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Shamanic Wisdom, Parapsychological Research and a Transpersonal View: a Cross-Cultural Perspective Larissa Vilenskaya Psi Research
International Journal of Transpersonal Studies Volume 15 | Issue 3 Article 5 9-1-1996 Shamanic Wisdom, Parapsychological Research and a Transpersonal View: A Cross-Cultural Perspective Larissa Vilenskaya Psi Research Follow this and additional works at: http://digitalcommons.ciis.edu/ijts-transpersonalstudies Part of the Philosophy Commons, Psychology Commons, and the Religion Commons Recommended Citation Vilenskaya, L. (1996). Vilenskaya, L. (1996). Shamanic wisdom, parapsychological research and a transpersonal view: A cross-cultural perspective. International Journal of Transpersonal Studies, 15(3), 30–55.. International Journal of Transpersonal Studies, 15 (3). Retrieved from http://digitalcommons.ciis.edu/ijts-transpersonalstudies/vol15/iss3/5 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the Journals and Newsletters at Digital Commons @ CIIS. It has been accepted for inclusion in International Journal of Transpersonal Studies by an authorized administrator of Digital Commons @ CIIS. For more information, please contact [email protected]. SHAMANIC WISDOM, PARAPSYCHOLOGICAL RESEARCH AND A TRANSPERSONAL VIEW: A CROSS-CULTURAL ' PERSPECTIVE LARISSA VILENSKAYA PSI RESEARCH MENLO PARK, CALIFORNIA, USA There in the unbiased ether our essences balance against star weights hurled at the just now trembling scales. The ecstasy of life lives at this edge the body's memory of its immutable homeland. -Osip Mandelstam (1967, p. 124) PART I. THE LIGHT OF KNOWLEDGE: IN PURSUIT OF SLAVIC WISDOM TEACHINGS Upon the shores of afar sea A mighty green oak grows, And day and night a learned cat Walks round it on a golden chain. -
Folklore and the Construction of National Identity in Nineteenth Century Russian Literature
Folklore and the Construction of National Identity in Nineteenth Century Russian Literature Jessika Aguilar Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy In the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Jessika Aguilar All rights reserved Table of Contents 1. Introduction……………………………………………………………………………..…..1 2. Alexander Pushkin: Folklore without the Folk……………………………….20 3. Nikolai Gogol: Folklore and the Fragmentation of Authorship……….54 4. Vladimir Dahl: The Folk Speak………………………………………………..........84 5. Conclusion……………………………………………………………………………........116 6. Bibliography………………………………………………………………………………122 i Introduction In his “Literary Reveries” of 1834 Vissarion Belinsky proclaimed, “we have no literature” (Belinskii PSS I:22). Belinsky was in good company with his assessment. Such sentiments are rife in the critical essays and articles of the first third of the nineteenth century. A decade earlier, Aleksandr Bestuzhev had declared that, “we have a criticism but no literature” (Leighton, Romantic Criticism 67). Several years before that, Pyotr Vyazemsky voiced a similar opinion in his article on Pushkin’s Captive of the Caucasus : “A Russian language exists, but a literature, the worthy expression of a mighty and virile people, does not yet exist!” (Leighton, Romantic Criticism 48). These histrionic claims are evidence of Russian intellectuals’ growing apprehension that there was nothing Russian about the literature produced in Russia. There was a prevailing belief that -
Musicalympics Curriculum Email
Musicalympics Concept by Music Director Daniel Meyer Curriculum Designed by Steven Weiser and the Erie Philharmonic Education Committee Table of Contents 1. Pre-Tests • Grades K-2 all lessons combined • Lesson 1 (Grades 3+) • Lesson 2 (Grades 3+) • Lesson 3 (Grades 3+) 2. CD Track Listing and Listening Guide for Teachers 3. Map of the Orchestra 4. History of the Erie Philharmonic 5. Lesson 1 • Lesson Plan • Orchestra Map Exploration • Identifying Instruments 6. Lesson 2 (introducing Carnegie Hall’s Link Up program The Orchestra Sings) • Exploring Link Up • Beethoven in my Neighborhood Sponsored By 7. Game Break • Maze - Grades K-2, 3+ • Word Search - Grades K-2, 3+ • Coloring - all Grades 8. Brief History of the Warner Theatre 9. Lesson 3 • Musical Characteristics 10. What to Expect at the Concert 11. Post-Tests • Grades K-2 all lessons combined • Lesson 1 (Grades 3+) • Lesson 2 (Grades 3+) • Lesson 3 (Grades 3+) Presented in partnership with Pre-Test (Grades K-2) Name ______________________ 1. Can you name one of the instrument families of the orchestra? 