The Secret Of Mago Castle

"This book is going to change the world." - Ilchi Lee "The ultimate secret revealed [in this book] is that we are the heroes of the unfolding narrative of our own lives and that no matter what obstacles we have overcome or will have to overcome we are powerful beings; and it is up to us to use this power ..." — Varda Bar-Kar, Writer/Director "This book touched my heart. Remembering who we really are is our greatest task in life, and this book is a wonderful reminder of that." — Jamie-Lynn Sigler, singer & actress When Angeline set out to escape her troubles among the red rocks of Sedona, Arizona, she never imagined that she would discover her destiny. Five lives converge in this sleepy tourist town where the fate of the Earth hangs in the balance. As Angeline, Toby, Noah, Suna, and Leuters discover latent supernatural abilities and wisdoms from an ancient past, they race against time to dissolve the veils between the physical and spiritual worlds, determining whether the corruption of thousands of years of human civilization will be allowed to continue or whether humanity will get a fresh start. The Secret of Mago Castle is a fantasy novel that addresses the real issues humanity currently faces. It is a call to bring out the best in the human spirit to save the place we all call home. By the end of this book, you’­ll be wishing . . . hoping . . . believing that it wasn’t just a story.

Jungian analysts from all over the world gathered in Montreal from August 22 to 27, 2010. The 11 plenary presentations and the 100 break-out sessions attest to the complex dynamics and dilemmas facing the community in present-day culture. The Pre-Congress Workshop on Movement as Active Imagination papers are also recorded. There is a foreword by Tom Kelly with the opening address of Joe Cambray and the farewell address of Hester Solomon. From the Contents: Jacques Languirand: From Einstein’s God to the God of the Amerindians John Hill: One Home, Many Homes: Translating Heritages of Containment Denise Ramos: Cultural Complex and the Elaboration of Trauma from Slavery Christian Roesler: A Revision of Jung’s Theory of Archetypes in light of Contemporary Research: Neurosciences, Genetics and Cultural Theory - A Reformulation Margaret Wilkinson, Ruth Lanius: Working with Multiplicity. Jung, Trauma, Neurobiology and the Healing Process: a Clinical Perspective Beverley Zabriskie: Emotion: The Essential Force in Nature, Psyche and Culture Guy Corneau: Cancer: Facing Multiplicity within Oneself Marta Tibaldi: Clouds in the Sky Still Allow a Glimpse of the Moon: Cancer Resilience and Creativity Astrid Berg, Tristan Troudart, Tawiq Salman: What could be Jungian About Human Rights Work? Bou-Yong Rhi: Like Lao Zi’s Stream of Water: Implications for Therapeutic Attitudes Linda Carter, Jean Knox, Marcus West, Joseph McFadden: The Alchemy of Attachment: Trauma, Fragmentation and Transformation in the Analytic Relationship Sonu Shamdasani, Nancy Furlotti, Judith Harris & John Peck: Jung after The Red Book

High above the city of Vollgory sits a castle with high walls and a moat surrounding all sides. Its inhabitants are King Vollg, Queen Solia, and their beautiful daughter Artella. Only the King knows about a hidden room under the castle that holds a secret. Just before his sudden death, the King escorts Artella to the secret room where she learns of the treasures her father has concealed from the world, including his own wife. Artella is still grief-stricken over her father's death when she meets Sandri, a castle guard, while on a walk in the yard. Artella and Sandri soon fall in love, but they must hide their relationship from the queen who will surely banish them from seeing each other. When Sandri leaves to serve the remainder of his military service in the Imperial Army, he gives her a gift that unbeknownst to him has the power to completely change Artella's life forever.

Korea has one of the most diverse religious cultures in the world today, with a range and breadth of religious practice virtually unrivaled by any other country. This volume in the Princeton Readings in Religions series is the first anthology in any language, including Korean, to bring together a comprehensive set of original sources covering the whole gamut of religious practice in both premodern and contemporary Korea. The book's thirty-two chapters help redress the dearth of source materials on Korean religions in Western languages. Coverage includes shamanic rituals for the dead and songs to quiet fussy newborns; Buddhist meditative practices and exorcisms; Confucian geomancy and ancestor rites; contemporary Catholic liturgy; Protestant devotional practices; internal alchemy training in new Korean religions; and North Korean Juche ("self-reliance") ideology, an amalgam of Marxism and Neo-Confucian filial piety focused on worship of the "father," Kim Il Sung. Religions of Korea in Practice provides substantial coverage of contemporary Korean religious practice, especially the various Christian denominations and new indigenous religions. Each chapter includes an extensive translation of original sources on Korean religious practice, accompanied by an introduction that frames the significance of the selections and offers suggestions for further reading. This book will help any reader gain a better appreciation of the rich complexity of Korea's religious culture.

Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.

Create a Focused, Positive, and Engaged Classroom! Through expert guidance and inspiring stories from the field, Dave Beal helps you create a Brain Power Classroom full of engaged, focused and collaborative students. Part 1 provides scientific background, principles and insightful advice for creating an optimal classroom atmosphere. Part 2 features 30 classroom activities you can easily integrate into your current curriculum. They are divided into the “Brain Power 10 Essentials” and incorporate various modalities, such as movement, mindfulness, and focusing strategies to engage students’ multiple intelligences. Using the tools in this book, you will be able to motivate your students to use their full brain potential as they develop into harmonious leaders with strong character and high levels of academic achievement.