 The Aftertaste of Sophrosune……………………………………………………………….6 Male Viewers and Voyeuristic Fantasy.…………………………………………………....8 Narratorial Manipulation of Perspective………………………………………………….11 Chapter 2: The Mythic Hush…………………………………………………………….15 Echoing Violence in Longus……………………………………………………………….16 Making a myth out of Chloe………………………………………………………………..19 Leucippe and Europa: introducing the mythic parallel……………………………………21 Andromeda, Philomela and Procne: shifting perspectives………………………………...22 Chapter 3: Rupturing the -
The Medea of Euripides and Seneca: a Comparison
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1941 The Medea of Euripides and Seneca: A Comparison Mary Enrico Frisch Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Classics Commons Recommended Citation Frisch, Mary Enrico, "The Medea of Euripides and Seneca: A Comparison" (1941). Master's Theses. 180. https://ecommons.luc.edu/luc_theses/180 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1941 Mary Enrico Frisch -If.. THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON by Sister Mary Enrico Frisch, S.S.N.D. A Thesis submitted 1n partial ~ul~illment o~ the requirements ~or the degree o~ Master o~ Arts Loyola University August, 1941 TABLE OF CONTENTS CHAPTER PAGE I Introduction: Survey o~ Opinion. 1 II Broad Similarities in Moti~ and 6 Sentiment. III Broad Similarities in the Plot 30 o~ the Medea o~ Euripides and the Medea o~ Seneca. IV Parallels in Phraseology. 51 v Characters and Their Attitude 73 to the Gods. Bibliography a. Re~erences ~or the Medea 91 o~ Euripides. b. Re~erences ~or the Medea 95 o~ Seneca. c. General Works. 98 THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON Chapter I INTRODUCTION: SURVEY OF OPINION It is not a new theory that Seneca used the plays o~ Eurip ides as models for his Latin tragedies, particularly his Medea, Hippolytus, Hercules Furens, Troades and the Phoenissae. -
A Stranger in a Strange Land: Medea in Roman Republican Tragedy1 Robert Cowan
CHAPTER 3 A Stranger in a Strange Land: Medea in Roman Republican Tragedy1 Robert Cowan The first performance of a Roman version of a Greek tragedy in 240 BC was a momentous event. It was not the beginning of Roman appropriation of Greek culture- Rome had had contact and complex interaction with Greek communities in Magna Graecia and elsewhere from earliest times - but it was an important landmark in the relationship between Greece and Rome. 2 When a tragedy by Livius Andronicus was performed to celebrate victory over Carthage in the First Punic War, a central cultural practice of an alien culture was adopted, adapted, appropriated and transformed to serve as a central cultural practice of Rome. It is significant that the first tragedy celebrated a victory (albeit over Carthage), since the appropriation of Greek tragedy was an act of cultural conquest, as Roman actors marched into and occupied the stage of Attic drama. Yet the event was more complex than that description suggests. In Horace's phrase, captured Greece captured its savage master.3 The writing ofRoman tragedy in the Greek style was simultaneously an act of self-confident literary invasion and of cultural submission to the thrall of a more established theatrical tradition. In terms of literary history, this complex interrelationship marks the beginning of Latin literature, in conjunction with Livius's Latin, Saturnian version of the Odyssey. In terms of culture, the flourishing of Roman drama coincided with the massive expansion of Roman territory and the accompanying challenge to its sense of identity. Dramas were performed at public festivals, /rrdi scaenici, organized by state officials, the aediles, and sponsored by influential elites. -
Introduction: Medea in Greece and Rome
INTRODUCTION: MEDEA IN GREECE AND ROME A J. Boyle maiusque mari Medea malum. Seneca Medea 362 And Medea, evil greater than the sea. Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the com plexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, dis placed traitor to family and state, helper-màiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister, oriental 'other', barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complex ities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically 'Roman' Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculp ture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Ro man intellectual and visual world.