2. Can you name an instrument from the orchestra? 3. Can you name an instrument that has strings? 4. Can you name an instrument that you play by using air? Pre-Test Lesson 1 (Grades 3+) Name ______________________ 1. Can you list the 4 instrument families of a symphony orchestra? 1. 2. 3. 4. 2. Can you name these instruments? ______________ ______________ _________________ 3. Is this instrument from the Brass or Woodwind family? _______________________________ 4. Is this instrument from the Percussion or String family? ____________________________ 5. -
LEO ARNAUD (1904-1991), TROMBONIST, COMPOSER, FILM Tviusician
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissert.~tion copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313n61-4700 800/521-0600 LEO ARNAUD (1904-1991), TROMBONIST, COMPOSER, FILM tviUSICIAN: A BIOGRAPHICAL SKETCH AND CATALOGUE OF MUSICAL WORKS AND FILMS by Michael L. Kolstad A Dissertation Submitted to the the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 1996 Approved by UMI Number: 9705293 Copyright 1996 by Kolstad, Michael L. -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
Source : Bibliothиque Du CIO / IOC Library
ATLANTA 1996 / PLANNING AND ORGANIZING previously offered for sale, but also items that for fast liquidation of fhese items for the staff had been used tor the Games, such as balls, and volunteers, planning to sell remaining banners, uniforms, or other items that were items to the general public. Orders far ex deemed to be collectibles. ceeded the available inventory, and to be fair, The AGOG Procurement and Contract Ad AGOG allocated only one banner per order. ministration (P&CA) division had responsibil Additionally, there was a significant number of ity tor the liquidation of the assets of the cor special requests, as well as commitments to poration. P&CA developed an RFP and u lti college campuses where banners prepurchased mately selected an auction company to com by the schools had been stolen. To allow for mence with liquidation. (For more information, some public sales of the banners, a limited see the Financial Services chapter.) number were pulled from inventory and in -. - ,... 1 1 Before approving any items tor auction. cluded in the main auctions. '.X . • M erchandising identified selected items to sell at a premium both prior to and following the C o n c l u s io n s a n d R ecommendations Games. Street banners, awards flags, and com petition bails were the main sales efforts prior The merchandising of apparel, memorabilia, to the Games. After the Games, AGOG Retail souvenirs, and other collectibles generated sig Operations acquired the right to sell the re nificant income, as well as promoted the Cen maining staff and volunteer uniforms. -
RUS421 Pushkin Professor Hilde Hoogenboom Spring 2011 LL420B, 480.965.4576 PEBE117, TR 12:00-1:15 [email protected] #18444 Office Hours: TR2-4 & by Appt
RUS421 Pushkin Professor Hilde Hoogenboom Spring 2011 LL420B, 480.965.4576 PEBE117, TR 12:00-1:15 [email protected] #18444 Office Hours: TR2-4 & by appt. Pushkin: The Invention of Russian Literature Alexander Pushkin (1799-1837) was an acknowledged genius , the No. 1 writer during his lifetime, not because he wrote best-sellers (although he did), but because his work, and his personality and life, exemplified qualities that brought him recognition and fame . Pushkin traced his lineage to noble families and was the great grandson of Peter the Great’s Abyssinian general, Abram Petrovich Gannibal, born an African prince . Pushkin was the Russian Byron , the Russian Mozart of poetry. After graduating from the elite Lycée, at age 21, the publication of his first major poem, Ruslan and Ludmila (1820), created a sensation , especially when he was exiled to the south at the same time for circulating poems about freedom . In 1826, back in St. Petersburg, where the Emperor Nicholas I was his personal censor, Pushkin became a professional man of letters and established a literary journal. His greatest work, the novel in verse Eugene Onegin (1833), was acclaimed as “an encyclopedia of Russian life ” and was made into a beloved opera by Petr Tchaikovsky in 1878. Students copied his bawdy poetry in their albums. His reputation with women made mothers fear for their daughters. His marriage to the beautiful Natalia Goncharova led to a duel over her honor, in which he was killed . Since then, his stature in Russian literature has only increased and he is Russia’s national poet , a literary saint with statues throughout Russia and streets named after him in every town. -
