Mysticism is one of the most enduring and fascinating aspects of religious life, and one of the most difficult to unpick. This book enables readers to understand the nature of mysticism, and examines in detail the traditional methods used by mystics in seeking an intimate understanding of the spiritual world.
As the Vikings began to migrate overseas as raiders or settlers in the late eighth century, there is evidence that this new way of life, centred on warfare, commerce and exploration, brought with it a warrior ethos that gradually became codified in the Viking myths. This book leads the reader into the lost world of the Norse gods.
Names are everywhere, identifying people, places, animals, plants, public houses and fields. The investigations in this work involve detective stories into the connections between names and related subjects - archaeology and the landscape; genealogy, genetics and family networks; dialects and social customs; and industrial and farming practices.
This book offers students, writers, and serious fans a window into some of the most popular topics, styles and periods in this subject. Authors studied include N. Scott Momaday, Leslie Marmon Silko, Louise Erdrich, James Welch, Linda Hogan, Gerald Vizenor and Sherman Alexie.
Written for students and the general viewing public, this book explores the varying contexts in which indigenous filmmaking takes place. It demonstrates how indigenous films challenge some of the basic assumptions of viewers who experience these films while using national cinemas as their models.
Provides a comprehensive account of the films made in Nazi Germany from 1933 to 1945, including the notorious feature film "Jud Suss" and the compilation documentary "Der Ewige Jude". This title explores how the film makers were controlled and used by the regime. It also examines other less well- known films featuring Jewish characters.
Are contemporary art theorists and critics speaking a language that has lost its meaning? This book takes a linguistic approach to the key issues and shows that what have been considered problems of aesthetics and artistic justification often have their source in underlying linguistic assumptions.