In Brigid S Footsteps

In Brigid’s Footsteps: The Return of the Divine Feminine focuses on the Celtic goddess and Christian saint Brigid as an archetype of the Divine Feminine. Drawing on mythology, history, and transpersonal psychology, the author traces the iconic Brigid’s evolution from incarnation as goddess of wisdom, craft, and healing to embodiment as a saint of Celtic Christianity who served as midwife to Mary at the birth of Jesus. Part Two explores the suppression of feminine energies in mainstream western culture and the damaging consequences of living in our masculine-biased civilization. The final essays speculate on how the Divine Feminine may influence our masculine-leaning culture during the shift in consciousness Jung referred to as a “changing of the gods,” a time in which Brigid re-emerges as the spirit of liminal times and midwife to the Holy.

"In Brigid's Footsteps: The Return of the Divine Feminine focuses on the Celtic goddess and Christian saint Brigid as an archetype of the Divine Feminine. Drawing on mythology, history, and transpersonal psychology, the author traces the iconic Brigid's evolution from incarnation as goddess of wisdom, craft, and healing to embodiment as a saint of Celtic Christianity who served as midwife to Mary at the birth of Jesus. Part Two explores the suppression of feminine energies in mainstream western culture and the damaging consequences of living in our masculine-biased civilization. The final essays speculate on how the Divine Feminine may influence our masculine-leaning culture during the shift in consciousness Jung referred to as a "changing of the gods," a time in which Brigid re-emerges as the spirit of liminal times and midwife to the Holy"--

Few films have had the impact or retained the popularity of The Maltese Falcon. An unexpected hit upon its release in 1941, it helped establish the careers of John Huston and Humphrey Bogart while also helping both to transform the detective genre of movies and to create film noir. This volume includes an introduction by its editor and a shot-by-shot continuity of the film, as well as essays on its production, on literary and film traditions it drew upon, and on its reputation and influence over the last half century. Included are reviews from the time of the film's original release, the enthusiastic French response in 1946 that helped define film noir, and a close formal anaylsis of the film. In addition, the volume contains a comparison of this version to earlier film versions of the Dashiell Hammett novel, and helpful explorations of cultural, historical, and psychoanalytic issues. Like Casablanca, The Maltese Falcon has attained iconic status; this volume will contribute to the pleasure its many fans find in viewing the film again and again. William Luhr is a professor of English at St. Peter's College in New Jersey. He is the author of Raymond Chandler and Film and co-author of Blake Edwards and other books.

The Desert Lake Mystery, first published in 1936, is a ‘golden-age’ mystery involving two corpses and two missing bodies. Set in Nevada, the plot revolves around local magnate Adam Oakman and his family, with a brother shooting his sister. The story is narrated by the town’s sheriff. The characters rather than the incidents, provide the special problem in untangling of two tangible corpses and two missing ones. Essentially the plot revolves around a powerful man, within his little pond, Adam Oakman; his daughter he hadn’t seen since a baby; his adopted son; a crippled lad whose sweet on Oakman’s daughter; the crippled man’s beautiful sister; Adam’s sister in law, or cousin, some kind of relation; and her fat, fastidious son. Naturally there are other people thrown in for red herrings—an old judge, his son, Indians, a couple of deputies, and Bridget O’Dell who essentially solves the murders. The sheriff narrates, but Bridget O’Dell, with the off stage help of the female detective, Lynn Macdonald, comes up with the solution.

Dancing at the crossroads used to be young people ́s opportunity to meet and enjoy themselves on mild summer evenings in the countryside in Ireland - until this practice was banned by law, the Public Dance Halls Act in 1935. Now a key metaphor in Irish cultural and political life, ́dancing at the crossroads ́ also crystallizes the argument of this book: Irish dance, from Riverdance (the commercial show) and competitive dancing to dance theatre, conveys that Ireland is to be found in a crossroads situation with a firm base in a distinctly Irish tradition which is also becoming a prominent part of European modernity. Helena Wulff is Associate Professor of Social Anthropology at Stockholm University. Publications include Twenty Girls (Almqvist & Wiksell International, 1988), Ballet across Borders (Berg, 1998), Youth Cultures (co-edited with Vered Amit-Talai, Routledge, 1995), New Technologies at Work (co-edited with Christina Garsten, Berg, 2003). Her research focusses on dance, visual culture, and Ireland.