| |
|
ARSALOS...................2 (0.000%)
|
| greatest. But he killed their rulers, Arsalos and Dryos and Trosobios, | 116045 KA: - - Chapter 10: THE EVIDENCE FROM PLUTARCH - |
| say which. Kronos was neglected, and Arsalos and his followers are named the hard gods, | 116047 KA: - - Chapter 10: THE EVIDENCE FROM PLUTARCH - |
| |
|
ARSENAL...................3 (0.000%)
|
| the agora was next to the arsenal: | 77987 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 1: SACRED SCANDAL AND DISASTER Chapter 5: HOLY DREAMTIME : THE PIOUS DRAMATIST |
| was a major ingredient in Moses' arsenal, | 89770 GODS FIRE: - - Chapter 5: LEGENDS AND MIRACLES : THE ELECTRO-CHEMICAL FACTORY |
| on the drawing boards, and the arsenal to incinerate this globe and degenerate whatever population will survive is growing from day to day. | 126822 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 1: CULTURAL AMNESIA : WAR |
| |
|
ARSENIC...................2 (0.000%)
|
| such as cyanide. Iridium, osmium and arsenic occur in quantities hundred of times above the normal in strata of the cretaceous-tertiary when the dinosaurs and many other species, | 37483 THE LATELY TORTURED EARTH: PART II: EXOTERRESTRIAL DROPS: Chapter 9 Gases, Poisons and Foods - |
| dioxide, oxygen, iridium, platinum, cyanide, osmium, arsenic, | 49833 THE LATELY TORTURED EARTH: PART VII: DIMENSIONS OF QUANTAVOLUTION: Chapter 31 The Recency of the Surface - |
| |
|
ARSEVERSE.................5 (0.001%)
|
| Zeus in the cave in Crete. 'Arseverse' is an Etruscan incantation to avert lightning. | 117515 KA: - - Chapter 14: BOLTS FROM THE BLUE - |
| or permanent home, of the Etruscans. Arseverse, | 118650 KA: - - Chapter 18: ROME AND THE ETRUSCANS : PANTOMIME |
| sacrifice by fire. lightning-conductor Etr. arseverse; | 120984 KA: - - - GLOSSARY - |
| in Etruscan, meaning divine fire, lightning. Arseverse, | 124731 - A FIRE NOT BLOWN: - - Chapter 21: KINGS - |
| Etruscan for electrical fire, as in arseverse, ' | 125544 - A FIRE NOT BLOWN: - - Chapter 27: GLOSSARY - |
| |
|
ARSIA.....................1 (0.000%)
|
| mountainous feature called South Spot (now, Arsia Mons). | 56972 SOLARIA-BINARIA: PART 2: DESTRUCTION OF THE SOLAR BINARY: Chapter 16: VENUS AND MARS - |
| |
|
ARSON.....................2 (0.000%)
|
| s fires (some of which were arson). | 13229 COSMIC HERETICS: PART 3: - Chapter 10: ABC'S OF ASTROPHYSICS - |
| entirely any humans and animals? Contemporary arson experts can transfer their "know-how" to such queries. | 102872 THE BURNING OF TROY: PART 1: HISTORICAL DISTURBANCES: Chapter 2: THE BURNING OF TROY : A NEW INTERDISCIPLINARY METHOD |
| |
|
ART.......................235 (0.029%)
|
| R. aromatic hydrocarbon Arp, Halton C. art artesian well, | 1636 QUANTAVOLUTION AND CATASTROPHE: PART 5: The Scope of Quantavolution - - - |
| Caucasoid Caucasus Mountains causality cave cave art cave dweller cave, | 2108 QUANTAVOLUTION AND CATASTROPHE: PART 5: The Scope of Quantavolution - - - |
| Ziv Roche Limit" Rochenbach rock rock art rock chimney rock salt Rock, | 5075 QUANTAVOLUTION AND CATASTROPHE: PART 5: The Scope of Quantavolution - - - |
| ray source x-ray style, in Art xenophobia Y Yahweh Yamato mountains Yangtze River, | 6017 QUANTAVOLUTION AND CATASTROPHE: PART 5: The Scope of Quantavolution - - - |
| handsome and less useful books on art and archaeology that had entered lately, | 6604 COSMIC HERETICS: PART 1: - Chapter 2: THE PRODIGAL ARCHIVE - |
| subject and "the state of the art;" | 7912 COSMIC HERETICS: PART 1: - Chapter 3: CHEERS AND HISSES - |
| child of Lewis Greenberg, a young art historian of the faculty of Moore College of Art in Philadelphia. | 8834 COSMIC HERETICS: PART 1: - Chapter 5: THE BRITISH CONNECTION - |
| the faculty of Moore College of Art in Philadelphia. | 8834 COSMIC HERETICS: PART 1: - Chapter 5: THE BRITISH CONNECTION - |
| strongest and at "state of the art" level in history, | 8862 COSMIC HERETICS: PART 1: - Chapter 5: THE BRITISH CONNECTION - |
| own cult, and in science or art, | 11334 COSMIC HERETICS: PART 3: - Chapter 9: NEW FASHIONS IN CATASTROPHISM - |
| met at the Museum of Modern Art at six yesterday after discussion with Kluger, | 14339 COSMIC HERETICS: PART 4: - Chapter 12: THE THIRD WORLD OF SCIENCE - |
| he considered as "state of the art" philosophically, | 18519 COSMIC HERETICS: PART 5: - Chapter 15: THE KNOWLEDGE INDUSTRY - |
| and that mathematics is only the art of saying the same thing in different words." | 19612 COSMIC HERETICS: PART 5: - Chapter 16: PRECURSORS OF QUANTAVOLUTION - |
| catastrophes of which we speak. Humanity, art, | 21606 CHAOS AND CREATION: - - - INTRODUCTION : QUANTAVOLUTION BY CATASTROPHE |
