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A New Expanded And Illustrated Edition Of The Work First Published In 1980. Relates Two Festivals-Durgapuja In Some Of Goddess Durga, And Gajan In Honour Of Lord Siva. Presents An Inside New Of Society And Is The Only Complete Ethnographic Account Of A Major Ritual Cycle In India. 4 Chapters And 4 Appendices.
This book studies the close connections between politics, culture, art, and philosophy in seventeenth-century Europe. As an emblem of this interrelationship, the author has chosen the phenomenon of the splendid festive performance of spectacular plays and operas given at absolutist courts in Rome, Madrid, Paris, Versailles, and Vienna between 1631 and 1668. Gods of Play fills voids in the scholarly literature on the seventeenth-century, on absolutism, on courtly theatricality, and on the philosophy of play. Aercke demonstrates that such splendid performances were not just frivolous entertainment for the courtly class but were serious activities with far-ranging political consequences.
Gods at Play: An Eyewitness Account of Great Moments in American Sports by Tom Callahan Pdf
A beautifully observed narrative of American sport: character, grit, tragedy, unremarked heroism, and, always, the illuminating story behind the story. As a columnist for Time magazine, among many other publications, Tom Callahan witnessed an extraordinary number of defining moments in American sport across four decades. He takes us from Roberto Clemente clinching his 3,000th, and final, regular-season hit in Pittsburgh; to ringside for the Muhammad Ali–George Foreman fight in Zaire; and to Arthur Ashe announcing, at a news conference, that he’d tested positive for HIV. There are also little-known private moments: Joe Morgan whispering thank you to a virtually blind Jackie Robinson on the field at the 1972 World Series, or Kareem Abdul-Jabbar saying he was more interested in being a good man than in being the greatest basketball player. Brimming with colorful vignettes and enlivened by Callahan’s eye for detail, Gods at Play offers surprising portraits of the most celebrated names in sports. Roger Rosenblatt calls Callahan “the most complete sportswriter in America. He knows the most and writes the best."
We had the Fray of the Gods. Now we have the Play of the Gods - a tale of lust for gold, lust for power, and lust for cheese dip. The Gods themselves watch this story from the above so it must be good enough for you. This handsome paperback volume collects all four issues of the series: in one package, you get a lot of Groo doing real stupid things and causing mass destruction. Just what you wanted!
This is the story of M. Francisco Fabrigas, explorer, philosopher, heretical physicist, who took a shipful of children on a frightening voyage to the next dimension, assisted by a teenaged Captain, a brave deaf boy, a cunning blind girl, and a sultry botanist, all the while pursued by the Pope of the universe and a well-dressed mesmerist. Dark plots, demonic cults, murderous jungles, quantum mayhem, the birth of creation, the death of time, and a creature called the Sweety: all this and more waits beyond the veil of reality.
A deeply thoughtful, deeply irreverent look at the mythology of play, Gods and Games ties together Joseph Campbell's approach to myth and religion with Johan Huizinga's view of our species as Homo ludens — "Man the Game-player" — which suggests that play is a central aspect of the human spirit and human culture. "A comprehensive and clear review.... loaded with quotations both pertinent and entertaining that may be eye-openers both to traditional religionists and readers who may never have thought about play in a philosophical or religious sense." —Publishers Weekly
THE STORY: A playground altercation between eleven-year-old boys brings together two sets of Brooklyn parents for a meeting to resolve the matter. At first, diplomatic niceties are observed, but as the meeting progresses, and the rum flows, tension
GodÕs Middle Name is the compelling tale of one motherÕs journey through the uncharted territory of raising an autistic child.Jennifer is the mother of the child with autism. The play, in a series of episodic scenes, follows JenniferÕs family over the course of 10 years: from confusion to a life-altering diagnosis, through stages of denial, anger, depression, bargaining and finally acceptance. Along the way are flights of fancy and a great deal of humour, found both in JenniferÕs own approach to the challenge, and in NicÕs perception of the world around him.Written with sensitivity and lightness of touch, the play does not flinch from describing the grief involved in parenting an autistic child, yet the dominant emotion is one of joy in NicholasÕ accomplishments.GodÕs Middle Name premiered at the On The Waterfront Festival at Eastern Front Theatre in 2006. The play earned Jennifer the 2007 Robert G. Merritt Award for Best New Play, and In Good Company the award for Best Production. The production went on to the prestigious Magnetic North Theatre Festival in Ottawa and then had a very successful provincial and Canadian national tour. The play was also shortlisted for the coveted Lieutenant GovernorÕs Masterworks Award in 2008 and 2009.
Imagine one day you went to a cash-machine and found your money was gone. You rushed to your branch, where a teller said that overnight people had stopped believing in money, and it all vanished. Seem incredible? It happened, and it could happen again. Twilight of the Money Gods is the story of economics, told not as the science it strove to be, but as the religion it became. Over two centuries, it searched for the hidden codes which would reveal the path to a promised land of material abundance. While its prophets, from Adam Smith to John Maynard Keynes and Milton Friedman, concerned themselves with the human condition, its priesthood gradually grew remote from its followers, until it lost sight of their tribulations. Today, amid a crisis of faith in their expertise, we must re-imagine an economics for a new era - one filled with both danger and opportunity.
