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Monsters & Miscellanea
Monsters & Miscellanea Volume 1-02: Skeletons by Barry Dore https://www.dmsguild.com/browse.php?author=Barry_Dore Title Art: Magz Wiseman https://www.yellowphonebox.com Cover Image: DMs Guild Creator Resource 3. Flesh Stealer Flesh Stealer, Undeath Dog 4. Skeletal Priests Skeletal Priest, Skeletal Priest of Orcus 5. Skeletons Skeleton: Crocodile, Giant Rat, Hill Giant, Wolf 6. Skeletons, Energy-Infused Cold-Infused; Skeleton, Mammoth Skeleton 7. Fire-Infused; Skeleton, Mastiff Skeleton 8. Lightning-Infused; Skeleton, Velociraptor Skeleton 9. Skeletons, Mold-Infested Mold-Infested; Skeleton, Hook Horror Skeleton 10. Bard Bard College: College of Bones 11. Magic Items Potions, Shodrom's Armaments DUNGEONS & DRAGONS, D&D, Wizards of the Coast, Forgotten Realms, Ravenloft, Eberron, the dragon ampersand, Ravnica and all other Wizards of the Coast product names, and their respective logos are trademarks of Wizards of the Coast in the USA and other countries. This work contains material that is copyright Wizards of the Coast and/or other authors. Such material is used with permission under the Community Content Agreement for Dungeon Masters Guild. All other original material in this Samplework is copyright 2019 by Barry Dore and file published under the Community Content Agreement for Dungeon Masters Guild. Not for resale. Permission granted to print or photocopy this document for personal use only. Monsters & Miscellanea 1-02 2 Flesh Stealer Undeath Dog This foul variant of the flesh stealer takes the form of a The flesh stealer appears at first glance to be a typical death dog's two-headed skeleton, empowered with a life humanoid skeleton, but it is far from the norm. -
Abstract Rereading Female Bodies in Little Snow-White
ABSTRACT REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISIBILITY By Dianne Graf In this thesis, the circumstances and events that motivate the Queen to murder Snow-White are reexamined. Instead of confirming the Queen as wicked, she becomes the protagonist. The Queen’s actions reveal her intent to protect her physical autonomy in a patriarchal controlled society, as well as attempting to prevent patriarchy from using Snow-White as their reproductive property. REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISffiILITY by Dianne Graf A Thesis Submitted In Partial Fulfillment of the Requirements For the Degree of Master of Arts-English at The University of Wisconsin Oshkosh Oshkosh WI 54901-8621 December 2008 INTERIM PROVOST AND VICE CHANCELLOR t:::;:;:::.'-H.~"""-"k.. Ad visor t 1.. - )' - i Date Approved Date Approved CCLs~ Member FORMAT APPROVAL 1~-05~ Date Approved ~~ I • ~&1L Member Date Approved _ ......1 .1::>.2,-·_5,",--' ...L.O.LJ?~__ Date Approved To Amanda Dianne Graf, my daughter. ii ACKNOWLEDGEMENTS Thank you Dr. Loren PQ Baybrook, Dr. Karl Boehler, Dr. Christine Roth, Dr. Alan Lareau, and Amelia Winslow Crane for your interest and support in my quest to explore and challenge the fairy tale world. iii TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………… 1 CHAPTER I – BRIEF OVERVIEW OF THE LITERARY FAIRY TALE AND THE TRADITIONAL ANALYSIS OF THE FEMALE CHARACTERS………………..………………………. 3 CHAPTER II – THE QUEEN STEP/MOTHER………………………………….. 19 CHAPTER III – THE OLD PEDDLER WOMAN…………..…………………… 34 CHAPTER IV – SNOW-WHITE…………………………………………….…… 41 CHAPTER V – THE QUEEN’S LAST DANCE…………………………....….... 60 CHAPTER VI – CONCLUSION……………………………………………..…… 67 WORKS CONSULTED………..…………………………….………………..…… 70 iv 1 INTRODUCTION In this thesis, the design, framing, and behaviors of female bodies in Little Snow- White, as recorded by Wilhelm and Jacob Grimm will be analyzed. -
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. -
The Adorabyssal Oracle
THE ADORABYSSAL ORACLE The Adorabyssal Oracle is an oracle deck featuring the cutest versions of mythological, supernatural, and cryptozoological creatures from around the world! Thirty-six spooky cuties come with associated elements and themes to help bring some introspection to your day-to-day divinations and meditations. If you’re looking for something a bit more playful, The Adorabyssal Oracle deck doubles as a card game featuring those same cute and spooky creatures. It is meant for 2-4 players and games typically take 5-10 minutes. If you’re interested mainly in the card game rules, you can skip past the next couple of sections. However you choose to use your Adorabyssal Deck, it is my hope that these darkly delightful creatures will bring some fun to your day! WHAT IS AN ORACLE DECK? An Oracle deck is similar to, but different from, a Tarot deck. Where a Tarot deck has specific symbolism, number of cards, and a distinct way of interpreting card meanings, Oracle decks are a bit more free-form and their structures are dependent on their creators. The Adorabyssal Oracle, like many oracle decks, provides general themes accompanying the artwork. The basic and most prominent structure for this deck is the grouping of cards based on elemental associations. My hope is that this deck can provide a simple way to read for new readers and grow in complexity from there. My previous Tarot decks have seen very specific interpretation and symbolism. This Oracle deck opens things up a bit. It can be used for more general or free-form readings, and it makes a delightful addition to your existing decks. -
