In this thrilling Afro-fantasy, the first set in the lush, opulent kingdom of Galla, a girl raised in secret must leave her sheltered rural home for the subtle dangers of the royal court, where she becomes caught up in deadly power struggles and romantic intrigue. Kalothia has grown up in the shadows of her kingdom, hidden away in the forested East after her parents were outed as enemies of the king. Raised in a woodland idyll by a few kindly adult caretakers, Kalothia can hunt and fish and fend for herself but knows little of the outside world. When assassins attack her home on her sixteenth birthday, she must flee to the king's court in the West--a beautiful but lethal nest of poison, plots, and danger, overseen by an entrenched patriarchy. Guided by the Goddess herself, can Kalothia navigate this most worldly of places to find her own role? What if she must choose between her country and her heart? Excitement, romance, and a charismatic heroine shine in this first book set in the unforgettable kingdom of Galla.
There are a multitude of female figures represented in the art of the ancient Near East and it has often been proved difficult to differentiate them. This study presents a collection of visual source material on godesses from Egypt, Ugarit, Syria and Palestine from c,1500 to 1000 BC. An introduction to the subject and previous research precedes a discussion of iconographic types (armed, seated, standing, equestrian and named women holding objects) and media (including reliefs, seals and amulets, bronze figurines, ivories and ostraca). Cornelius devises a typology of attributes for the goddess Anat, Astarte, Qedeshet and Asherah in order to define their individual qualities and provide a means by which these goddesses can be differentiated. Includes a large descriptive catalogue.
Learn about the ancient goddess traditions and reconnect with your femininity, your natural cycles and your intuition. Ancient civilizations once worshipped female deities and women were the leaders, counsellors and healers of their communities. Through the ages, the wisdom of the Goddess was then forgotten, and people around the world lost their connection to ancient feminine wisdom. In this practical guide, Tanishka, a leading teacher and author of women's wisdom traditions, introduces the main Goddess cultures and explains how their teachings and practices can empower and transform your life today. You will learn: the history, philosophy and practices of ancient Goddess traditions the seven Goddess archetypes and their corresponding chakras the life stages of the feminine journey and how to transition through each one rituals to reconnect with your inner goddess insight and tools to understand and align with the cycles of nature This book was previously published under the title Goddess Wisdom (Hay House Basics series).
Ancient civilizations worshipped female deities, and women were the leaders, counsellors and healers of nations. However, through various historical events, such as the arrival of Christianity in many cultures, the worship of the goddess was lost. In this book, author Tanishka shares the long-lost ancient culture of the goddess. This book unveils: • The history of the ancient goddess traditions • The 7 Goddess archetypes and their chakras • A woman's life stages and how to transition into each one • The 3 goddess paths of initiation used by ancient priestesses • Tools for understanding and aligning with the cycles of nature • Rituals and exercises to reconnect with your inner goddess ...and much more!
A 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 Sumerian people once inhabited the region near the Persian Gulf, known as Iraq. Greeks called this country Mesopotamia, which means the land between the rivers, as the Euphrates and Tigris, rising in Anatolia, flowed through Syria and Iraq before discharging into the Persian Gulf. 'Simurrum' is the name given to the northern region by the Semitic peoples later, like the word Sumerian, which was later used for the southern region. According to the Sumerians, their land was called Kien-gi, or 'land of the lordly En,' after the priest-king of Sumer (En). Sometime after 4000 BC, the Sumerians moved to this coastal area, but it's unclear from where they came. There is no connection between their language and any other language spoken in the region. After sailing upriver from the Persian Gulf, they migrated inland from the coastal area. On the other hand, Sumerians came from the northeast of Mesopotamia and traveled down the river to the south. 'Simurrum' could indicate that the Sumerians once lived in the northern region. The Sumerians must have encountered people who had already settled in the Persian Gulf area for a long time when they entered since a few cities had names that did not match Sumerians but were most likely derived from an unknown language. Examples include Uruk, Ešnunna, and Shuruppak. Similarly, Buranuna, the name of the Euphrates River, makes no sense in Sumerian, whereas Idigna, the name of the Tigris River, might be explained as 'the blue river. Farmers had established small settlements along these two great rivers during the fifth millennium BC. To irrigate agricultural crops, they diverted water from rivers through canals. There was little rainfall in this area, and the sun burned mercilessly during the summer months, so everyone lived entirely off floodwater from the rivers. The rivers could be dangerous, though, as the land was flat, and there was always the danger that the river would overflow its banks and change its course, inundating new areas and destroying crops and water supplies. The great rivers carried silt through the plain, forming swamps along the Persian coast. Here, the inhabitants grew cane for making little reed houses for the gods. God Enki was responsible for this domain. He brought civilization to the Sumerians and lived underground in a freshwater residence, the Abzu, located below the earth's surface but above the ocean's saltwater expanse.
Gisela knows about sacrifice all too well. She abandoned her education, friends, and fairy tales to support her family and care for her sister.But when she jilts a wealthy suitor, Gisela is chosen for another type of sacrifice.As an Offering to the Goddess Bergot, Gisela and seven others are sent on a deadly quest for a mythical crown. To return home, Gisela must overcome obstacles which darkly resemble the fairy tales she once believed.Weaving through a tapestry of friendship, romance, violence, and magic-Gisela becomes the target of an ancient evil force, while an ominous detail from the past haunts her at every turn.To what lengths will Gisela go to save the ones she loves? Sometimes sacrifices must be made.Trigger Warnings: This novel contains graphic violence, cursing, and sexual situations.
First full illustrated translation with Egyptian transliteration, aiming to present with their individual histories all the compositions on prt m hrw "Book of the Dead" papyri from the New Kingdom to Ptolemaic Period. The volume gives at least one version of every written composition, together with one or more images for the essential pictorial component of all writings for which illustrations are known. Writings at the margins or outside the prt m hrw corpus, including all ascribed "Book of the Dead" numbers in Egyptological publications, are included in the final section. The translations are supported by a thematic and historical introduction and closing glossary.
