Do you want your inner goddess to show? These are the things you need to know. Have you ever read Greek mythology? Athena, Artemis and Aphrodite were just some of the goddesses. They were incredibly powerful, beautiful, often petty and mistake prone. They were still goddesses. Being a woman means we have the potential to be a force of nature. You are beautiful. You are strong in ways that most men do not even understand. You are a goddess in training. Full of advice and hints covering a variety of topics including self improvement, love, money, relationships, business, the practical and many more. Because being a goddess is not about being perfect . . .
An in-depth look at today's global trends in Goddess spirituality and emerging Goddess religions, this resource covers a wide range of subjects, including contemporary Goddess temples and conferences, Goddess ethics, various controversies, practical approaches to sexual risks, responses to natural disasters, emerging Goddess figures in Judaism and Christianity, and cutting-edge thought that relates Goddess and science.
Enlarged edition of highly acclaimed book explains basic Goddess Spirituality concepts, explores their relationship to Hermetic Qabalah, Jewish Kabbalah, and physics. Proposes more gender-balanced kabbalistic Tree. Includes rituals, meditations, Tree of Life diagrams, and new Foreword by Rachel Pollack.
A cultural history of the goddess of love, from a New York Times bestselling and award-winning historian. Aphrodite was said to have been born from the sea, rising out of a froth of white foam. But long before the Ancient Greeks conceived of this voluptuous blonde, she existed as an early spirit of fertility on the shores of Cyprus -- and thousands of years before that, as a ferocious warrior-goddess in the Middle East. Proving that this fabled figure is so much more than an avatar of commercialized romance, historian Bettany Hughes reveals the remarkable lifestory of one of antiquity's most potent myths. Venus and Aphrodite brings together ancient art, mythology, and archaeological revelations to tell the story of human desire. From Mesopotamia to modern-day London, from Botticelli to Beyoncé, Hughes explains why this immortal goddess continues to entrance us today -- and how we trivialize her power at our peril.
This monograph focuses on "Christian Goddess Spirituality" (CGS), the phenomenon of (mostly) women who combine Christianity and Goddess Spirituality, including Wicca/Witchcraft. Mary Ann Beavis’s study provides ethnographic data and analysis on the lived religious experience of CGS practitioners, drawing on interviews of over 100 women who self-identify as combining Christianity and Goddess spirituality. Although CGS also has implications for Goddess Spirituality and related traditions (e.g., Neopaganism, Wicca), here, CGS is considered primarily as a phenomenon within Christianity. However, the study also shows that the fusion of Christian and Goddess spiritualties has had an impact on non-Christian feminist spirituality, since Goddess-worshippers have often constructed Christianity as the diametrical opposite and enemy of the Goddess, to the point that some refuse to admit the possibility that CGS is a valid spiritual path, or that it is even possible. In addition, biblical, Jewish and Christian images of the divine such as Sophia, Shekhinah, the Virgin Mary, and even Mary Magdalene, have found their way into the "Pagan" Goddess pantheon. The main themes of the study include: overlaps and differences between Christian feminist theology and CGS; the routes to CGS for individual practitioners, and their beliefs, practices and experiences; proto-denominational classifications ("spiritual paths") within CGS; CGS thealogy (Christian discourse about the female divine); and the future of CGS in social scientific and ecclesiological context. Christian Goddess Spirituality will be of interest to scholars of religion, especially those with interests in women and religion, feminist spiritualities, feminist theology/thealogy, alternative spiritualities, New Religious Movements, and emergent Christianities.
Andra wakes up from a cryogenic sleep 1,000 years later than she was supposed to, forcing her to team up with an exiled prince to navigate an unfamiliar planet in this smart, thrilling sci-fi adventure, perfect for fans of Renegades and Aurora Rising. When Andra wakes up, she's drowning. Not only that, but she's in a hot, dirty cave, it's the year 3102, and everyone keeps calling her Goddess. When Andra went into a cryonic sleep for a trip across the galaxy, she expected to wake up in a hundred years, not a thousand. Worst of all, the rest of the colonists--including her family and friends--are dead. They died centuries ago, and for some reason, their descendants think Andra's a deity. She knows she's nothing special, but she'll play along if it means she can figure out why she was left in stasis and how to get back to Earth. Zhade, the exiled bastard prince of Eerensed, has other plans. Four years ago, the sleeping Goddess's glass coffin disappeared from the palace, and Zhade devoted himself to finding it. Now he's hoping the Goddess will be the key to taking his rightful place on the throne--if he can get her to play her part, that is. Because if his people realize she doesn't actually have the power to save their dying planet, they'll kill her. With a vicious monarch on the throne and a city tearing apart at the seams, Zhade and Andra might never be able to unlock the mystery of her fate, let alone find a way to unseat the king, especially since Zhade hasn't exactly been forthcoming with Andra. And a thousand years from home, is there any way of knowing that Earth is better than the planet she's woken to?
The beloved debut novel about an affluent Indian family forever changed by one fateful day in 1969, from the author of The Ministry of Utmost Happiness NEW YORK TIMES BESTSELLER • MAN BOOKER PRIZE WINNER Compared favorably to the works of Faulkner and Dickens, Arundhati Roy’s modern classic is equal parts powerful family saga, forbidden love story, and piercing political drama. The seven-year-old twins Estha and Rahel see their world shaken irrevocably by the arrival of their beautiful young cousin, Sophie. It is an event that will lead to an illicit liaison and tragedies accidental and intentional, exposing “big things [that] lurk unsaid” in a country drifting dangerously toward unrest. Lush, lyrical, and unnerving, The God of Small Things is an award-winning landmark that started for its author an esteemed career of fiction and political commentary that continues unabated.
This positive and hip guide to beauty and spirituality shows girls how to unleash the inner goddess with simple messages and tasks that will illuminate mind, body, and soul.
Goddess as Nature makes a significant contribution to elucidating the meaning of a female and feminist deity at the beginning of the twenty-first century. Bridging the gap between the emergent religious discourse of thealogy - discourse about the Goddess - and a range of analytical concerns in the philosophy of religion, the author argues that thealogy is not as incoherent as many of its critics claim. By developing a close reading of the reality-claims embedded within a range of thealogical texts, one can discern an ecological and pantheistic concept of deity and reality that is metaphysically novel and in need of constructive philosophical, thealogical and scholarly engagement. Philosophical thealogy is, in an age concerned with re-conceiving nature in terms of agency, chaos, complexity, ecological networks and organicism, both an active possibility and a remarkably valuable academic, feminist and religious endeavour.
THE DEATH OF THE GODDESS is an epic, narrative poem that is a moving account of affection, personal loss, and grief. Inspired by Buddhism, Indic thought and Hogan’s reading of the Bhagavad Gita, the central figures are two lovers who refuse to accept unjust social hierarchies and suffer separation and death for that choice. In this groundbreaking narrative, Patrick Colm Hogan sets out to re-synthesize ancient Indian philosophy and myth, with a beauty and literary feeling (called “rasa” in Sanskrit) that are the central aspects of this poem. THE DEATH OF THE GODDESS is richly metaphorical and written in an innovative form where Hogan makes liberal use of the musical features of verse—rhyme, assonance, and alliteration—that combines aspects of formal patterning with the unexpectedness of free verse. There are no spare words—each line is crafted with careful accuracy, cutting with a surgeon’s precision. These unifying tie-ins make THE DEATH OF THE GODDESS an excellent literary achievement to be read by serious poetry lovers and students in mythology or epic literature alike.