Dragon Magazine #158
S PECIAL ATTRACTIONS Issue #158 Vol. XV, No. 1 9 Weve waited for you: DRAGONS! June 1990 A collection of lore about our most favorite monster. The Mightiest of Dragons George Ziets Publisher 10 In the D&D® game, no one fools with the dragon rulers and lives for James M. Ward long. Editor A Spell of Conversation Ed Friedlander Roger E. Moore 18 If youd rather talk with a dragon than fight it, use this spell. The Dragons Bestiary The readers Fiction editor Barbara G. Young 20 The gorynych (very gory) and the (uncommon) common dragonet. Thats Not in the Monstrous Compendium! Aaron McGruder Assistant editor 24 Remember those neutral dragons with gemstone names? Theyre 2nd Dale A. Donovan Edition now! Art director Larry W. Smith O THER FEATURES Production staff The Game Wizards James M. Ward Gaye OKeefe Angelika Lokotz 8 Should we ban the demon? The readers respondand how! Subscriptions Also Known As... the Orc Ethan Ham Janet L. Winters 30 Renaming a monster has more of an effect than you think. U.S. advertising The Rules of the Game Thomas M. Kane Sheila Gailloreto Tammy Volp 36 If you really want more gamers, then create them! The Voyage of the Princess Ark Bruce A. Heard U.K. correspondent 41 Sometimes its better not to know what you are eating. and U.K. advertising Sue Lilley A Role-players Best Friend Michael J. DAlfonsi 45 Give your computer the job of assistant Dungeon Master. The Role of Computers Hartley, Patricia and Kirk Lesser 47 The world of warfare, from the past to the future. -
African Concepts of Energy and Their Manifestations Through Art
AFRICAN CONCEPTS OF ENERGY AND THEIR MANIFESTATIONS THROUGH ART A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Renée B. Waite August, 2016 Thesis written by Renée B. Waite B.A., Ohio University, 2012 M.A., Kent State University, 2016 Approved by ____________________________________________________ Fred Smith, Ph.D., Advisor ____________________________________________________ Michael Loderstedt, M.F.A., Interim Director, School of Art ____________________________________________________ John R. Crawford-Spinelli, D.Ed., Dean, College of the Arts TABLE OF CONTENTS LIST OF FIGURES………………………………………….. iv ACKNOWLEDGMENTS …………………………………… vi CHAPTERS I. Introduction ………………………………………………… 1 II. Terms and Art ……………………………………………... 4 III. Myths of Origin …………………………………………. 11 IV. Social Structure …………………………………………. 20 V. Divination Arts …………………………………………... 30 VI. Women as Vessels of Energy …………………………… 42 VII. Conclusion ……………………………………….…...... 56 VIII. Images ………………………………………………… 60 IX. Bibliography …………………………………………….. 84 X. Further Reading ………………………………………….. 86 iii LIST OF FIGURES Figure 1: Porogun Quarter, Ijebu-Ode, Nigeria, 1992, Photograph by John Pemberton III http://africa.si.edu/exhibits/cosmos/models.html. ……………………………………… 60 Figure 2: Yoruba Ifa Divination Tapper (Iroke Ifa) Nigeria; Ivory. 12in, Baltimore Museum of Art http://www.artbma.org/. ……………………………………………… 61 Figure 3.; Yoruba Opon Ifa (Divination Tray), Nigerian; carved wood 3/4 x 12 7/8 x 16 in. Smith College Museum of Art, http://www.smith.edu/artmuseum/. ………………….. 62 Figure 4. Ifa Divination Vessel; Female Caryatid (Agere Ifa); Ivory, wood or coconut shell inlay. Nigeria, Guinea Coast The Metropolitan Museum of Art, http://www.metmuseum.org. ……………………… 63 Figure 5. Beaded Crown of a Yoruba King. Nigerian; L.15 (crown), L.15 (fringe) in. -
D I V I N a T I O N Culture a N D the H a N D L I N G of The
Originalveröffentlichung in: G. Leick (Hrsg), The Babylonian World, New York/London, 2007, S. 361-372 CHAPTER TWENTY-FIVE DIVINATION CULTURE AND THE HANDLING OF THE FUTURE Stefan M. Maul n omen is a clearly defined perception understood as a sign pointing to future A events whenever it manifests itself under identical circumstances. The classification of a perception as ominous is based on an epistemological development which establishes a normative relationship between the perceived and the future. This classification process is preceded by a period of detailed examination and is thus initially built on empirical knowledge. Omina only cease to be detected empirically when a firm conceptual link has been established between the observed and the future which then allows omina to be construed by the application of regularities. In the Mesopotamian written