By Richard P. Taylor
Filenote: PDF retail from ebsco. PDF is ebsco's reflow pdf, so now not the good PDF imprint. Paginated. name is was once in ABC-CLIO catalog, so perhaps the bankruptcy rips are nonetheless to be had and perhaps a greater imprint. Will maintain looking.
Readers of Death and the Afterlife: A Cultural Encyclopedia will locate that spending time with dying is life-giving in so much cultures this present day and all through background. The Underworld, no matter if the Greek Hades or the chinese language Yellow Springs, is not only a repository of the useless, however the resource of fertility, wealth, and hidden knowledge bestowed merely upon the adventurous who pass the border among this international and the next.
This finished reference paintings comprises hundreds and hundreds of entries at the occasionally vague, advanced, and mysterious (but continually interesting) funeral customs of dozens of cultures. greater than a meeting of data, this reference attracts out the underlying that means of funeral and afterlife traditions. every one access is widely documented and contains the insights of considerate local authors and commentaries at once regarding the cultural subject to hand. a subject finder by way of tradition, a bibliography, an index, and first resource references are incorporated.
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Extra resources for Death and the Afterlife: A Cultural Encyclopedia
New York: Prentice Hall, 1991. Three of these six Bardos are found during physical life; three are found in the afterdeath process. Thus the descriptions of the Bardo states are very detailed, enabling one, it is thought, to recognize the process and thus exert some control over it. As each basic energy fades into the next, the dying is said to feel particular unpleasant sensations and lose more physical abilities. Now the dead person has truly died and plunged into the deepest nature of mind: a mystical union that is empty of all content.
The origin of the baldacchino is probably from surface cemeteries covered by a roof supported by pillars, which was then transferred underground. London: Thames and Hudson, 1978. She is said to appear only to those with “Ó” or “Mac” in their surname, that is, those descended from noble Irish families, though banshee traditions are found in the Scottish highlands as well. In time each noble family came to have a patron goddess who protected its interests and estate. It was probably during the difficult sixteenth and seventeenth centuries, when England was seizing land and inflicting great damage on Irish people, that the banshee’s shift from muse to omen took place, along with the emphasis that she appeared to Gaelic (not English) families.
In its midst men laid the famous prince, lamenting their belovéd lord. Heaven swallowed the smoke. Then the people of the Weders built a mound on the bluff, high and broad, widely seen by travelers on the waves: in ten days they built that monument to the brave warrior, encased in walls the remnants of the fire, in the most worthy structure wise men could devise. In the barrow they set rings and gems, all such ornaments as warlike men had earlier taken from the [dragon’s] hoard: they left the wealth of warriors for earth to hold, gold in the ground, where it still lies, as useless to men as it ever was.
Death and the Afterlife: A Cultural Encyclopedia by Richard P. Taylor