In the chaos of the beginning, order was born, and light and darkness found their places. Yet, we still do not understand the world. This book delves into the human journey of seeking the hidden truths in the shadows. Deep in the dark oceans of Earth, we must use our often-overlooked sense of smell to unravel secrets. Living in the depths, Jae-wook encounters a mysterious scent that evokes past secrets. With Eva's death, the truth hidden in her pendant hints at the need for a new perspective to grasp the essence of the world and the divine. Following the scent left by the gods in the labyrinth, what truth awaits at the end? Smells evoke strong memories and emotions, offering new insights. This book explores the philosophical questions posed by these scents. Let us take the first step in our journey to understand the world.

There is a scarcity of professional literature and research that focuses on women's spiritual development and experiences and how they may differ from those of men. For women, the spiritual is often inner-focused, rather than transcendent; relational, rather than solitary; and interdependent, rather than autonomous. Dancing the Labyrinth integrates knowledge of women's psychological and spiritual development alongside stories of a diverse group of women to examine how spirituality changes over the adult life course; the catalysts for said changes (e.g., the natural aging process or traumatic events); and feminist spirituality, which highlights the importance of relationships (to self, others, and God). While the authors focus on spirituality, they examine the experiences of women who express their spirituality within both traditional and non-traditional paths. The text also includes several chapters that highlight specific clinical interventions professionals can use to implement spirituality into their practice with women. Written in an engaging and accessible style, this book serves as a helpful resource for mental health practitioners, pastoral counselors, spiritual directors, and lay audiences interested in better understanding of the nuances of women's spiritual development and experiences.

Ancient and medieval labyrinths embody paradox, according to Penelope Reed Doob. Their structure allows a double perspective—the baffling, fragmented prospect confronting the maze-treader within, and the comprehensive vision available to those without. Mazes simultaneously assert order and chaos, artistry and confusion, articulated clarity and bewildering complexity, perfected pattern and hesitant process. In this handsomely illustrated book, Doob reconstructs from a variety of literary and visual sources the idea of the labyrinth from the classical period through the Middle Ages. Doob first examines several complementary traditions of the maze topos, showing how ancient historical and geographical writings generate metaphors in which the labyrinth signifies admirable complexity, while poetic texts tend to suggest that the labyrinth is a sign of moral duplicity. She then describes two common models of the labyrinth and explores their formal implications: the unicursal model, with no false turnings, found almost universally in the visual arts; and the multicursal model, with blind alleys and dead ends, characteristic of literary texts. This paradigmatic clash between the labyrinths of art and of literature becomes a key to the metaphorical potential of the maze, as Doob's examination of a vast array of materials from the classical period through the Middle Ages suggests. She concludes with linked readings of four "labyrinths of words": Virgil's Aeneid, Boethius' Consolation of Philosophy, Dante's Divine Comedy, and Chaucer's House of Fame, each of which plays with and transforms received ideas of the labyrinth as well as reflecting and responding to aspects of the texts that influenced it. Doob not only provides fresh theoretical and historical perspectives on the labyrinth tradition, but also portrays a complex medieval aesthetic that helps us to approach structurally elaborate early works. Readers in such fields as Classical literature, Medieval Studies, Renaissance Studies, comparative literature, literary theory, art history, and intellectual history will welcome this wide-ranging and illuminating book.

--WHAT MAKES A TERRORIST? --HOW DOES ATROCIOUS MADNESS DEVELOP? --WHAT TURNS A HUMAN BEING INTO A MONSTER-BEAST? Some answers to these questions lie in the human proclivity to worship the finite, to project and serve idols . . . and thus to bring destruction to the idolaters and to others. The psychological-philosophical-theological dynamics of idol formation and idol worship are worked out in Light in the Labyrinth.

My Lifes Labyrinth covers a fascinating journey as we walk through life with Jesus Christ. It lifts our feelings when were down and encourages our beliefs when were searching. It makes each day a great discovery as Jesus goes before us organizing our day. As we go around each corner, there is a surprise that we had never dreamed of. Jesus knows what he is doing with our lives as we walk together along our lifes labyrinth.

