Stories from various cultures and periods of time can be identified which deal with a concept of soul loss that is essentially shamanic. In shamanism, soul loss is the term used to describe the way parts of the psyche become detached when we are faced with traumatic situations. In shamanic terms, these split-off parts can be found in non-ordinary reality and are only accessible to those familiar with its topography. Case studies are presented to show how the way soul loss is dealt with by indigenous shamans differs from the way it is treated by neo-shamanic practitioners. Stories have traditionally been classified as epics, myths, sagas, legends, folk tales, fairy tales, parables and fables. However, the definitions of the terms have a tendency to overlap, making it difficult to classify and categorize material. For this reason, a case can be made for the introduction of a new genre, termed the shamanic story–a story that has either been based on or inspired by a shamanic journey (a numinous experience in non-ordinary reality) or one that contains a number of the elements typical of such a journey. Within this new genre it is proposed that there exists a sub-genre, shamanic stories that deal specifically with soul-loss, and examples are presented and analysed to support this hypothesis.

A shamanic journey is one that generally takes place in a trance state to the sound of a drumbeat, through dancing, or by ingesting psychoactive drugs, in which aid is sought from beings in other realities, generally for healing purposes or for divination. A shamanic story has either been based on or inspired by a shamanic journey, or one that contains a number of the elements typical of such a journey. In this collection of fascinating journeys and stories, Michael Berman reveals the healing nature of shamanic practice.

Stories have traditionally been classified as epics, myths, sagas, legends, folk tales, fairy tales, parables or fables. However, the definitions of the terms have a tendency to overlap, making it difficult to classify and categorize material. For this reason, a case can be made for the introduction of a new genre, termed the shamanic story - a story that has either been based on or inspired by a shamanic journey (a numinous experience in non-ordinary reality) or one that contains a number of the elements typical of such a journey. Other characteristics include the way in which the stories all tend to contain embedded texts (often the account of the shamanic journey itself), how the number of actors is clearly limited as one would expect in subjective accounts of what can be regarded as inner journeys, and how the stories tend to be used for healing purposes. Within this new genre, it is proposed that there exists a sub-genre – shamanic stories that deal specifically with divination, and examples are presented and analysed to support this hypothesis. By means of textual analysis it can be shown they all share certain attributes in common, the identification of which forms the conclusion of the work.

Known as the land of the mountains, Dagestan lies immediately north of the Caucasus Mountains, and stretches for approximately 250 miles along the west shore of the Caspian Sea. With its mountainous terrain making travel and communication difficult, Daghestan is still largely tribal. Despite over a century of Tsarist control followed by seventy years of repressive Soviet rule, there are still 32 distinct ethnic groups in Daghestan, each with its own language, making it unquestionably the most complex of the Caucasian republics. Shamanic practices are still prevalent in this country, where one of the ten lost tribes of Israel can be found. In Daghestan, as in the neighbouring countries of Georgia, Chechnya, and Azerbaijan, these roots lie in shamanism. This book, one of only a handful available in English on the country, contains the texts of some of these stories as well as commentaries on them.

All intellectuals driven by nationalist sentiments directly or indirectly are always preoccupied with searching for the most ancient roots of their budding nations in order to ground their compatriots in particular soil and to make them more indigenous (Znamenski, 2007, p.28). In Chechnya, as in the neighbouring countries of Georgia and Armenia, these roots lie in shamanism and the stories in this collection clearly show this to be the case. The history of the Nokhchii (the name the Chechens have given themselves), and their land, is filled with rich and colourful stories, which have survived for thousands of years through oral traditions that have been passed down generation by generation through clan elders. However, legends have blended with actual events so that the true history is difficult to write. The 1994-1996 war destroyed most of Chechnya's treasured archaeological and historical sites, though fortunately ancient burial sites, architectural monuments and several prehistoric cave petroglyphs still remain in the mountains. These valuable relics, coupled with the histories and stories of the elders, provide the people with virtually the only remaining evidence of who their ancient ancestors were. This book contains both the texts of some of the tales and commentaries on them, focusing in particular on their shamanic elements.

The book makes out a case for the introduction of a new genre of tale, the shamanic story, which has either been based on or inspired by a shamanic journey, or contains a number of the elements that are typical of such a journey. The stories featured are the Book of Jonah from the Old Testament, two traditional stories from the Republic of Georgia–The Earth will take its Own and Davit, a contemporary German tale Bundles, and the Korean story of Shimchong, the Blindman’s Daughter. By making use of textual material from a number of different cultures and times, the intention is to highlight the pervasive influence shamanism has had and to show how the “new” genre being proposed is a universal one. The research questions addressed include 1) defining what shamanism is, deciding whether it should be classified as a religion, a methodology or a way of life 2) considering whether a case can be made out for the introduction of a new genre of tale and, if so, what its characteristics are. It is hoped the book will be of interest not only to those involved in the study of shamanism but also to those whose interest is in the study of literary texts. Since the old bearers of shamanic traditions quite often were, and even today are, illiterate, the study of their folklore–epic songs, laments, narratives–undoubtedly provides a rich source for research.

Designed for both academic and lay audiences, this book identifies the characteristics of ritual and, via multiple examples, details how ritual works on the human body and brain to produce its often profound effects. These include enhancing courage, effecting healing, and generating group cohesion by enacting cultural—or individual—beliefs and values. It also shows what happens when ritual fails.

Featuring over 1,200 topical entries arranged alphabetically, this encyclopedia provides diverse and detailed coverage of the related subjects of reincarnation and karma. Its in-depth examination ranges from ancient beliefs to those of the present, incorporating all relevant world cultures. A series of broad thematic entries cover foundational aspects while over a thousand highly focused entries deal with various societies and organizations which support the concepts of reincarnation and karma; specific religious groups, sects, and associations; key individuals both historic and modern; and related beliefs, concepts, and practices.

What were the religious beliefs and practices of the early inhabitants of the Caucasus? Some of the answers can be found by looking at the folktales from the region, which is what this book does.

A Bridge to the Other Side is a collection of articles and traditional folk tales that deal with our feelings about and attitudes towards Death, both our own death and that of those nearest and dearest to us. A bridge between earth and heaven, this world and the next, features in the mythology of many different peoples. For example, in Norse legends, Bifröst or Bilröst is a burning rainbow bridge between Midgard, the world, and Asgard, the realm of the gods. The bridge is known as Bilröst in the Poetic Edda; compiled in the 13th century from earlier traditional sources, and as Bifröst in the Prose Edda; written in the 13th century by Snorri Stureuson. Both the Poetic Edda and the Prose Edda alternately refer to the bridge as Asbrú (Old Norse Æsirs means bridge). The Persians believed in a bridge between earth and paradise too. In his prayers the penitent in his confession would say: I am wholly without doubt in the existence of the Mazdayaçnian faith; in the coming of the resurrection of the latter body; in the stepping over the bridge Chinvat; as well as in the continuance of paradise.