A SEGMET PART: Exposing the INTERNATIONAL DECEPTION of FALSE RELIGIONS
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Beltane, a Season of Fire
Welcome to Beltane, a season of fire. Happy May Day! Right now, people are dancing merrily around the May Pole. Others are celebrating May Day by delivering May baskets to their neighbors. Here in Florida, we are in the throes of summertime. It has been in the 90s with no rain in sight. Everything outside is turning brown from the high temperatures. Over the weekend, we had record- breaking temperatures. My husband took this picture of the sun setting over the backyard. Beltane falls within the Ogham month of Huath. This is a time for cleaning the temples, which also means our bodies. We should look at how we feed ourselves not only physically but also mentally. If there are areas of your life that need to be changed, now is the time to do it. Beltane is also the time to honor our sexuality. As Dianics, we celebrate our women’s blood and at Beltane we honor young women as the Maiden. They become women through their first menstruation. Women’s blood is symbolic for our potential to create life whether it is through childbirth or creativity. 1 The Sandhill cranes have been walking around with their new babies. They are so cute and grow up so fast. We are waiting for the turkeys to show us their new babies. So far, we have seen the males with a few females but no babies. Take some time to honor yourself and have some fun doing something creative. May you be blessed, Dawn 2 Contents Welcome to Beltane, a season of fire. -
Catalogo Libreria Que Leo
CATALOGO LIBRERIA QUE LEO CodBarras Clasificacion Autor Titulo Libro Editorial Precio 9789569703126 AGENDA CAMILA LEON PLANNER - DIBUJA Y COLOREA TU SEMANA VASALISA 7,900 9789569703133 AGENDA FRAN MENESES FRANNERD PLANNER VASALISA 10,900 8437018304158 AGENDA N N AGENDA 2020 - ALICIA EN EL PAIS DE LAS ALMA 10,000 8437018304103 AGENDA N N AGENDA 2020 - ANNA KARENINA ALMA 10,000 8437018304141 AGENDA N N AGENDA 2020 - CONTIGO LA VIDA ES MAGIC ALMA 10,000 8437018304097 AGENDA N N AGENDA 2020 - CUMBRES BORRASCOSAS ALMA 10,000 8437018304127 AGENDA N N AGENDA 2020 - EL PLACER DE LEER ALMA 10,000 8437018304172 AGENDA N N AGENDA 2020 - GATOS ALMA 10,000 8437018304165 AGENDA N N AGENDA 2020 - MANDALAS ARTE TERAPIA ALMA 10,000 8437018304196 AGENDA N N AGENDA 2020 - SERENIDAD ALMA 10,000 7798083705778 AGENDA N N AGENDA MIA 2020 VR 6,000 7798083705747 AGENDA N N AGENDA SOLO PARA CHICAS 2020 (FIGURAS VR 5,000 7798083705754 AGENDA N N AGENDA SOLO PARA CHICAS 2020 (PLANETAS VR 5,000 1433092290001 AGENDA N N LIBRETA LA HERENCIA PRESENTE - VARIEDA LA HERENCIA PRESEN 3,500 9789789879878 AGENDA N N STICKERS ESCRITORES BICI LAKOMUNA 2,500 9789569703188 AGENDA N.N PLANNER JARDIN DE MEDIANOCHE VASALISA 12,900 9789569703157 AGENDA SOL DIAZ ELEGANTES PLANIFICADAS VASALISA 7,900 9789563603965 ANIMALES CARLA INGUS MARIN GUIA DEL PERRO MESTIZO CHILENO PLANETA 13,500 9789569960017 ANIMALES N N PAJAREANDO - AVES DE JARDINES Y CERROS ILUSTRAVERDE 11,500 9789561604575 ANTROPOLOGIA ANDRES DONOSO ROMOEDUCACION Y NACION AL SUR DE LA FRONTE PEHUEN 8,000 9789561124844 ANTROPOLOGIA BERNARDO ARRIAZA CULTURA CHINCHORRO UNIVERSITARIA 16,500 9789681609337 ANTROPOLOGIA C. -
Caitlin Mckevitt EFRT 449 Greek Mythology Lesson Plan Day 1