| disproven by Marshack, that "whereas Paleolithic art provides abundant evidence of primitive man's concern both with his own kind and with the animals which constituted his main source of food, | 25618 CHAOS AND CREATION: - - CHAPTER 06: THE URANIANS : PALEOLITHIC RELIGION |
| Saturn. Circles are rare in early art. | 25645 CHAOS AND CREATION: - - CHAPTER 06: THE URANIANS : PALEOLITHIC RELIGION |
| and earth is seen here in art, | 25795 CHAOS AND CREATION: - - CHAPTER 06: THE URANIANS : EJACULATIVE LANGUAGE |
| brought to light much of paleolithic art, | 25994 CHAOS AND CREATION: - - CHAPTER 06: THE URANIANS : CLIMATE CHANGES AND TIME |
| the central composition. Perhaps the cave art can be explained. | 26115 CHAOS AND CREATION: - - CHAPTER 06: THE URANIANS : SIGNS OF URANIAN CULTURE |
| In examining another specimen of moon-art, | 27554 CHAOS AND CREATION: - - CHAPTER 07: EARTH PARTURITION AND MOON BIRTH : THE HEAVENLY SPINNER |
| was the pretext for music and art. | 28064 CHAOS AND CREATION: - - CHAPTER 08: SATURN'S CHILDREN : THE "GOLDEN AGE" |
| Venus), and which is depicted in art and sung of in poetry, | 28597 CHAOS AND CREATION: - - CHAPTER 09: THE OLYMPIAN RULERS : THE LIGHTNING GOD |
| foggy, until, with confusing effects upon art history, | 29439 CHAOS AND CREATION: - - CHAPTER 10: VENUS AND MARS : THE PLOT OF THE ILIAD |
| dragon robes, (The Metropolitan Museum of Art, | 29471 CHAOS AND CREATION: - - CHAPTER 10: VENUS AND MARS : THE PLOT OF THE ILIAD |
| dragon very characteristic of Meso-American art and religion." | 29634 CHAOS AND CREATION: - - CHAPTER 10: VENUS AND MARS : THE DEVI AND THE MEXICAN BALLPLAYER |
| the seventh century. Mycenaean ruins and art, | 30068 CHAOS AND CREATION: - - CHAPTER 10: VENUS AND MARS : THE GREEK "DARK AGES" |
| of Chicago Press, Chicago. ---- (1954), The Art and Architecture of the Ancient Orient, | 31544 CHAOS AND CREATION: - - - BIBLIOGRAPHY - |
| Harvard U. Studies in Pre- Columbian Art and Archaeology, | 31640 CHAOS AND CREATION: - - - BIBLIOGRAPHY - |
| A. (1962), La Signification de l'Art Paleolithique, | 31870 CHAOS AND CREATION: - - - BIBLIOGRAPHY - |
| Cognitive Beginnings of Man's First Art, | 31976 CHAOS AND CREATION: - - - BIBLIOGRAPHY - |
| Richardson, Emeline (1964), The Etruscans: Their Art and Civilization, | 32187 CHAOS AND CREATION: - - - BIBLIOGRAPHY - |
| 3, 27. Rowland, B. (1953), The Art and Architecture of India, | 32219 CHAOS AND CREATION: - - - BIBLIOGRAPHY - |
| 1946), "Myths and Symbols in Indian Art and Civilization," | 32559 CHAOS AND CREATION: - - - BIBLIOGRAPHY - |
| second as the mechanism. "Dust thou art, | 36536 THE LATELY TORTURED EARTH: PART II: EXOTERRESTRIAL DROPS: Chapter 8 Falling Dust and Stone - |
| Carter Sutherland in 1973 traced dragon art in China back to its apparent origins around 1500 B. | 36692 THE LATELY TORTURED EARTH: PART II: EXOTERRESTRIAL DROPS: Chapter 8 Falling Dust and Stone - |
| pictured, too, in ancient and modern art. | 39508 THE LATELY TORTURED EARTH: PART III: HYDROLOGY: Chapter 13 Deluges - |
| Basin. Ancient Saharan ruins and the art of the Ahaggar mountain caves amply testify to the ancient cultures there between 4000-1500 B. | 40460 THE LATELY TORTURED EARTH: PART III: HYDROLOGY: Chapter 14 Floods and Tides - |
| of beauty and importance 2 : Greek art was fond of decorating the friezes of its sacred edifices with the spirited form of the horse. | 47258 THE LATELY TORTURED EARTH: PART VI: BIOSPHERICS: Chapter 27 Genesis and Extinction - |
| dragon made its appearance in Chinese art around 1500 B. | 48484 THE LATELY TORTURED EARTH: PART VI: BIOSPHERICS: Chapter 29 Spectres - |
| The Planet Saturn in Ancient Indian Art CHAPTER SEVEN 13. | 50708 SOLARIA-BINARIA: - - - TABLE OF CONTENTS - |
| are among the earliest symbols of art and myth. | 52742 SOLARIA-BINARIA: PART 1: ORIGIN AND DEVELOPMENT OF THE BINARY SYSTEM: Chapter 6: THE ELECTRICAL AXIS AND ITS GASEOUS RADIATION - |
| The Planet Saturn in Ancient Indian Art Brahma, | 52758 SOLARIA-BINARIA: PART 1: ORIGIN AND DEVELOPMENT OF THE BINARY SYSTEM: Chapter 6: THE ELECTRICAL AXIS AND ITS GASEOUS RADIATION - |
| AND GLOSSARY abr. abridgment Ap. appendix art. | 58503 SOLARIA-BINARIA: - - - GLOSSARY - |
| Hyde Park, NY, 1967), repr. of art. | 59407 SOLARIA-BINARIA: - - - BIBILIOGRAPHY - |
| rests with The Museum of Modern Art, | 60297 HOMO SCHIZO I: - - TITLEPAGE HOMO SCHIZO I: : Human and Cultural Hologenesis |
| was lent by the Princeton University, Art Library. | 60298 HOMO SCHIZO I: - - TITLEPAGE HOMO SCHIZO I: : Human and Cultural Hologenesis |
