"A clear, sympathetic, and informed introduction to these people and their ceremonies ... should give every new onlooker a deeper appreciation of the dance which is really a prayer."--The Denver Post

An anthropologist compares three diverse societies in this groundbreaking, “unique and important” cultural study (The New York Times). A remarkable introduction to cultural studies, Patterns of Culture made history in exploring the role of culture in shaping our lives. In it, the renowned anthropologist Ruth Benedict offers an in-depth look at three societies—the Zuñi of the southwestern United States, the Kwakiutl of western Canada, and the Dobuans of Melanesia—and demonstrates the diversity of behaviors in them. Benedict’s groundbreaking study shows that a unique configuration of traits defines each human culture and she examines the relationship between culture and the individual. Featuring prefatory remarks by Franz Boas, Margaret Mead, and Louise Lamphere, who calls it “a foundational text in teaching us the value of diversity,” this provocative work ultimately explores what it means to be human. “That today the modern world is on such easy terms with the concept of culture . . . is in very great part due to this book.” —Margaret Mead

On the heels of his widely successful trilogy of works honoring H. P. Lovecraft, Donald Tyson now unveils a true grimoire of ritual magic inspired by the Cthulhu Mythos. The Grimoire of the Necronomicon is a practical system of ritual magic based on Lovecraft's mythology of the alien gods known as the Old Ones. Fans of Lovecraft now have the opportunity to reliably and safely get in touch with the Old Ones and draw upon their power for spiritual and material advancement. Tyson expands upon the Old Ones' mythology and reintroduces these "monsters" in a new, magical context—explaining their true purpose for our planet. As a disciple, you choose one of the seven lords as a spiritual mentor, who will guide you toward personal transformation. Grimoire of the Necronomicon features ritual forms and invocations for the daily and yearly rites of the Old Ones, individual rituals devoted to each of the seven major figures of the mythos, and most importantly, a grand ritual for personal attainment. The daily rituals provide an excellent system of esoteric training for individual practitioners. This grimoire also provides structure for an esoteric society—Order of the Old Ones—devoted to the group practice of this unique system of magic.

The place (or absence) of God in Nietzsche’s thought remains central and controversial. Nietzsche’s proclamation of 'the death of God' is one of the most famous (and parodied) slogans in modern philosophy, seeming to encapsulate the nineteenth-century loss of religious faith in the affirmation that God has "turned out to be our oldest lie" and yet the nature of Nietzsche’s own ‘theology’ is far from clear. This volume engages with Nietzsche’s arguments about God, theology, and religion. The volume extends the discussion to an engagement of Nietzsche with alternative models of God, with ancient Greek religions, and with discussions of diversity (race, class, gender, sex) in dis/conjunction with religion. The chapters examine Nietzsche’s genealogy of religion and his claims about the place of God and theology in the history of Western thought ("that faith of the Christians, which was also Plato’s faith"), as well as his engagements with alternative conceptions of God. The volume also examines the historical and contemporary reception of Nietzsche’s arguments about God by religious and non-religious thinkers, asking to what extent Nietzsche’s philosophy of God speaks to the challenges of today's globalized philosophy and religion.

Winner, Association for Latin American Art Book Award, 2010 The Maya of Mexico and Central America have performed ritual dances for more than two millennia. Dance is still an essential component of religious experience today, serving as a medium for communication with the supernatural. During the Late Classic period (AD 600-900), dance assumed additional importance in Maya royal courts through an association with feasting and gift exchange. These performances allowed rulers to forge political alliances and demonstrate their control of trade in luxury goods. The aesthetic values embodied in these performances were closely tied to Maya social structure, expressing notions of gender, rank, and status. Dance was thus not simply entertainment, but was fundamental to ancient Maya notions of social, religious, and political identity. Using an innovative interdisciplinary approach, Matthew Looper examines several types of data relevant to ancient Maya dance, including hieroglyphic texts, pictorial images in diverse media, and architecture. A series of case studies illustrates the application of various analytical methodologies and offers interpretations of the form, meaning, and social significance of dance performance. Although the nuances of movement in Maya dances are impossible to recover, Looper demonstrates that a wealth of other data survives which allows a detailed consideration of many aspects of performance. To Be Like Gods thus provides the first comprehensive interpretation of the role of dance in ancient Maya society and also serves as a model for comparative research in the archaeology of performance.

Nataraja, the dancing Siva sculpture, is perhaps the most well-known among all Hindu sculptures, and rightly so. It has evoked highly advanced discussions among scientists, philosophers, performing artists, art critics, art collectors, historians, archaeologists and mythologists. The Nataraja sculpture also occupies a pride of a place at CERN, the European Centre for Research in Particle Physics in Geneva. Siva, according to Hindu Mythology, was the very first dancer in the world. All dramaturgy and dance traditions emerge from Siva’s cosmic dance. Tandu, Siva’s disciple narrated the description of Siva’s dance to Bharata Muni and he is believed to have compiled the Natyasastra, the world’s first treatise on dramaturgy, dance and other performing arts. Scholars believe that the Natyasastra was written over a long period of time between the 2nd century BCE and 2nd century CE with contributions from various sages, with its foundation having been laid by Bharata Muni. Convergence between Hindu mythology, Natyasastra and Silpasastra was the natural outcome. Karnataka, and its temple architecture tradition, played a pioneering role in giving an artistic form to this convergence in its temple sculptures. Though this trend may have started earlier during 2nd and 3rd century CE, it started to take the center stage from the times of the Badami Chalukyas. Passing through various refinements between 5th and 10th centuries, it reached its peak with the Hoysala art. This book traces the history of temple sculpture evolution and development through the centuries by referring to the existing sculptural forms and the canonical literature that developed over time.