Moving to Whidbey Island, surrounded by the Pacific Ocean, I met Monte Merserve and this is where the first chapter begins. Since then I still teach ARC Swim Lessons to others, and became a PADI Swim Instructor teaching scuba diving for fifteen years . Since then Ive been Scuba Diving around the world and meeting new friends in the World of waters. In this book I share stories of these underwater encounters both exciting and exhilarating. I also provided photos of these events, including my dive of a lifetime adventure in Antartica. ~ Virginia Huerlin Long Cross (PADI #3271) ~
Filled with insight, provocative in its conclusions, A'aisa's Gifts is a groundbreaking ethnography of the Mekeo of Papua New Guinea and a valuable contribution to anthropological theory. Based on twenty years' fieldwork, this richly detailed study of Mekeo esoteric knowledge, cosmology, and self-conceptualizations recasts accepted notions about magic and selfhood. Drawing on accounts by Mekeo ritual experts and laypersons, this is the first book to demonstrate magic's profound role in creating the self. It also argues convincingly that dream reporting provides a natural context for self-reflection. In presenting its data, the book develops the concept of "autonomous imagination" into a new theoretical framework for exploring subjective imagery processes across cultures.
Beneath the Volcano is the first major account of the Nage, who inhabit the central part of Flores in eastern Indonesia. The book focuses on Nage ideas concerning a variety of spiritual beings and how these influence both ritual practices and ideas about human beings. In exploring these subjects, the author sets out to uncover a classification of spirits. While quite different from taxonomies of natural beings, Nage ways of linking named categories of spirits nevertheless reveal a regular conceptual order. In describing this order, use is made of a version of Dumont's notion of 'encompassment'. Common ideas informing relations between Nage humans and several categories of spirits are further interpreted as instances of a pervasive principle of 'symmetric inversion', according to which human beings are spirits for the spirits.
The work of Chippewa artist George Morrison (1919–2000) has enjoyed widespread critical acclaim. His paintings, drawings, prints, and sculptures have been displayed in numerous public and private exhibitions, and he is one of Minnesota’s most cherished artists. Yet because Morrison’s artwork typically does not include overt references to his Indian heritage, it has stirred debate about what it means to be a Native American artist. This stunning catalogue, featuring 130 color and black-and-white images, showcases Morrison’s work across a spectrum of genres and media, while also exploring the artist’s identity as a modernist within the broader context of twentieth-century American and Native American art. Born and raised near the Grand Portage Indian Reservation in Minnesota, Morrison graduated from the Minnesota School of Art and the Art Students League in New York City. He spent his early career mainly on the East Coast, becoming one of the first Native American artists to exhibit his work extensively in New York. Best known for his landscape paintings and wood collages, he employed a variety of media—paint, wood, ink and metal, paper, and canvas—and developed a unique style that combined elements of cubism, surrealism, and abstract expressionism. In her foreword to Modern Spirit, Cherokee artist Kay WalkingStick describes her personal association with Morrison and admiration for his authentic artistic vision. Kristin Makholm, in her introduction to the volume, explores Morrison’s ties to Minnesota and his legacy within the history of Minnesota art and culture. Then, drawing on extensive primary research and Morrison’s own writings, W. Jackson Rushing III offers an in-depth analysis of Morrison’s artistic evolution against the backdrop of evolving definitions of “Indianness.” By expanding our understanding of Morrison’s singular vision, Modern Spirit invites readers to appreciate more deeply the beauty and complexity of his art.
Shamanism can be defined as the practice of initiated shamans who are distinguished by their mastery of a range of altered states of consciousness. Shamanism arises from the actions the shaman takes in non-ordinary reality and the results of those actions in ordinary reality. It is not a religion, yet it demands spiritual discipline and personal sacrifice from the mature shaman who seeks the highest stages of mystical development.
Encephalitis almost ended Chris Maxwell's life. The scar tissue in his brain and life with epilepsy made him - and his family and friends - feel like the life they'd known changed suddenly and permanently. For Maxwell and the staggering number of people facing traumatic brain injuries, epilepsy, or other painful encounters, life is experienced through a different lens. Names are tough to remember. Medication is a common acquaintance. Exhaustion, seizures, and mood swings are daily traveling companions. Maybe you can relate. Maybe you know about encephalitis, epilepsy, or another type of brain damage. Maybe you're a caregiver not sure how to come ashore yourself. Maybe your story is different, but the feeling is the same. Depression, disability or disease has changed everything. Maxwell's writing and the stories of others offer hope. Hope that you're not alone, even when your experience underwater seems to change everything.
Investigating the meanings and uses of "spiritus" in a variety of early modern disciplines and fields - natural philosophy, theology, music, literature and the visual arts - this book revisits the ambivalent history of a central ancient concept in a period of crisis and change.
Helen Harmelink Cepero looks at how we can use journal writing to enhance and support other disciplines such as discernment, self-understanding, attention to God, prayer and more.
Leben hat viele Formen und ist vielfältig verflochten. Das Buch macht die Koexistenz verschiedener Wesen und Welten anhand von Dingen, Geschichten und Kunstwerken sichtbar. Es zeigt, dass die Mitwelt in vielen Regionen der Erde lebendig und aktiv erfahren wird: Berge und Flüsse sind nicht nur Ressource oder Kulisse, sondern wirkmächtige Quellen des Lebens; Pflanzen und Tiere sind nicht allein Nahrung, sondern Gefährten; Ahnen und Geistwesen beeinflussen den lebendigen Alltag. So verstanden, vermitteln lokale Perspektiven und alternative Formen des Miteinanders Wege in gemeinsame Zukünfte. Eine Vielfalt internationaler Autor*innen erzählt hier Geschichten von Geflechten des Lebendigen, die empathisch und informiert dazu einladen, unsere Beziehungen zur Mitwelt zu überdenken und neu zu knüpfen.