| voluptuous cat 2 . The corridors of art and culture everywhere echo with the cries and gasps of remote recollections. | 64405 HOMO SCHIZO I: - - Chapter 4: THE GESTALT OF CREATION : MEMORY AND FORGETTING |
| converts readily to a work of art, | 65166 HOMO SCHIZO I: - - Chapter 5: CULTURAL REVOLUTION : PROTO-CULTURE |
| only religion, but also techniques, habitations, art, | 65227 HOMO SCHIZO I: - - Chapter 5: CULTURAL REVOLUTION : PROTO-CULTURE |
| was then) and the simplest (rococo art permeated the Victorian age). | 65309 HOMO SCHIZO I: - - Chapter 5: CULTURAL REVOLUTION : PROTO-CULTURE |
| for instance, Neanderthals executed works of art 15 . | 65683 HOMO SCHIZO I: - - Chapter 5: CULTURAL REVOLUTION : MAJOR DEVELOPMENTS EVERYWHERE CONTEMPORARY |
| developed well until civilizations had poetry, art, | 66388 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : GRAPHICS |
| languages do not write even today. Art of course takes the place of writing in respect to many messages from one's ancestors. | 66399 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : GRAPHICS |
| Until these criteria come into play, art can successfully block writing, | 66404 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : GRAPHICS |
| writing, somewhat as television blocks literacy. Art can say so much that, | 66405 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : GRAPHICS |
| from their origins and symbols from art, | 66416 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : GRAPHICS |
| social behavior (including language, religion, governance, art, | 66592 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : PSYCHOLOGY OF ORGANIZATION |
| angles ( ) is most common in cave art; | 67002 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : SEXUAL RAMIFICATIONS |
| sublimation. Students of language, myth and art, | 67151 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : SUBLIMATION |
| with the great social productions of art, | 67162 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : SUBLIMATION |
| poor artistic creation, whereas actually the art is a sublimation of hysteria. | 67169 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : SUBLIMATION |
| myth or as a work of art. | 67182 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : SUBLIMATION |
| Cognitive Beginnings of Man's First Art Symbol and Notation, | 67457 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : Notes (Chapter 6: Schizoid Institutions) |
| all that has emerged as literature, art, | 68260 HOMO SCHIZO I: - - Chapter 7: PSYCHOPATHOLOGY OF HISTORY : NAZIS, STALINISTS, AND DEMOCRATS |
| rests with The Museum of Modern Art, | 68926 HOMO SCHIZO II: - - - TITLE-PAGE - |
| was lent by the Princeton University, Art Library. | 68927 HOMO SCHIZO II: - - - TITLE-PAGE - |
| mind works to create myth and art, | 73044 HOMO SCHIZO II: - - Chapter 4: DISPLACEMENT AND OBSESSION : TIME AND REMEMBERING |
| sports, eating, warfare, prayer, business, or art, | 73466 HOMO SCHIZO II: - - Chapter 5: COPING WITH FEAR : PHYSIOLOGY OF FEAR |
| of these latter activities, and of art, | 73571 HOMO SCHIZO II: - - Chapter 5: COPING WITH FEAR : GUILT AND PUNISHMENT |
| sublimation with the torturing of thought, art, | 73601 HOMO SCHIZO II: - - Chapter 5: COPING WITH FEAR : GUILT AND PUNISHMENT |
| technical, and ordinary discourse, also with art, | 74271 HOMO SCHIZO II: - - Chapter 6: SYMBOLS AND SPEECH - |
| Also, "The speaker has learned his art by internal processing." | 74545 HOMO SCHIZO II: - - Chapter 6: SYMBOLS AND SPEECH : THE STRUCTURE OF SPEAKING |
| scientific and rational behavior. Man chooses art, | 75110 HOMO SCHIZO II: - - Chapter 7: THE GOOD, THE TRUE, AND THE BEAUTIFUL - |
| philosophy, mysticism, magic, behavior, life as art, | 75473 HOMO SCHIZO II: - - Chapter 7: THE GOOD, THE TRUE, AND THE BEAUTIFUL : THE DISSOLUTION OF LOGIC |
| what is called ethics, science and art have no place and little interest, | 75991 HOMO SCHIZO II: - - Chapter 7: THE GOOD, THE TRUE, AND THE BEAUTIFUL : SCIENCE AS INSTINCT |
| of homo schizo. Ordinary appraisals of art, | 76098 HOMO SCHIZO II: - - Chapter 7: THE GOOD, THE TRUE, AND THE BEAUTIFUL : SUBLIMATION AS PREFERABLE DISPLACEMENTS |
| work on Schizophrenia in Literature and Art, | 76103 HOMO SCHIZO II: - - Chapter 7: THE GOOD, THE TRUE, AND THE BEAUTIFUL : SUBLIMATION AS PREFERABLE DISPLACEMENTS |
| possessed by the Metropolitan Museum of Art of New York. | 76411 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS - - - CELESTIAL SEX, EARTHLY DESTRUCTION, AND DRAMATIC SUBLIMATION IN HOMER'S ODYSSEY: - |
| the gods in heaven. The same art form exists today among the aborigines of Australia. | 76640 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS - - - INTRODUCTION - |