sources from the first and second millennia BC, omina based on regularities far exceed those based on empirical data. Mesopotamian scholars generally collected data without formally expressing the fundamental principles behind their method. It was the composition of non-empirical omina as such which allowed students to detect the regularities on which they were based without this formulated orally or in writing. Modern attempts at a systematic investigation of such principles however, are still outstanding. It is interesting that there is no Sumerian or Akkadian equivalent for the terms 'oracle' or 'omen'. Assyriologists use the term omen for the sentence construction 'if x then y' which consists of a main clause beginning with summa ('if') describing the ominous occurence, and a second clause which spells out the predicted outcome. -
And Corpse-Divination in the Paris Magical Papyri (Pgm Iv 1928-2144)
necromancy goes underground 255 NECROMANCY GOES UNDERGROUND: THE DISGUISE OF SKULL- AND CORPSE-DIVINATION IN THE PARIS MAGICAL PAPYRI (PGM IV 1928-2144) Christopher A. Faraone The practice of consulting the dead for divinatory purposes is widely practiced cross-culturally and firmly attested in the Greek world.1 Poets, for example, speak of the underworld journeys of heroes, like Odys- seus and Aeneas, to learn crucial information about the past, present or future, and elsewhere we hear about rituals of psychagogia designed to lead souls or ghosts up from the underworld for similar purposes. These are usually performed at the tomb of the dead person, as in the famous scene in Aeschylus’ Persians, or at other places where the Greeks believed there was an entrance to the underworld. Herodotus tells us, for instance, that the Corinthian tyrant Periander visited an “oracle of the dead” (nekromanteion) in Ephyra to consult his dead wife (5.92) and that Croesus, when he performed his famous comparative testing of Greek oracles, sent questions to the tombs of Amphiaraus at Oropus and Trophonius at Lebedeia (1.46.2-3). Since Herodotus is heavily dependent on Delphic informants for most of Croesus’ story, modern readers are apt to forget that there were, in fact, two oracles that correctly answered the Lydian king’s riddle: the oracle of Apollo at Delphi and that of the dead hero Amphiaraus. The popularity of such oracular hero-shrines increased steadily in Hel- lenistic and Roman times, although divination by dreams gradually seems to take center stage.2 It is clear, however, that the more personal and private forms of necromancy—especially consultations at the grave—fell into disfavor, especially with the Romans, whose poets repeatedly depict horrible 1 For a general overview of the Greek practices and discussions of the specific sites mentioned in this paragraph, see A. -
The Transformational Symbolism of the Skeleton As a Meaning of Rebirth
상징과모래놀이치료, 제6권 제1호 Journal of Symbols & Sandplay Therapy 2015, 12, Vol. 6, No. 1, 1-24. The Transformational Symbolism of the Skeleton as a Meaning of Rebirth Mee-ra Kowen* <Abstract> In this study, the researcher considered the symbolic meanings of the skeleton in Korean folk tales, and analyzed how the skeleton has been developed into a symbol of rebirth in art, heritage, and religion. Also, the researcher interpreted the symbolic meaning of the skeleton, which appeared in the client’s sand-picture, through the lens of analytical psychology. Mankind, from ancient times, has connected the death of unconsciousness as a cooperator of salvation in moments of exhaustion, crisis, and desire in the conscious life. The appearance of the skeleton in tales and rituals represents not the end of life but rather coexistence with death, which cannot be detached from life. Through sandplay therapy, the researcher desired that the client solve the fear of meeting the unconsciousness that represents death, and encounter the archetypal meaning of the skeleton that exists in the client’s soul. Keywords : symbol, skeleton, transformation, rebirth, sandplay therapy * Corresponding Author: Mee-ra Kowen, Sandplay therapist & Psychotherapist, Mind Forest & Art Tree Counseling Center ([email protected]) - 1 - Journal of Symbols & Sandplay Therapy, Vol.6 No.1. Ⅰ. Introduction For modern men and women, who enjoy highly advanced conveniences, death is something to be dreaded. It is something they want to avoid. This may be due to their innate predisposition to fear death, and the struggle to escape it. The fact that death is inevitable and that no one can ever “experience” it beforehand exacerbates the fear. -
The Skeleton Woman: Healing Through Relating
