In our own age, the engagement with death has been discretely narrowed into a brief process of formal commemoration and burial, but in Shakespeare's time it was ritualized into the very fabric of everyday life, where the reminders of death, the journey to the grave, and the moment of expiry were all central to the cultural engagement with mortality in post-Reformation England. Inevitably, this way of seeing the world impacted the writing of Shakespeare and his contemporaries, not only in relation to the intellectual content of the drama but with regard to its visual impressions as well. Emblems of Mortality explores the relationship between Shakespeare's theatre and popular memento mori and funereal iconography of the Renaissance, combining cultural studies and historicism with semiotic analysis of period iconography. Through close reading of Elizabethan signs and sign systems with attention to historical context, the work seeks to demonstrate the quality and intention of some of Shakespeare's theatrical designs in a way that will appeal to scholars of drama and students of Shakespeare's work.

For more than 500 years, the Symbology of Freemasonry has fostered a secret stream of radical ideas running just beneath the surface of popular culture today. These ideas, illuminated by public symbols hidden in full view, have influenced and shaped the society we have today. Despite this ongoing record of inspiration, no illustrated guide book to the basic ideas of Masonic Symbology has even been published and the story remains mysterious—until now. This book will how this symbology has been the backdrop to key historical events in the history of humanity from ancient times and how, in more recent times, inspired leaders have harnessed the symbols' power to bring about change in society. It will also provide an illustrated guide to the basic symbols of Freemasonry from the Kirkwall Scroll, via the basic symbols, to the six Tracing Boards, and so pass on the basic teaching about Symbology, which has been created by Freemasonry.

This carefully crafted ebook: "THE LOST WORLD - 40 Books Collection: King Solomon's Mines, A Journey to the Centre of the Earth, New Atlantis, The Man Who Would be King, The Land That Time Forgot, Lost Horizon and many more" is formatted for your eReader with a functional and detailed table of contents: The Lost World (Arthur Conan Doyle) A Journey to the Centre of the Earth (Jules Verne) The Mysterious Island The Man Who Would Be King (Rudyard Kipling) At the Mountains of Madness (H. P. Lovecraft) King Solomon's Mines (Henry Rider Haggard) She: A History of Adventure The People of the Mist When the World Shook The Yellow God The Narrative of Arthur Gordon Pym of Nantucket (Edgar Allan Poe) Lost Horizon (James Hilton) The Moon Pool (Abraham Merritt) The Lost Lemuria (W. Scott-Elliot) The Lost Continent of Mu - Motherland of Man (James Churchward) Gulliver's Travels (Jonathan Swift) The Caspak Trilogy (E. Rice Burroughs) The Moon Trilogy The Pellucidar Series The Man-Eater The Cave Girl The Eternal Lover Jungle Girl The Return of Tarzan Tarzan and the Jewels of Opar The Atlantis Books: The Original Myth of Atlantis (Plato) New Atlantis (F. Bacon) Atlantis: The Antedeluvian World (I. Donnelly) The Lost Continent (C. J. Cutcliffe Hyne) The Story of Atlantis (W. Scott-Elliot) The lost world is a subgenre of the fantasy or science fiction genre that involves the discovery of a new world out of time or place. King Solomon's Mines by H. Rider Haggard is sometimes considered the first lost-world narrative. Haggard's novel shaped the form and influenced later lost-world books, including Kipling's The Man Who Would Be King, Arthur Conan Doyle's The Lost World, Burroughs' The Land That Time Forgot, A. Merritt's The Moon Pool, and H. P. Lovecraft's At the Mountains of Madness. James Hilton's Lost Horizon used the genre as a takeoff for popular philosophy and social comment and it introduced the name Shangri-La, a meme for the idealization of the lost world as a paradise.

DigiCat presents to you this unique and meticulously edited adventure collection:a functional and detailed table of contents: The Lost World (Arthur Conan Doyle) A Journey to the Centre of the Earth (Jules Verne) The Mysterious Island The Man Who Would Be King (Rudyard Kipling) At the Mountains of Madness (H. P. Lovecraft) King Solomon's Mines (Henry Rider Haggard) She: A History of Adventure The People of the Mist When the World Shook The Yellow God The Narrative of Arthur Gordon Pym of Nantucket (Edgar Allan Poe) Lost Horizon (James Hilton) The Moon Pool (Abraham Merritt) The Lost Lemuria (W. Scott-Elliot) The Lost Continent of Mu - Motherland of Man (James Churchward) Gulliver's Travels (Jonathan Swift) The Caspak Trilogy (E. Rice Burroughs) The Moon Trilogy The Pellucidar Series The Man-Eater The Cave Girl The Eternal Lover Jungle Girl The Return of Tarzan Tarzan and the Jewels of Opar The Atlantis Books: The Original Myth of Atlantis (Plato) New Atlantis (F. Bacon) Atlantis: The Antedeluvian World (I. Donnelly) The Lost Continent (C. J. Cutcliffe Hyne) The Story of Atlantis (W. Scott-Elliot) The lost world is a subgenre of the fantasy or science fiction genre that involves the discovery of a new world out of time or place. King Solomon's Mines by H. Rider Haggard is sometimes considered the first lost-world narrative. Haggard's novel shaped the form and influenced later lost-world books, including Kipling's The Man Who Would Be King, Arthur Conan Doyle's The Lost World, Burroughs' The Land That Time Forgot, A. Merritt's The Moon Pool, and H. P. Lovecraft's At the Mountains of Madness. James Hilton's Lost Horizon used the genre as a takeoff for popular philosophy and social comment and it introduced the name Shangri-La, a meme for the idealization of the lost world as a paradise.

"Americans came to fight the Civil War in the midst of a wider cultural world that sent them messages about death that made it easier to kill and to be killed. They understood that death awaited all who were born and prized the ability to face death with a spirit of calm resignation. They believed that a heavenly eternity of transcendent beauty awaited them beyond the grave. They knew that their heroic achievements would be cherished forever by posterity. They grasped that death itself might be seen as artistically fascinating and even beautiful."-from Awaiting the Heavenly Country How much loss can a nation bear? An America in which 620,000 men die at each other's hands in a war at home is almost inconceivable to us now, yet in 1861 American mothers proudly watched their sons, husbands, and fathers go off to war, knowing they would likely be killed. Today, the death of a soldier in Iraq can become headline news; during the Civil War, sometimes families did not learn of their loved ones' deaths until long after the fact. Did antebellum Americans hold their lives so lightly, or was death so familiar to them that it did not bear avoiding? In Awaiting the Heavenly Country, Mark S. Schantz argues that American attitudes and ideas about death helped facilitate the war's tremendous carnage. Asserting that nineteenth-century attitudes toward death were firmly in place before the war began rather than arising from a sense of resignation after the losses became apparent, Schantz has written a fascinating and chilling narrative of how a society understood death and reckoned the magnitude of destruction it was willing to tolerate. Schantz addresses topics such as the pervasiveness of death in the culture of antebellum America; theological discourse and debate on the nature of heaven and the afterlife; the rural cemetery movement and the inheritance of the Greek revival; death as a major topic in American poetry; African American notions of death, slavery, and citizenship; and a treatment of the art of death-including memorial lithographs, postmortem photography and Rembrandt Peale's major exhibition painting The Court of Death. Awaiting the Heavenly Country is essential reading for anyone wanting a deeper understanding of the Civil War and the ways in which antebellum Americans comprehended death and the unimaginable bloodshed on the horizon.