Caitlin McKevitt EFRT 449 Greek Mythology Lesson Plan Day 1 Discuss with the students Aphrodite, Apollo and Ares. Aphrodite o Family: As one of the twelve main gods, Aphrodite’s relatives and offspring appear in many well-known myths. Below are the beginnings of a chart of Aphrodite's family, including her children by various mortals and gods. Students can then use this chart to learn about Aphrodite and her family and to create a family tree for the goddess. Family Member Relation Uranus Father Zeus Father Dione Mother Erinyes Sisters Giants Brother/Sister Aeneas by Anchises Son Lyrus by Anchises Son Eros Son Priapus Son Harmonia by Ares Daughter o The Many Faces of Aphrodite: As the goddess of Love, Aphrodite has a reputation in ancient Greek texts as both a positive and a negative force. The anthropomorphic version of Aphrodite possesses all manner of allurements that can be both good and bad. Aphrodite could represent purity and what the Greeks considered the common act of sexual intercourse. Students should look at following primary text entries for Aphrodite and investigate the many aspects of Aphrodite’s “personality.” o Associated Items & Beings: A god or goddess alone is inadequately defined since the people, beings, animals and things associate with a god or goddess say a lot about them. Through visual aids and texts, students can learn about the whole god or goddess by the items, people, beings, animals, and things that accompany them or that are used in their exploits. o Epithets: The names of gods and goddesses are often accompanied by a finite number of traditional epithets that describe the personality or associations of the divinity. -
![Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels](https://docslib.b-cdn.net/cover/8862/archons-commanders-notice-they-are-not-anlien-parasites-and-then-in-a-mirror-image-of-the-great-emanations-of-the-pleroma-hundreds-of-lesser-angels-438862.webp)
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
Either a Daimon, Or a Hero, Or Perhaps a God:” Mythical Residents of Subterranean Chambers
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 15 | 2002 Varia “Either a Daimon, or a Hero, or Perhaps a God:” Mythical Residents of Subterranean Chambers Yulia Ustinova Electronic version URL: http://journals.openedition.org/kernos/1385 DOI: 10.4000/kernos.1385 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 2002 ISSN: 0776-3824 Electronic reference Yulia Ustinova, « “Either a Daimon, or a Hero, or Perhaps a God:” Mythical Residents of Subterranean Chambers », Kernos [Online], 15 | 2002, Online since 21 April 2011, connection on 01 May 2019. URL : http://journals.openedition.org/kernos/1385 ; DOI : 10.4000/kernos.1385 Kernos Kemos 15 (2002), p. 267-288. "Either a Daimon, or a Hero, or Perhaps a God:" Mythical Residents of Subterranean Chambers In his list of seers who uttered gods' orders and messages to mortals not only when alive, but also after their death, Strabo1 mentions "...Amphiaraos, Trophonios, Orpheus, Musaios, and the god of the Getae, formerly Zalmoxis, a Pythagorean, who is in our time Dekaineos, the diviner of Byrebistas... ,,2 Aristides groups together Trophonios, Amphiaraos, Amphilochos and the Asclepiads.3 Celsus includes Zalmoxis, Mopsos, Amphilochos, Amphiaraos, and Trophonios in his register of mortals who died and were nevertheless worshiped, whieh makes Origen wonder, "whether one of these is either a daimon, or a hero, or perhaps a god, more active than mortals" (ft ècr'tt nç èv 'toîç 'tOtQU'tOlÇ Eï'tE 8atllcov Eï'tE llPcoÇ Eï'tE Kat 8E6ç, èVEPYéOv 't!Va lldÇova ft Ka'teX av8pco1tov;).4 The bewilderment of Origen 'is reasonable, given the elusiveness of these figures. -
Why Are There Seven Sisters?
