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Craig Koester's respected study uses the symbolic language of the Gospel of John as a focus to explore "the Gospel's literary dimensions, social and historical context, and theological import." This edition is fully revised and updated and includes a number of new sections on such topics as Judas and the knowledge of God. Fresh treatments are given on a number of issues, including the Gospel's Christology. This new edition offers both new insights and proven worth for students and scholars alike.

Book by Gerhardus, Maly, Gerhardus, Dietfried

Freemasonry, in its Lodges and Ceremonies, makes use of a great deal of symbolism. This publication examines various documents and explains the reasons for the use of particular symbols into Masonry. The author is acknowledged as an expert in this area of the Craft and the information contained in his book will enhance the knowledge of this fascinating subject. First published in 1976 this is the 2003 reprint.

In his preface to The Symbolism of the Stupa Prof. Craig Reynolds writes ''The stupa is a symbolic form that pullulates throughout South Southeast and East Asia. In its Indian manifestations it is an extreme case in terms of architectural function: it has no use and has a basic simplicity. In this state of the art' study Adrian Snodrass reads the stupa as a cultural artifact. The monument concretizes metaphysical principles and generates multivalent meanings in ways that can be articulated with literary texts and other architectural forms.'' This study analyses a pattern of interrelated meanings generated by the form of the stupa. It does so by reference to myth, to ritual and to doctrine, viewing the architectural form from within the conceptual framework of the tradition to which it belongs. This approach involves questions of aim and methodology. A deeper understanding of a symbol is gained by studying the grid or net formed by its symbolic homologies.The pattern of meaning that emerges from the juxtaposition of cognate symbols does not exhaust the significance of the symbol, which is ultimately beyond worlds, but it reinforces its intimations, indicating a logical cohesion and integrity which in itself is an intimation of the all-pervasiveness of Principle. It is precisely this pattern of inter-reflection or symbols that this study attempts to delineate. By bringing together cognate symbols in apposition, it attempts to mark out the field of symbolic interactions which the stupa generates.

This is a comparative and interdisciplinary book exploring a variety of perspectives on the artistic culture of France, and its neighbours, in the period 1870-1914. Part One centres on France, and assembles essays on the prose, poetry and painting of Symbolism and Decadence, on avant-garde dance and performance, on women's writing and on early cinema. Part Two explores the relations between France and several cultures in which the debt to France was amply and originally repaid-ranging from the Anglo-Celtic "Rhymers' Club" to the Italian "Crepusculari". The essays consistently point beyond the late nineteenth-century and into the twentieth, as they explore the multiple beginnings-as well as the false starts-that characterize the period. All foreign language quotations are translated.

This pioneering work that first appeared in 1972 in German was the first to compare the conceptual world of a biblical book with ancient Near Eastern iconography. Eisenbrauns’ English edition of Keel’s classic work provides the 21st century scholar with his groundbreaking methodology. Generously illustrated with photographs and line drawings.

In his preface to The Symbolism of the Stupa Prof. Craig Reynolds writes ''The stupa is a symbolic form that pullulates throughout South Southeast and East Asia. In its Indian manifestations it is an extreme case in terms of architectural function: it has no use and has a basic simplicity. In this state of the art' study Adrian Snodrass reads the stupa as a cultural artifact. The monument concretizes metaphysical principles and generates multivalent meanings in ways that can be articulated with literary texts and other architectural forms.'' This study analyses a pattern of interrelated meanings generated by the form of the stupa. It does so by reference to myth, to ritual and to doctrine, viewing the architectural form from within the conceptual framework of the tradition to which it belongs. This approach involves questions of aim and methodology. A deeper understanding of a symbol is gained by studying the grid or net formed by its symbolic homologies.The pattern of meaning that emerges from the juxtaposition of cognate symbols does not exhaust the significance of the symbol, which is ultimately beyond worlds, but it reinforces its intimations, indicating a logical cohesion and integrity which in itself is an intimation of the all-pervasiveness of Principle. It is precisely this pattern of inter-reflection or symbols that this study attempts to delineate. By bringing together cognate symbols in apposition, it attempts to mark out the field of symbolic interactions which the stupa generates.

