ART AND SHAMANHOOD

Opis produktu

<:p>: <:span>:<:strong>:<:em>:Umberto Sansoni<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:The shamanic-ecstatic hypothesis for the Alpine rock art of<:span>: <:/span>:Valcamonica <:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Kenneth Lymer<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:Sensuous Visions: Encountering the shamanistic rock art of the Bayan Jurek Mountains, Kazakhstan<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Inga-Maria Mulk<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:Depictions in Sami rock art of the Mother Earth figure<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Zaur Hasanov<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:Argimpasa Scythian goddess, patroness of shamans: a comparison<:span>: <:/span>:of historical, archaeological, linguistic and ethnographic data<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Giovannni Kezich<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:The bear and the plough: Shamanism in the Neolithic<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Pi-Chen Liu<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:From shamanic rituals to theatre and cultural industry:<:span>: <:/span>: The state, shamanism and gender among the Kavalan (Taiwan)<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Eva Jane Neumann Fridman<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:Mongolian shamanism envisaged, embodied<:/span>:<:/p>: <:p>: <:i>:<:b>:Lia Zola<:/b>:<:/i>:<:/p>: <:p>: <:span>:Women shamans and their portrayal<:span>: <:/span>:in the Olonkho Sakha epic<:span>: <:/span>:poems<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Dagmar Eigner<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:The poetics of healing: Shamanic rituals in Central Nepal<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Diana Riboli<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:Inadvertent art. Icons, music and dance in Chepang (Nepal) and Semang-Negrito (Peninsular Malaysia) shamanism<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Hee Sook Lee-Niinioja<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:Artistic expressions of the visual language on Sami ritual drums<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Vesa Matteo Piludu<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:The ritual art and paraphernalia of the Nepalese jhankris<:span>: <:/span>: and Tamang bombo<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Denita Benyshek<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:Artists as shamans: Historical review and recent theoretical model<:/span>:<:/p>: <:p>: <:i>:<:b>:Barbara Wilhelmi<:/b>:<:/i>:<:/p>: <:p>: <:span>:Perspectives on the arts of Parbati<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Daniel A. Kister<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:Shamanic artistry in a French Absurdist play<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Carla Corradi Musi<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:The shamanic works of Minsalim Timergazeev and other artists<:span>: <:/span>:of the First International Woodcarving Festival of Uvat<:/span>:<:/p>: <:p>: <:i>:<:b>:Jrgen Werner Kremer<:/b>:<:/i>:<:/p>: <:p>: <:span>:Norval Morrisseau Shaman-Artist<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Susan Michaelson<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:The hand on the wall of the cave. Exploring connections between<:span>: <:/span>:shamanism and the visual arts<:/span>:<:/p>: <:p>: <:span>:<:strong>:<:em>:Gilah Yelin Hirsch<:/em>:<:/strong>:<:/span>:<:/p>: <:p>: <:span>:Artist as Shaman <:/span>:<:/p>:

Data Publikacji: 2022-02-10