Shostakovich Symphony No
SHOSTAKOVICH SYMPHONY NO. 6 SYMPHONY NO. 14 VLADIMIR JUROWSKI conductor TATIANA MONOGAROVA soprano SERGEI LEIFERKUS baritone LONDON PHILHARMONIC ORCHESTRA SHOSTAKOVICH SYMPHONY NO. 6 | SYMPHONY NO. 14 Shostakovich’s cycle of 15 symphonies includes some works march over string trills; and the recapitulation is severely that conform in outline to expectations of symphonic form, truncated, little more than a coda eventually fading into but others that make their point by confounding those silence. expectations. The Sixth Symphony, composed in 1939 as a sequel to the conventionally shaped and career-saving The pattern of disappointed expectations is repeated when Fifth, has regularly attracted criticism for its apparently this serious opening movement is followed by two slighter unbalanced and unsymphonic structure. The Fourteenth, and more light-hearted movements. The first of these written 30 years later at a time of greater artistic freedom is a scherzo, initially light-textured but becoming more in the Soviet Union, is even less traditional in conception, a strident, followed by a strongly accented trio section and a song-cycle for two voices and chamber orchestra on poems shortened and varied reprise of the scherzo, incorporating by several authors unified by the theme of death. elements of the trio, but at a restrained dynamic level. The finale is a lightweight and balletic rondo, with a The Sixth Symphony is in three movements, beginning contrasting central episode in quick waltz time, initially with the longest, a slow movement. This begins at high heavy and ponderous but later with shrill and insistent voltage with an even slower introduction, anticipating repeated figures in the high treble. -
Fifteen Russian Fairy Tales and What They Mean to Me Contents: 1
Fifteen Russian Fairy Tales and What They Mean to Me Contents: 1. Vasilisa the Priest’s Daughter (on challenging stereotypes) 2. The Cat Who Became Head-Forester (on the dangers of a single narrative) 3. Vasilisa the Beautiful (on ambiguous villains) 4. The Death of Koschei the Deathless (on untold stories) 5. The Tale of the Silver Saucer and the Transparent Apple (on injustice and resilience) 6. Sadko (on the power of music) 7. Ruslan and Ludmila (on layered stories) 8. Baba Yaga (on kindness) 9. The Lime Tree (on magic in the natural world) 10. The Crane and the Heron (on seizing the day) 11. The Gigantic Turnip (on community) 12. The Snow Maiden (on love and happiness) 13. The Armless Maiden (on the transformative power of fairy tales) 14. Vasilisa the Beautiful (on metaphors) 15. The Fool of the World and the Flying Ship (on friendship) These posts were written for The House with Chicken Legs Blog Tour, April 2018, by Sophie Anderson 1. Vasilisa the Priest’s Daughter (on challenging stereotypes) ‘In a certain land, in a certain kingdom…’ In this Russian fairy tale, collected and published by Alexander Afanasyev in 1855, Vasily the Priest has a daughter named Vasilisa Vasilyevna. Vasilisa wears men’s clothing, rides horseback, is a good shot with a rifle and does everything in a ‘quite unmaidenly way’ so that most people think she is a man and call her Vasily Vasilyevich (a male version of her name) … ‘… all the more so because Vasilisa Vasilyevna was very fond of vodka, and this, as is well known, in entirely unbecoming to a maiden.’ One day King Barkhat meets Vasilisa while out hunting, and thinks she is a young man. -
KSO Kids Guide to the Orchestra Teacher's Guide