The Skeleton Woman: Healing Through Relating By Françoise Aline Cloutier Jungian Psychoanalyst October 2011 Table of content Table of content .............................................................................................................................................. 2 1. Introduction ........................................................................................................................................... 3 2. The tale .................................................................................................................................................. 5 3. Interpretation : The context .................................................................................................................... 8 4. Being dragged upward ..........................................................................................................................11 5. Attachment and fears ............................................................................................................................12 6. Safe in his house with Raven and Sedna ..............................................................................................13 7. Instincts are back ..................................................................................................................................15 8. To untangle her from the fishing line ...................................................................................................17 9. How can she trust again? ......................................................................................................................19 -
The Soteriological Context of a Tibetan Oracle
HIMALAYA, the Journal of the Association for Nepal and Himalayan Studies Volume 39 Number 1 Article 8 July 2019 The Soteriological Context of a Tibetan Oracle Katarina Turpeinen University of California, Berkeley, [email protected] Follow this and additional works at: https://digitalcommons.macalester.edu/himalaya Recommended Citation Turpeinen, Katarina. 2019. The Soteriological Context of a Tibetan Oracle. HIMALAYA 39(1). Available at: https://digitalcommons.macalester.edu/himalaya/vol39/iss1/8 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Research Article is brought to you for free and open access by the DigitalCommons@Macalester College at DigitalCommons@Macalester College. It has been accepted for inclusion in HIMALAYA, the Journal of the Association for Nepal and Himalayan Studies by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. The Soteriological Context of a Tibetan Oracle Acknowledgements The author would like to thank Lhamo Pema Khandro for patiently answering her questions in a series of interviews and allowing her to witness the possession rituals. She is also grateful to the nuns of Tsho Pema, especially Ani Yangtsen Drolma for guiding her in the social dynamics of the village, as well as Prof. Jacob Dalton for offering many helpful suggestions that shaped her writing. This research article is available in HIMALAYA, the Journal of the Association for Nepal and Himalayan Studies: https://digitalcommons.macalester.edu/himalaya/vol39/iss1/8 The Soteriological Context of a Tibetan Oracle Katarina Turpeinen This paper contributes to the study of Tibetan which is a practice of a village oracle often oracles by analyzing a distinctive case of a regarded as involving mainly mundane and contemporary Tibetan oracle living in exile pragmatic ends, is conspicuously integrated in India. -
Guild Adventures- the Dragonslayer Gamebook
1 Guild Adventures! The Dragonslayer (1st Edition) is written by John Buchhalter. Cover Art: Rafael Vaz Art Credits: William McAusland, The Forge Studio (Maciej Zagorski, Pawel Dobosz, Sylwia Siwiec), Martin Gyula Kiss, Erisian Entertainment (Dave Peterson, Ben Shultz), Forgotten Foes Clipart (Gary Dupuis), Reality Deviant Publications (Joseph Wigfield), Raging Swan (Lori Krell and Jae Young). Please go to the end of the book to see further detailed credits. This product is protected by the copyright laws of the United States of America. Any reproduction or unauthorized use of the written material contained herein is prohibited without the express written permission by the Play by Action Gaming Company. Artwork is used with permission from the individual artwork companies listed at the end of the book. Please contact them for permission to use their artwork for your projects. Thank you. Copyright © 2019 PbA (Play by Action) Gaming. All Rights Reserved. 2 Introduction Our story begins with a clever halfling named Billibon Strudeln who is the owner of the Adventurer’s Guild only a few leagues away from the free city of Rondor. Because of his reputation, many nobles come to provide rewards for contracts they offer in eliminating problems that occur for the inhabitants of the Lands of Bavidirian. On this fine day, a mysterious man enters the front doors to the guild tavern and hands over a scroll as of a bag of gold to the 3-foot halfling owner. Without a word or a moment to waste, the stranger leaves the same way he came in to never be seen again.