| they had no need for the art of writing and they lost it altogether, | 79045 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 7: CRAZY HEROES OF DARK TIMES : SOCIETY IN SHOCK |
| the general destruction of societies, the art of the survivors made its way quickly forward. | 79159 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 7: CRAZY HEROES OF DARK TIMES : THE CART BEFORE THE HORSE |
| forward. The elite and its sophisticated art forms were destroyed; | 79160 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 7: CRAZY HEROES OF DARK TIMES : THE CART BEFORE THE HORSE |
| sophisticated art forms were destroyed; folk art (not primitive art) dominated the scene. | 79161 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 7: CRAZY HEROES OF DARK TIMES : THE CART BEFORE THE HORSE |
| were destroyed; folk art (not primitive art) dominated the scene. | 79161 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 7: CRAZY HEROES OF DARK TIMES : THE CART BEFORE THE HORSE |
| tended to monopolize it, and in art as well. | 79622 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 8: THE TWO FACES OF LOVE : ENCYCLOPEDISTS AND THE MOON GODDESS |
| Spinner; the Link between a Famous Art Mystery and Ancient Fertility Symbols 19 A decade later he published The Spinning Aphrodite; | 79668 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 8: THE TWO FACES OF LOVE : THE COSMIC SPINNER |
| poet addresses the Evening star, which art the Golden light of the lovely Child of The Foam, | 79855 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 8: THE TWO FACES OF LOVE : A MATCH OF SOURCES |
| Isaiah proclaimed (14: 12-13): How art thou fallen from heaven, | 81098 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 10: HE WHO SHINES BY DAY : ATHENA'S LAST BATTLES |
| Lucifer, Son of the Morning ! How art thou cast down to the ground Who did weaken the nations! | 81098 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 10: HE WHO SHINES BY DAY : ATHENA'S LAST BATTLES |
| Raging Flame-god, god Nergal. Thou art Anguish and Terror, | 81530 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 11: THE BLASTED CAREER OF THE MIGHTY SWORDSMAN : THE QUALITIES OF ARES |
| himself was alive when the wonderful art of writing returned to the Greeks in the form of the Phoenician alphabet, | 83122 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 14: THE USES OF LANGUAGE : HOMER: EDITOR AND PUBLISHER |
| it to a new form of art, | 83402 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 14: THE USES OF LANGUAGE : HUMAN STRESS AND LANGUAGE |
| achieve this by transforming events through art and song, | 83647 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 15: THE BIRTH AND DEATH OF MEMORY - |
| the mind works to create myth, art, | 83942 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 15: THE BIRTH AND DEATH OF MEMORY : FORGETTING |
| and reflect that, while probably each art and science has often been developed as far as possible and has again perished, | 84016 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 15: THE BIRTH AND DEATH OF MEMORY : AMNESIAC PHILOSOPHERS |
| has to say to us. The art treasures to be excavated would, | 84575 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 16: THE TRANSFIGURATION OF TRAUMA : THE KERNELS OF HISTORY |
| of music, of dance, of plastic art, | 84933 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 17: SETTLED SKY AND UNSETTLED MIND : FROM SAVAGERY TO SUBLIMITY |
| of practically all the evidence of art, | 97628 THE DEVINE SUCCESSION PART 1: THEOMACHY Chapter 5: LEGENDS AND SCRIPTURE - |
| is said; this is true, and art designers and public relations experts will invent trademarks and other symbols for a price, | 99266 THE DEVINE SUCCESSION PART 2: THEOTROPY: Chapter 9: SACRAL VS. SECULAR MAN - |
| it does for his music, dance, art, | 100951 THE DEVINE SUCCESSION PART 2: THEOTROPY: Chapter 12: NEW PROOFS OF GOD - |
| techniques that the state of the art and the typically modest funding could provide. | 102487 THE BURNING OF TROY: PART 1: HISTORICAL DISTURBANCES: Chapter 2: THE BURNING OF TROY : THE "BURNT CITY" OF TROY |
| Bronze Age, during which flourished the art of the Middle Kingdom in Egypt and the refined industrial art of the Middle Minoan, | 104297 THE BURNING OF TROY: PART 1: HISTORICAL DISTURBANCES: Chapter 6: UPDATING SCHAEFFER'S DESTRUCTION INVENTORY - |
| in Egypt and the refined industrial art of the Middle Minoan, | 104297 THE BURNING OF TROY: PART 1: HISTORICAL DISTURBANCES: Chapter 6: UPDATING SCHAEFFER'S DESTRUCTION INVENTORY - |
| at the present "state of the art?" | 104874 THE BURNING OF TROY: PART 1: HISTORICAL DISTURBANCES: Chapter 8: THE OBLITERATION OF HUMAN SIGNS - |