Why are there Seven Sisters? Ray P. Norris1,2 & Barnaby R. M. Norris3,4,5 1 Western Sydney University, Locked Bag 1797, Penrith South, NSW 1797, Australia 2 CSIRO Astronomy & Space Science, PO Box 76, Epping, NSW 1710, Australia 3 Sydney Institute for Astronomy, School of Physics, Physics Road, University of Sydney, NSW 2006, Australia 4 Sydney Astrophotonic Instrumentation Laboratories, Physics Road, University of Sydney, NSW 2006, Australia 5 AAO-USyd, School of Physics, University of Sydney, NSW 2006, Australia Abstract of six stars arranged symmetrically around a seventh, and is There are two puzzles surrounding the therefore probably symbolic rather than a literal picture of Pleiades, or Seven Sisters. First, why are the Pleiades. the mythological stories surrounding them, In Greek mythology, the Seven Sisters are named after typically involving seven young girls be- the Pleiades, who were the daughters of Atlas and Pleione. ing chased by a man associated with the Their father, Atlas, was forced to hold up the sky, and was constellation Orion, so similar in vastly sep- therefore unable to protect his daughters. But to save them arated cultures, such as the Australian Abo- from being raped by Orion the hunter, Zeus transformed them riginal cultures and Greek mythology? Sec- into stars. Orion was the son of Poseidon, the King of the sea, ond, why do most cultures call them “Seven and a Cretan princess. Orion first appears in ancient Greek Sisters" even though most people with good calendars (e.g. Planeaux , 2006), but by the late eighth to eyesight see only six stars? Here we show that both these puzzles may be explained by early seventh centuries BC, he is said to be making unwanted a combination of the great antiquity of the advances on the Pleiades (Hesiod, Works and Days, 618-623). -
Massachusetts Senior Classical League
MASSACHUSETTS SENIOR CLASSICAL LEAGUE BOSTON ELITE CERTAMEN 2017 ROUND 1 1. Congratulations to all teams for making it to Round 1 of the 2017 Boston Elite Certamen Invitational. Let’s get right into it with everybody’s favorite: Dramatic Interpretation. With a teammate, act out the following passage, which I will read twice, that is based on a film the Romans might have called Istud: Dum pluit, puer lintrī chartāceā lūdēns in viā sōlus currēbat et rīdēbat. Capite in signō ob neglegentiam ictō, puer lapsus est in sēmitā lūbricā et lintrem āmīsit. Linter chartācea in cloācam cecidit, sed ā scurrā terribilī capta est. Scurra nōmen Pennywise eī esse dīxit et fierī amīcus puerī simulāvit. Cōnāns lintrem recipere, puer ā scurrā prehensus est. Bracchiō morsō, puer in cloācam tractus est ut omnīnō vorārētur. BOY IS RUNNING ON THE ROAD PLAYING WITH A PAPER BOAT AND LAUGHING. BOY HITS HIS HEAD ON A SIGN, FALLS DOWN, AND LOSES THE BOAT. THE BOAT FALLS INTO THE SEWER BUT A CLOWN IN -
Greek Mythology and Genesis
Greek Mythology and Genesis Agenda • Overview of Early Genesis • World Cultures and Early Genesis • Greek Art/Greek Mythology – Noah/Nereus in Greek Art – Herakles/Nimrod – Zeus/Adam – Athena/Naamah • East Pediment of Parthenon – Understanding – Characters 2 Genesis (1-10) • Days of Creation (resting on the 7th) • The Creation of Adam and Eve • The Fall of Man • Cain and Abel – Cain’s descendants • Descendants of Adam • The Corruption of Mankind • The Flood • The Flood Subsides • Covenant of the Rainbow • Descendants of Noah – Shem – Japheth – Ham -Cush -Nimrod 3 Genesis in Cultures from Around the World Sagaiye Ottawa Lake of Llion Shang Ti Choctaw Gilgamesh Santal Tanzania Inca (Peru) Bunjil 4 ADAM AND EVE (ZEUS AND HERA) KAIN SETH (ARES) (HEPHAISTOS) Noah (Nereus) 5 ZEUS HERA Noah to Nimrod Shem Japheth 6 7 Did the Greeks Know Who Noah Was? 8 9 10 11 Noah’s Flood 12 13 HERAKLES’ REBELLION AGAINST NOAH 14 On this vase-painting, Herakles threatens Noah with his club. 15 Here, Herakles pushes Noah aside. And here, the vase-artist depicts Herakles bringing Noah and his rule to a halt. 16 17 18 