This is a comparative and interdisciplinary book exploring a variety of perspectives on the artistic culture of France, and its neighbours, in the period 1870-1914. Part One centres on France, and assembles essays on the prose, poetry and painting of Symbolism and Decadence, on avant-garde dance and performance, on women's writing and on early cinema. Part Two explores the relations between France and several cultures in which the debt to France was amply and originally repaid-ranging from the Anglo-Celtic "Rhymers' Club" to the Italian "Crepusculari". The essays consistently point beyond the late nineteenth-century and into the twentieth, as they explore the multiple beginnings-as well as the false starts-that characterize the period. All foreign language quotations are translated.

Unread book in perfect condition.

A close analysis of the architecture of the stupa―a Buddhist symbolic form that is found throughout South, Southeast, and East Asia. The author, who trained as an architect, examines both the physical and metaphysical levels of these buildings, which derive their meaning and significance from Buddhist and Brahmanist influences.

Major work is distinguished by an intensity of inspiration and an overwhelming sense of personal vision. This merging of inspiration and vision permits the creation of a classic oeuvre whose creator is deemed to be a 'master of his craft, ' or perhaps better, 'a seminal mind.' Such is the work of the historian of religious, Mirceas Eliade. In his lifelong quest to understand the presence of the Sacred throughout human history, Eliade has been fascinated by two central themes: Creation and Time.

The year 1884 saw the appearance in Paris of a fin de sicle cult novel that was celebrated as an altogether perverse sensation on the European cultural scene. The title of the book was A Rebours (translated both as Against the Grain and Against Nature). Its author Joris-Karl Huysmans wrote it as a seductive textbook of decadence, as an antidote to banal naturalism or realism. Symbolism, whose influence was felt well into the modernist era, was an artistic religion-substitute, a spiritually charged cult of beauty. A Symbolist picture or sculpture is mysterious on purpose. In place of intellectual comprehension, the work seeks to have the beholder experience its mysterious depth like a vision. It is no wonder that Symbolists created some of the most fascinating artworks of their age.

Book is in Used-Good condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting. 1.24

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

A close analysis of the architecture of the stupa―a Buddhist symbolic form that is found throughout South, Southeast, and East Asia. The author, who trained as an architect, examines both the physical and metaphysical levels of these buildings, which derive their meaning and significance from Buddhist and Brahmanist influences.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.95

pp. 501, transcribed and edited by Arturo de Hoyos 33 degree Past Master, McAllen Lodge, No 1110, AF and AM of Texas, foreword by Ronald A. Seale, 33 degree Past Master, East Gate Lodge, No 452, F and AM of Louisianna.

The Order of the Eastern Star is a Freemasonry-related fraternal organization open to both men and women. It was established in 1850 by Boston, Massachusetts lawyer and educator Rob Morris, a former Freemason official. The order is based on teachings from the Bible,[1] but is open to people of all religious beliefs. It has approximately 10,000 chapters in twenty countries and approximately 500,000 members under its General Grand Chapter. This book provides informative information about the symbols, terms and stories of the Order Of The Eastern Star. 201 pages, Hard Cover.

The Symbolism of the Cross is a major doctrinal study of the central symbol of Christianity from the standpoint of the universal metaphysical tradition, the ‘perennial philosophy’ as it is called in the West. As Guénon points out, the cross is one of the most universal of all symbols and is far from belonging to Christianity alone. Indeed, Christians have sometimes tended to lose sight of its symbolical significance and to regard it as no more than the sign of a historical event. By restoring to the cross its full spiritual value as a symbol, but without in any way detracting from its historical importance for Christianity, Guénon has performed a task of inestimable importance which perhaps only he, with his unrivalled knowledge of the symbolic languages of both East and West, was qualified to perform. Although The Symbolism of the Cross is one of Guénon’s core texts on traditional metaphysics, written in precise, nearly ‘geometrical’ language, vivid symbols are necessarily pressed into service as reference points—how else could the mind ascend the ladder of analogy to pure intellection? Guénon applies these doctrines more concretely elsewhere in critiquing modernity in such works as The Crisis of the Modern World and The Reign of Quantity and the Signs of the Times, and invokes them also to help explain the nature of initiation and of initiatic organizations in such works as Perspectives on Initiation and Initiation and Spiritual Realization.