| figures for the purposes of their art. | 107886 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE : DETAILED EXPOSITION OF THE PROJECT |
| and literature. Literature (and indeed all art) might have been expected to show no structural and thematic changes correlative with the changes in scientific philosophy, | 107902 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE : DETAILED EXPOSITION OF THE PROJECT |
| significantly, went "mad," like Baudelaire, and art and poetry went "bohemian." | 107915 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE : DETAILED EXPOSITION OF THE PROJECT |
| turn on itself in literature and art, | 108150 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE : DETAILED EXPOSITION OF THE PROJECT |
| existence. The "tragic" departs from the art and literature; | 108153 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE : DETAILED EXPOSITION OF THE PROJECT |
| Longmans, Green, 1903). 53. Erich Neuman. Art and The Creative Unconscious (N. | 108419 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE : SELECTED BIBLIOGRAPHY OF PERTINENT WORKS |
| or the astronomy collection, or the art library, | 110152 THE BURNING OF TROY: PART 4: POLEMICS AND PERSONAGES: Chapter 26: EULOGIES TO THREE QUANTAVOLUTIONARIES : IMMANUEL VELIKOVSKY 1895-1979 1 |
| ARTS AND LITERATURE: Crafts, myths; liturgy art; | 111150 THE BURNING OF TROY: PART 5: COMMUNICATING A SCIENTIFIC MODEL: Chapter 28: SYLLABI FOR QUANTAVOLUTION - |
| Science Fiction and the Arts. Ancient art, | 111552 THE BURNING OF TROY: PART 5: COMMUNICATING A SCIENTIFIC MODEL: Chapter 29: I.Q.: A UNIVERSITY PROGRAM : CURRICULUM |
| Arts. Ancient art, modern and therapeutic art; | 111552 THE BURNING OF TROY: PART 5: COMMUNICATING A SCIENTIFIC MODEL: Chapter 29: I.Q.: A UNIVERSITY PROGRAM : CURRICULUM |
| observations; environmental conservation; the discovery of art treasures; | 112205 THE BURNING OF TROY: PART 5: COMMUNICATING A SCIENTIFIC MODEL: Chapter 30: PAST, PRESENT, AND FUTURE : THE POLITICS OF UNIFORMITARIANISM |
| were the recognised masters of the art of augury, | 112626 KA: - - Chapter 1: AUGURY - |
| claimed that the birth of their art was at Tarquinia, | 112627 KA: - - Chapter 1: AUGURY - |
| I suggest that augury was an art, | 113288 KA: - - Chapter 2: THE ELECTRIC ORACLES - |
| C.. The orientalising tendency of Corinthian art is well known. | 114206 KA: - - Chapter 5: DEITIES OF DELPHI - |
| be known this day that thou art god in Israel, | 115216 KA: - - Chapter 7: SACRIFICE : THE SACRIFICE OF GOATS. |
| this people may know that thou art the Lord God, | 115217 KA: - - Chapter 7: SACRIFICE : THE SACRIFICE OF GOATS. |
| the nature of a minstrel's art and inspiration. | 115601 KA: - - Chapter 8: SKY AND STAGE : POETIC INSPIRATION |
| all their fine poems not through art, | 115611 KA: - - Chapter 8: SKY AND STAGE : POETIC INSPIRATION |
| far as they create not by art and by saying many fine things about men's deeds, | 115621 KA: - - Chapter 8: SKY AND STAGE : POETIC INSPIRATION |
| they create this poetry not by art but by a divine power, | 115625 KA: - - Chapter 8: SKY AND STAGE : POETIC INSPIRATION |
| a divine power, since if by art they knew how to create well, | 115625 KA: - - Chapter 8: SKY AND STAGE : POETIC INSPIRATION |
| Excess', is that it means 'Thou Art'. | 115946 KA: - - Chapter 10: THE EVIDENCE FROM PLUTARCH - |
| Thyself', and the visitor answers 'Thou Art', | 115947 KA: - - Chapter 10: THE EVIDENCE FROM PLUTARCH - |
| Charis can mean the charm of art. | 116842 KA: - - Chapter 12: MYSTERY RELIGIONS : HEPHAESTUS |
| fit, and Latin ars, skill, or art. | 117067 KA: - - Chapter 13: 'KA', AND EGYPTIAN MAGIC : STATUES AND MUMMIES |
| kinds of sceptre appear in Egyptian art and hieroglyphs. | 117121 KA: - - Chapter 13: 'KA', AND EGYPTIAN MAGIC : STATUES AND MUMMIES |
| city. Falando means the sky. Etruscan art shows figures of humans, | 118521 KA: - - Chapter 18: ROME AND THE ETRUSCANS : ROME, MONARCHY, AND THE GODS |
| V: 28. 'Sophos', skilled in an art, | 119594 KA: - - Chapter 21: THE DEATH OF KINGS - |
| style of some figures in Egyptian art suggests the symbol for radiation, | 119701 KA: - - Chapter 22: LIVING WITH ELECTRICITY - |
| Zeus shines out in the sky. ART The Greeks and Romans greatly valued realism. | 119806 KA: - - Chapter 22: LIVING WITH ELECTRICITY : ART |
| copied the eternal, ideal, model. In art, | 119814 KA: - - Chapter 22: LIVING WITH ELECTRICITY : ART |
| is also probable that some ancient art is an attempt to communicate technical information. | 119818 KA: - - Chapter 22: LIVING WITH ELECTRICITY : ART |