Herakles’ first 11 labors and his other battles all had one objective—embodied in his 12th and final labor—getting back to the serpent-entwined tree in the ancient garden for another bite of 19 the serpent’s apple. Athena Nereus Kentaur Herakles 20 And Athena rewarded the great hero after he had pushed Noah and his God out of the picture and reestablished the way of Kain. 21 12 Labors of Herakles Temple of Zeus 22 Herakles Herakles Athena Geryon Atlas 23 Zeus/Adam at Olympia 24 Parthenon 26 27 • Displays the Greek ―story‖ of Genesis • Man’s ―triumph‖ over God • Reflection of Eden • Triumph of the Serpent • Deifies real people of history 28 29 30 31 Chrysothemis Lipara Hygeia Asterope The Greek poets and playwrights traced Zeus and Hera back to an ancient paradise they called the Garden of the Hesperides. -
HESPERIDES and HEROES: a NOTE on the THREE-FIGURE RELIEFS 77 Knife, That This Is a Moment of Dark Foreboding
HESPERIDESAND HEROES: A NOTE ON THE THREE-FIGURERELIEFS (PLATES 11-14) flflHOUGH not a scrap of the original reliefs has been found, Thompson's attri- bution to the Altar of the Twelve Gods of the four famous three-figure reliefs known to us from Roman copies is one of the more important results of the Agora excavations for the history of Athenian sculpture in the late 5th century.1 The dating and interpretation of these reliefs is also vitally related to the history of other monu- ments of the Agora. I should like, therefore, to suggest a modification of Thompson's views on these points. Before Thompson's discovery that the dimensions of the reliefs admirably filled the spaces flanking the east and west entrances in the parapet surrounding the altar (P1. 12, b), the originals had generally been attributed to a choregic monument. This was because two of the reliefs, the Orpheus and Peliad reliefs (P1. 12, d, e), are notably tragic in their impact, including the elements of irony and reversal of fortune which we commonly associate with Attic tragedy. The two others, Herakles, Theseus and Peirithoos in the underworld (P1. 12, a, c) and Herakles in the Garden of the Hesperides (P1. 11, a-d), could also well be drawn from the subjects of tragedies performed in Athens.2 In order to interpret the last two in the same spirit as the first two, however, it was necessary to resort to the subtle language of literary interpretation rather than to the simpler language of art. No one could doubt, on looking at the Peliad with the " ' The Altar of Pity in the Athenian Agora," Hesperia, XXI, 1952, pp. -
Reclaiming Lilith As a Strong Female Role Model
Linfield University DigitalCommons@Linfield Senior Theses Student Scholarship & Creative Works 5-29-2020 Reclaiming Lilith as a Strong Female Role Model Kendra LeVine Linfield College Follow this and additional works at: https://digitalcommons.linfield.edu/relsstud_theses Part of the Biblical Studies Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation LeVine, Kendra, "Reclaiming Lilith as a Strong Female Role Model" (2020). Senior Theses. 5. https://digitalcommons.linfield.edu/relsstud_theses/5 This Thesis (Open Access) is protected by copyright and/or related rights. It is brought to you for free via open access, courtesy of DigitalCommons@Linfield, with permission from the rights-holder(s). Your use of this Thesis (Open Access) must comply with the Terms of Use for material posted in DigitalCommons@Linfield, or with other stated terms (such as a Creative Commons license) indicated in the record and/or on the work itself. For more information, or if you have questions about permitted uses, please contact [email protected]. Reclaiming Lilith as a Strong Female Role Model Kendra LeVine RELS ‘20 5/29/20 A thesis submitted to the Department of Religious Studies in partial fulfillment of the requirements for the Bachelor of Arts in Religious Studies Linfield College McMinnville, Oregon THESIS COPYRIGHT PERMISSIONS Please read this document carefully before signing. If you have questions about any of these permissions, please contact the DigitalCommons Coordinator. Title of the Thesis: _____________________________________________________________ Author’s Name: (Last name, first name) _____________________________________________________________ Advisor’s Name _____________________________________________________________ DigitalCommons@Linfield (DC@L) is our web-based, open access-compliant institutional repository for digital content produced by Linfield faculty, students, staff, and their collaborators. -