Fall 2016 Teacher’s Guide Knoxville Civic Auditorium: October 26, 27, 28, 2016 Niswonger Performing Arts Center, Greeneville, TN: November 3, 2016 Aram Demirjian, Music Director James Fellenbaum, Resident Conductor KSO Kids’ Guide to the Orchestra America (My Country ‘Tis of Thee) Traditional Table of Contents Variations on America Program Notes: Our Composers and their Music 2, 5-7 Charles Ives Music: America (My Country ‘Tis of Thee) 3 Introduction The Knoxville Symphony Orchestra/Meet the Music Director 8 Theme Variation I: (woodwinds) The Woodwinds 10 Variation IV: (trombone, tuba, castanets) The Strings 12 The Brass 14 Young Person’s Guide to the The Percussion 16 Orchestra Lessons & Activities 18 Benjamin Britten Exploring Theme & Variations 19 Theme: Allegro maestoso e largamente e Listening to Theme & Variations 20-21 tutti Moving to Theme & Variations 22 Variation A: Presto (piccolo and flutes) Exploring Meter 23 Variation B: Lento (oboes) Variation C: Moderato (clarinets) Be a Conductor! 24 Variation D: Allegro alla marcia (bassoons) The British Connection 25 Variation E: Brillante: alle polacca (violins) Additional Activities/Resources and Core Standards 26 Variation F: Meno mosso (violas) Listening Map (Percussion Variation) 27 Variation G: Lusingando (cellos) Student Program Template 29 Variation H: Cominciando lento ma poco a poco accel. al Allegro (double basses) What is a Conductor?/Maestro James Fellenbaum 31 Variation I: Maestoso (harp) My Concert Review/Audience Job Description 32 Variation J: L’istesso tempo (horns) Concert Behavior/Acknowledgements 33 Variation K: Vivace (trumpets) Variation L: Allegro pomposo This ear symbol will give students something to listen for in select pieces. (trombones and bass tuba) Watch for the map to give you Variation M: Moderato (percussion) interesting facts or vocabulary words. -
|What to Expect from Eugene Onegin
| WHAT TO EXPECT FROM EUGENE ONEGIN A TIMELESS STORY OF LOVE, YEARNING, AND THE TRAGIC CONSEQUENCES THE WORK: of youthful pride, Eugene Onegin holds the dual honor of being one of the most EUGENE ONEGIN An opera in three acts, sung in beloved works of both Russian opera and Russian literature. Tchaikovsky’s Russian expressive lyricism gives a fitting voice to the emotional turmoil at the heart Music by Pyotr Tchaikovsky of Alexander Pushkin’s famous verse novel. Pushkin’s stature in Russian Libretto by the composer and literature can only be compared to Shakespeare’s in the English canon, and Konstantin Shilovsky the opera represents a fortuitous meeting of two of Russia’s great creative Based on the verse novel Eugene Onegin by Alexander Pushkin minds. With roughly half a century separating them, Tchaikovsky stands First performed March 19, 1879 at as the tortured creator of highly personal, semi-autobiographical works of the Maly Theater, Moscow, Russia (with students from the Moscow art while Pushkin is the sly and subversive social critic. But it is these differ- Conservatory); professional premiere ences that make the operatic version of Eugene Onegin so thrilling: it’s both on January 29, 1881 at the Bolshoi Theater, Moscow, Russia a kaleidoscopic portrait of Russian society and a philosophical reflection on the human condition. PRODUCTION Deborah Warner’s Met production places the action in the late 19th Robin Ticciati, Conductor century, around the time of the opera’s premiere and several decades after Deborah Warner, Production Pushkin’s own setting in the 1820s. This shift emphasizes the autumnal Tom Pye, Set Designer quality of aristocratic life at the end of Russia’s imperial age, highlighting Chloe Obolensky, Costume Designer the sharp divisions between country life, rural gentry, and aristocratic St. -
Romanticism.Pdf
Romanticism 1 Romanticism Caspar David Friedrich, Wanderer Above the Sea of Fog, 1818 Eugène Delacroix, Death of Sardanapalus, 1827, taking its Orientalist subject from a play by Lord Byron Romanticism 2 Philipp Otto Runge, The Morning, 1808 Romanticism (also the Romantic era or the Romantic period) was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1850. Partly a reaction to the Industrial Revolution,[1] it was also a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature.[] It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[2] education[3] and the natural sciences.[4] Its effect on politics was considerable and complex; while for much of the peak Romantic period it was associated with liberalism and radicalism, in the long term its effect on the growth of nationalism was probably more significant. The movement validated strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as apprehension, horror and terror, and awe—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories. It elevated folk art and ancient custom to something noble, made spontaneity a desirable characteristic (as in the musical impromptu), and argued for a "natural" epistemology of human activities as conditioned by nature in the form of language and customary usage.