God is playful. Like a child building sand castles on the beach, God creates the world and destroys it again. God plays with his (or her) devotees, sometimes like a lover, sometimes like a mother with her children, sometimes like an actor in a play.The idea of God's playfulness has been elaborated in Hinduism more, perhaps, than any other religion, providing one of the most distinctive and charming aspects of Indian religious life. Lila or "divine play" can refer to many things: to God's playful creation of the world and to religious dramas or "plays," as well as to various motifs in Hindu art. But despite the importance of lila in the cultural history of South Asia, few comprehensive studies of it are available, partly because scholars have tended to emphasize only one dimension of lila--either the theological or the performative--at the expense of the other. The Gods at Play fills this gap by bringing together scholarly essays on all aspects of this important Hindu idea, providing students with a broader understanding of popular Hindu culture and religion.
The riveting story of the rivalry between the two most renowned actresses of the nineteenth century: legendary Sarah Bernhardt, whose eccentricity on and off the stage made her the original diva, and mystical Eleonora Duse, who broke all the rules to popularize the natural style of acting we celebrate today. Audiences across Europe and the Americas clamored to see the divine Sarah Bernhardt swoon—and she gave them their money’s worth. The world’s first superstar, she traveled with a chimpanzee named Darwin and a pet alligator that drank champagne, shamelessly supplementing her income by endorsing everything from aperitifs to beef bouillon, and spreading rumors that she slept in a coffin to better understand the macabre heroines she played. Eleonora Duse shied away from the spotlight. Born to a penniless family of itinerant troubadours, she disappeared into the characters she portrayed—channeling their spirits, she claimed. Her new, empathetic style of acting revolutionized the theater—and earned her the ire of Sarah Bernhardt in what would become the most tumultuous theatrical showdown of the nineteenth century. Bernhardt and Duse seduced each other’s lovers, stole one another’s favorite playwrights, and took to the world’s stages to outperform their rival in her most iconic roles. A scandalous, enormously entertaining history full of high drama and low blows, Playing to the Gods is the perfect “book for all of us who binge-watched Feud” (Daniel de Visé, author of Andy & Don: The Making of a Friendship and a Classic American TV Show).
The God of Gods: A Canadian Play by Carroll Aikins Pdf
Carroll Aikins’s play The God of Gods (1919) has been out of print since its first and only edition in 1927. This critical edition not only revives the work for readers and scholars alike, it also provides historical context for Aikins’s often overlooked contributions to theatre in the 1920s and presents research on the different staging techniques in the play’s productions. Much of the play’s historical significance lies in Aikins’s vital role in Canadian theatre, as director of the Home Theatre in British Columbia (1920–22) and artistic director of Toronto’s Hart House Theatre (1927–29). Wright reveals The God of Gods as a modernist Canadian work with overt influences from European and American modernisms. Aikins’s work has been compared to European modernists Gordon Craig, Adolphe Appia, and Jacques Copeau. Importantly, he was also intimately connected with modernist Canadian artists and the Group of Seven (who painted the scenery for Hart House Theatre). The God of Gods contributes to current studies of theatrical modernism by exposing the primitivist aesthetics and theosophical beliefs promoted by some of Canada’s art circles at the turn of the twentieth century. Whereas Aikins is clearly progressive in his political critique of materialism and organized religion, he presents a conservative dramatization of the noble savage as hero. The critical introduction examines how The God of Gods engages with Nietzschean and theosophical philosophies in order to dramatize an Aboriginal lover-artist figure that critiques religious idols, materialism, and violence. Ultimately, The God of Gods offers a look into how English and Canadian theatre audiences responded to primitivism, theatrical modernism, and theosophical tenets during the 1920s.
Since the dramatic discovery of the mathematical concept of chaos in 1989, the controversy of its contents has settled down. This revised edition of Does God Play Dice? takes a fresh look at its achievements and potential. With a new preface and three completely new chapters, it includes the latest practical applications of chaos theory, such as developing intelligent heart pacemakers. All this provides a fascinating new answer to Einstien's question which provided the title of this book.
Oh My Gods! by Stephanie Cooke,Insha Fitzpatrick Pdf
When Karen leaves New Jersey to spend time with her enigmatic father on Mount Olympus, she is shocked to learn that her junior high classmates are gods and goddesses, and that one of them is turning people to stone.
This book presents a comprehensive study into Plato's theological doctrines, offering an important re-valuation of the status of Plato's gods and the relation between metaphysics and theology according to Plato. Starting from an examination of Plato's views of religion and the relation between religion and morality, Gerd Van Riel investigates Plato's innovative ways of speaking about the gods. This theology displays a number of diverging tendencies - viewing the gods as perfect moral actors, as cosmological principles or as celestial bodies whilst remaining true to traditional anthropomorphic representations. Plato's views are shown to be unified by the emphasis on the goodness of the gods in both their cosmological and their moral functions. Van Riel shows that recent interpretations of Plato's theology are thoroughly metaphysical, starting from aristotelian patterns. A new reading of the basic texts leads to the conclusion that in Plato the gods aren't metaphysical principles but souls who transmit the metaphysical order to sensible reality. The metaphysical principles play the role of a fated order to which the gods have to comply. This book will be invaluable to readers interested in philosophical theology and intellectual history.