![9 the Mystical Bitter Water Trial [Text Deleted]](https://docslib.b-cdn.net/cover/9536/9-the-mystical-bitter-water-trial-text-deleted-969536.webp)
9 the Mystical Bitter Water Trial [Text Deleted]
9 The Mystical Bitter Water Trial [text deleted] 9.1 Golems as Archetypes of the Trial’s Supernaturally Inseminated Seed [text deleted] 9.2 Lilith as the First Sotah [text deleted] 9.3 Lilith and Samael as Animating Forces in Golems [text deleted] 9.4 Azazel as the Seed of Lilith No study of Lilith would be complete without a discussion of the demon Azazel. This is true because several clues in many ancient texts - including the Torah, the Zohar, and the First Book of Enoch - indicate that Azazel was the seed of Lilith. The texts further hint that Azazel was not the product of Lilith mating with any ordinary man, but rather he was the firstborn seed resulting from her illicit mating with Semjaza, the leader of a group of fallen angels called Watchers. As the seed of the Watchers, Azazel was the first born of the Nephilim, a race of powerful angel-man hybrids who nearly pushed ordinary mankind to extinction before the flood. But Azazel was much more than just a powerful Nephilim. Regular Nephilim were the products of the daughters of Adam mating with Watchers. Azazel was the product of Lilith mating with the Watchers. He is thus less human than all, and the most powerful, even more powerful than the Watchers who sired him. Azazel’s role in the Yom Kippur ceremony of Leviticus 16 indicates he is a rival to Messiah and God. This identifies Azazel as the legendary seed of the Serpent of Eden. God declared in his curse against the Serpent that this great seed would bruise the heel of Eve’s promised seed (Messiah), but Eve’s seed in turn would crush the head of the Serpent Lilith and destroy her seed. -
The Pedimental Sculpture of the Hephaisteion
THE PEDIMENTALSCULPTURE OF THE HEPHAISTEION (PLATES 48-64) INTRODUCTION T HE TEMPLE of Hephaistos, although the best-preserved ancient building in Athens and the one most accessible to scholars, has kept its secrets longer than any other. It is barely ten years since general agreement was reached on the name of the presiding deity. Only in 1939 was the evidence discovered for the restora- tion of an interior colonnade whicli at once tremendously enriched our conception of the temple. Not until the appearance of Dinsmoor's study in 1941 did we have a firm basis for assessing either its relative or absolute chronology.' The most persistent major uncertainty about the temple has concerned its pedi- mental sculpture. Almost two centuries ago (1751-55), James Stuart had inferred 1 The general bibliography on the Hephaisteion was conveniently assembled by Dinsmoor in Hesperia, Supplement V, Observations on the Hephaisteion, pp. 1 f., and the references to the sculpture loc. cit., pp. 150 f. On the sculpture add Olsen, A.J.A., XLII, 1938, pp. 276-287 and Picard, Mamtel d'Archeologie grecque, La Sculpture, II, 1939, pp. 714-732. The article by Giorgio Gullini, " L'Hephaisteion di Atene" (Archeologia Classica, Rivista dell'Istituto di Archeologia della Universita di Roma, I, 1949, pp. 11-38), came into my hands after my MS had gone to press. I note many points of difference in our interpretation of the sculptural history of the temple, but I find no reason to alter the views recorded below. Two points of fact in Gullini's article do, however, call for comment.