| are thought to be astronomical. Egyptian art is especially rich in representations of technical apparatus, | 119822 KA: - - Chapter 22: LIVING WITH ELECTRICITY : ART |
| Latin hedera, ivy. A study of art provides additional evidence for the thesis that there was a common electrical technology throughout the Mediterranean world. | 119839 KA: - - Chapter 22: LIVING WITH ELECTRICITY : ART |
| heaven in the Great Lake, which art seen and which diest not. | 120067 KA: - - Chapter 22: LIVING WITH ELECTRICITY : GAMES |
| fire, and ka. Lat. arca chest. art Lat. | 120657 KA: - - - GLOSSARY - |
| djed column or tree in Egyptian art, | 122242 - A FIRE NOT BLOWN: - - Chapter 06: ARIADNE - |
| reversal of the Greek techne, skill, art. | 122304 - A FIRE NOT BLOWN: - - Chapter 06: ARIADNE - |
| and meanders became popular in Cretan art at the time of the Egyptian monarch Amenemhet III. | 122355 - A FIRE NOT BLOWN: - - Chapter 07: THE LABYRINTH AND AXE - |
| is a common theme in ancient art, | 122488 - A FIRE NOT BLOWN: - - Chapter 08: THE BULL - |
| have touched on certain motifs in art and architecture. | 122764 - A FIRE NOT BLOWN: - - Chapter 10: CHRONOLOGY - |
| A study of the evidence from art and monuments has pointed to the electrical basis of ancient Mediterranean religion, | 122766 - A FIRE NOT BLOWN: - - Chapter 10: CHRONOLOGY - |
| subject emerges, one closely involved with art, | 122767 - A FIRE NOT BLOWN: - - Chapter 10: CHRONOLOGY - |
| Spiral decoration is typical of Minoan art. | 122807 - A FIRE NOT BLOWN: - - Chapter 10: CHRONOLOGY - |
| a snake in the sky. In art it is given wings to show that it is the celestial monster which the earthly snake resembles. | 123105 - A FIRE NOT BLOWN: - - Chapter 12: CATASTROPHE, MYTH AND SKY - |
| seems likely that the Latin ars, art-, | 123349 - A FIRE NOT BLOWN: - - Chapter 13: FIRE - |
| the Latin ars, art-, skill or art, | 123349 - A FIRE NOT BLOWN: - - Chapter 13: FIRE - |
| tehen pillar; cf. Greek techne, skill, art. | 123548 - A FIRE NOT BLOWN: - - Chapter 13: FIRE - |
| resembles the Greek techne, skill or art. | 123831 - A FIRE NOT BLOWN: - - Chapter 15: AWARA AND KNOSOS - |
| refer to the skill, Latin ars, art-, | 124507 - A FIRE NOT BLOWN: - - Chapter 20: QUAIRO: RAISING THE KA - |
| Horus. The object appearing in Egyptian art and hieroglyphics and called the utchat, | 124931 - A FIRE NOT BLOWN: - - Chapter 22: SACRED BIRDS - |
| time of an electrical storm. Egyptian art shows the god Osiris rising from a chest, | 125259 - A FIRE NOT BLOWN: - - Chapter 25: RESURRECTION TECHNIQUES - |
| Catastrophic Theory and the Springs of Art Irving Wolfe CHAPTER 6: | 125962 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : - TABLE OF CONTENTS - |
| as diverse as anthropology, geology, narrative art, | 126039 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : - FOREWORD - |
| done by Immanuel Velikovsky. MacGregor, an art historian and psychotherapist, | 126094 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : - FOREWORD - |
| applied psychiatry to the study of art. | 126095 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : - FOREWORD - |
| inspiration for great works of narrative art, | 126114 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : - FOREWORD - |
| of Shakespeare's plays. Through narrative art, | 126115 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : - FOREWORD - |
| achieve this by transforming events through art and song, | 127355 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 2: THE PALAETIOLOGY OF FEAR AND MEMORY : PART II: MEMORY |
| the mind works to create myth, art, | 127591 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 2: THE PALAETIOLOGY OF FEAR AND MEMORY : FORGETTING |
| VELIKOVSKY John M. MacGregor Lecturer in Art and Psychiatry Ontario College of Art In that all of us come from different academic disciplines it seems necessary for me to identify myself and to explain my interest in Dr. | 127701 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 3: PSYCHOLOGICAL ASPECTS OF THE WORK OF IMMANUEL VELIKOVSKY - |
| Art and Psychiatry Ontario College of Art In that all of us come from different academic disciplines it seems necessary for me to identify myself and to explain my interest in Dr. | 127702 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 3: PSYCHOLOGICAL ASPECTS OF THE WORK OF IMMANUEL VELIKOVSKY - |
| Velikovsky's research. I am an art historian specializing in the application of psychiatry and psychoanalysis to the study of art. | 127706 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 3: PSYCHOLOGICAL ASPECTS OF THE WORK OF IMMANUEL VELIKOVSKY - |
