An important new way of viewing the prehistoric art of the Americas, The Jaguar Within demonstrates that understanding a work of artâ s connection with shamanic trance can lead to an appreciation of it as an extremely creative solution to the inherent challenge of giving material form to nonmaterial realities and states of being.
An important new way of viewing the prehistoric art of the Americas, The Jaguar Within demonstrates that understanding a work of artâ s connection with shamanic trance can lead to an appreciation of it as an extremely creative solution to the inherent challenge of giving material form to nonmaterial realities and states of being.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
* Acknowledgments * Introduction * Chapter 1. General Recurrent Themes in the Phenomenology of Visions * Chapter 2. The Common Perceptual Phenomena and Stages of the Visionary Experience * Chapter 3. Visions and Shamanizing: The Intermediary Role, Anomalousness, Control, and Balance * Chapter 4. Embodying the Shaman in Trance: Embracing Creative Ambiguity * Chapter 5. Shamanic Embodiment in Ancient Costa Rican Art I: At the Human End and the Balance Point of the Flux Continuum * Chapter 6. Shamanic Embodiment in Ancient Costa Rican Art II: Toward the Animal End and Beyond the Flux Continuum * Chapter 7. Shamanic Embodiment in Ancient Central Andean Art I: Toward the Human End and the Balance Point of the Flux Continuum * Chapter 8. Shamanic Embodiment in Ancient Central Andean Art II: Toward the Animal End and Beyond the Flux Continuum * Conclusion * Notes * Works Cited * Index
* Acknowledgments * Introduction * Chapter 1. General Recurrent Themes in the Phenomenology of Visions * Chapter 2. The Common Perceptual Phenomena and Stages of the Visionary Experience * Chapter 3. Visions and Shamanizing: The Intermediary Role, Anomalousness, Control, and Balance * Chapter 4. Embodying the Shaman in Trance: Embracing Creative Ambiguity * Chapter 5. Shamanic Embodiment in Ancient Costa Rican Art I: At the Human End and the Balance Point of the Flux Continuum * Chapter 6. Shamanic Embodiment in Ancient Costa Rican Art II: Toward the Animal End and Beyond the Flux Continuum * Chapter 7. Shamanic Embodiment in Ancient Central Andean Art I: Toward the Human End and the Balance Point of the Flux Continuum * Chapter 8. Shamanic Embodiment in Ancient Central Andean Art II: Toward the Animal End and Beyond the Flux Continuum * Conclusion * Notes * Works Cited * Index
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