Labyrinths and labyrintine borders have been around for a very long time. In fact, they have been used outside of formal religion as a ritual object to express spiritual values for at least 3500 years in countries all over the world, including China, India, the Holy Land, Ireland, Southern Europe, Scandinavia, pre-Columbian America, and England. They can be found at Neolithic and Sardinian and Hopi rock art sites, in Hindu temples and Taoist shrines, bordering Minoan frescoes, and in Roman mosaics. They have been incorporated into Roman Catholic and Episcopal cathedrals, Protestant churches, and in New Age retreat centres. They have been carved into rocks, turf, and wood; engraved in metal; laid out in stones; woven in reeds; set in tiles; painted and drawn. In other words, the labyrinth is a nearly universal form and comes as close as we can to an archetype. An archetype is a symbol that appeals to us at an unconscious level. We don’t have to struggle with its meaning intellectually. Its symbolic meaning is somehow ingrained in us, part of our very nature. As a result, it may appeal to us without our even understanding why. It is always risky to talk about the meaning of such an archetypal symbol. We know that it must carry a wealth of meaning to appeal to so many different sorts of people over such a long stretch of time. But we can, tentatively, explore some of its meanings if we stay aware that we can never really plumb all of its riches.

Labyrinth 2 provides a taxonomy of the plays Don Nigro has written over the past ten years. For those interested in producing Nigro’s work, this book provides a summary of the action of each script, characters required, costume, set, lighting, and sound requirements. Producers and directors of professional, academic, and community theatres will find it a useful guide to scripts they may wish to buy from Samuel French, Inc. Accounts of plays written prior to 2001 may be found in Labyrinth: Plays of Don Nigro, also published by University Press of America.

First published in 1965, The Golden Labyrinth provides a coherent and readable history of the essential nature of British drama in a single volume. The treatment is philosophical and imaginative, and full of enthusiasm and clarity which have made Professor Wilson Knight’s works, of Shakespearian and other interpretations, so famous. The chapters in this book have been organized according to literary periods and will appeal to both students of literature and casual readers.

“A weekend’s engaging pursuit.” Five Stars—David Lloyd Sutton, San Francisco Book Review Educated and inquisitive, Pandita Ramabai was born in 1858 near Gangamul in the Western Ghat mountains of southern India. The daughter of a Sanskrit scholar, she rose to become a respected scholar herself, in a time when women rarely held such positions. But having lost nearly everyone she loved to famine or cholera, Rama spent most of her life in search of a community she could call home. A widow and single mother, she became a social activist and reformer, relentlessly advocating for the education of women and the care of India’s many poor, widowed child-brides. Rama’s journey takes readers across British India to England and America as this strong, determined woman battles prejudice, tradition and a male-dominated society to find justice for those with no voice or opportunity. The Pandita Ramabai Mukti Mission, which she founded during a severe famine, became home to thousands of outcast children, child widows, orphans, and other destitute women. It is still active today. As one of the world’s great, unsung heroines, Pandita Ramabai has been called one of India’s “greatest daughters.”

Here is a collection of journaled essays leading to the inevitable belief in theological fatalism, aka Theofatalism. They include arguments from theology, psychology, politics, geology, technology, sociology, economics, history, cosmology and more. With this belief system, you can feel good inside no matter what happens outside. It may take several readings to get it, but anything worthwhile requires effort. The work relies upon religious scriptures and the analytical psychology of Swiss psychiatrist Carl G. Jung (1875-1961). The Chartres Labyrinth is used as the symbol for the walk of life that each of us is given. We leave the source at birth and meander around on earth through stages of growth and decline to return to the source when our life work is done. You don't have to search for your purpose in life, because you cannot avoid it. Essays in Part I discuss contemporary issues of life, and Part II focuses on the Jungian personality factors in aging. The scriptural evidence points to the will of God in every aspect of every life of every species on earth, i.e., immaculate immanence. This is not the manmade god in holy books, but the prime mover in the universe - generator, operator, destroyer - GOD. God above Gods. Don't believe in God? Never fear; God makes atheists and agnostics, too. That is the message of this book. The Psalm says, "You saw me before I was born and scheduled each day of my life before I began to breathe. Every day was recorded in your book!" (Psalm 139:16, NLT). Nothing from atoms to galaxies can happen outside the will of God. Ergo Theofatalism.