| and psychoanalysis to the study of art. | 127708 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 3: PSYCHOLOGICAL ASPECTS OF THE WORK OF IMMANUEL VELIKOVSKY - |
| discussion of this patient and his art is to be found in: | 128635 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 3: PSYCHOLOGICAL ASPECTS OF THE WORK OF IMMANUEL VELIKOVSKY : Notes (Psychological Aspects of the Work of Immanuel Velikovsky) |
| Catastrophic Theory and the Springs of Art Irving Wolfe Etudes Anglaises Universit de Montreal Ed. | 129183 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| draw some tentative conclusions upon narrative art and the nature of man. | 129204 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| Dream as an example of narrative art whose subconscious bedrock is Velikovskian. | 129210 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| If we look at man's art as Jung looked at man's dreams, | 129227 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| to produce such archetypes in his art, | 129230 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| of these archetypal patterns in narrative art is the genre of the comic fertility play. | 129233 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| in the sublimating hiding-process of art. | 129847 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| itself, nor the minds which its art will affect, | 129849 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| is also quintessential to most creative art, | 129936 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| safely realized in the sublimation of art. | 129955 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| hypotheses on the nature of creative art. | 130310 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the form of most great narrative art is dictated by suppressed catastrophic experiences. | 130949 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| physical event, is transferred to creative art. | 130956 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the events and their emergence into art. | 131195 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| as suitable for being mirrored in art 84 . | 131203 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| is after all the immortality which art, | 131237 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| not religion, has to offer 87 . Art, | 131239 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| of wonder and the subject of art 91 . | 131264 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| of the gnosis of Shakespeare's art 93 . | 131287 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| apply the same dictum to narrative art? | 131341 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| wanting to oversimplify great works of art, | 131358 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| what happens when man reacts to art. | 131378 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| are subterranean reasons why man creates art, | 131389 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| that these produce a reaction to art rather different from the aesthetic involvement which I have described above. | 131392 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the grand schematic designs of his art. | 131427 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| thus, when a certain work of art permits us to play this game as we want it played, | 131438 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| going on when a work of art remains meaningful to many generations of mankind - we are responding unconsciously to the catastrophic patterns and comforting resolution in it. | 131441 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| to the "outer world" through his art form 95 . | 131456 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| is with the relationship of literary art to "some very deep chord" in human nature that mythological criticism deals. | 131472 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| as the master elements in narrative art. | 131513 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| than any other body of created art. | 131517 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| disciplined, completely honest approach to narrative art, | 131631 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| in particular, the most public narrative art. | 131632 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| less unconscious collective motivation, in narrative art. | 131642 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| course a privately fabricated work of art, | 131645 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| Like war and the generals, narrative art is too important to be left strictly to the professors of English. | 131651 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| I do not mean to downgrade art, | 131654 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the same function. The work of art is one of the chief glories of mankind, | 131656 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| how true, is to look at art in conscious aesthetic terms alone, | 131657 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| that type of approach, for narrative art can be many things at once, | 131660 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| ones, which see a work of art in different contexts. | 131662 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| of art in different contexts. If art is judged as art, | 131662 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| contexts. If art is judged as art, | 131662 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| main functions of criticism. However, when art is considered anthropologically, | 131664 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| admiration for, a great work of art, | 131670 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| to diminish the stature of created art. | 131671 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| P., Something of Great Constancy: The Art of "A Midsummer Night's Dream" (Yale University Press, | 131692 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Notes (Shakespeare and Veliovsky) |
| the contention of this book that art is a sublimated retelling of terrible history. | 131893 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Notes (Shakespeare and Veliovsky) |
| MacGregor obtained an honours degree in Art History at McGill University. | 133110 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : APPENDIX I ABOUT THE AUTHORS : JOHN M. MACGREGOR |
| history of Chinese Landscape Painting, Chinese Art and Archaeology, | 133122 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : APPENDIX I ABOUT THE AUTHORS : JOHN M. MACGREGOR |
| and Archaeology, Theoretical Investigations into the Art of Children, | 133123 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : APPENDIX I ABOUT THE AUTHORS : JOHN M. MACGREGOR |
| and Introduction to the Study of Art and Psychiatry. | 133123 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : APPENDIX I ABOUT THE AUTHORS : JOHN M. MACGREGOR |
| his theory of the Springs of Art. | 133187 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : APPENDIX I ABOUT THE AUTHORS : IRVING WOLFE |
| his theory of the Springs of Art in a familiar passage which I would like to read to you. | 133190 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : APPENDIX I ABOUT THE AUTHORS : IRVING WOLFE |
| rather ambiguous; about this approach to art, | 133195 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : APPENDIX I ABOUT THE AUTHORS : IRVING WOLFE |
| a theory about the sources of art, | 133207 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : APPENDIX I ABOUT THE AUTHORS : IRVING WOLFE |
| Egyptology at the Metropolitan Museum of Art to arrange for carbon-14 tests that might check the thesis of Ages in Chaos. | 135192 THE VELIKOVSKY AFFAIR: PART 1: MINDS IN CHAOS - - - |
| time the Sumerians were developing the art of writing, | 137857 THE VELIKOVSKY AFFAIR: PART 4: CUNEIFORM ASTRONOMICAL RECORDS AND CELESTIAL INSTABILITY - - - |
| for a total reform in the art of astronomy. | 137988 THE VELIKOVSKY AFFAIR: PART 4: CUNEIFORM ASTRONOMICAL RECORDS AND CELESTIAL INSTABILITY - - - |
| is portrayed with satellites in the art of the Near East. | 138141 THE VELIKOVSKY AFFAIR: PART 4: CUNEIFORM ASTRONOMICAL RECORDS AND CELESTIAL INSTABILITY - - - |
| chance, and none of them by art, | 138476 THE VELIKOVSKY AFFAIR: PART 5: ASTRONOMICAL THEORY AND HISTORICAL DATA - - - |
| mind, not from any god or art, | 138480 THE VELIKOVSKY AFFAIR: PART 5: ASTRONOMICAL THEORY AND HISTORICAL DATA - - - |
| and prevented from ever practising his art, | 138500 THE VELIKOVSKY AFFAIR: PART 5: ASTRONOMICAL THEORY AND HISTORICAL DATA - - - |
| from his trying to relate the art of interpreting historical memories and documents to astronomical and physical research. | 138584 THE VELIKOVSKY AFFAIR: PART 5: ASTRONOMICAL THEORY AND HISTORICAL DATA - - - |
| your dramatic talent and also the art and the straightforwardness of Thackeray Thackrey who has compelled the roaring astronomical lion to pull in a little his royal tail yet still not showing enough respect for the truth. | 139630 THE VELIKOVSKY AFFAIR: PART 6: THE SCIENTIFIC RECEPTION SYSTEM - - - |