Helena Petrovna Blavatsky often known as Madame Blavatsky was a Russian occultist, philosopher, and author who co-founded the Theosophical Society in 1875. She gained an international following as the leading theoretician of Theosophy, the esoteric religion that the society promoted. If you care about Theosophy or this trailblazer of the New Age, then this book is for you. A must for any scholar of spiritual movements. Along with writing her several books, H. P. Blavatsky kept up a voluminous correspondence and also contributed a steady stream of essays and articles to periodicals in English, French, and Russian. ISIS UNVEILED FROM THE CAVES AND JUNGLES OF HINDOSTAN WHAT IS THEOSOPHY? WHAT ARE THE THEOSOPHISTS? MAHATMAS AND CHELAS OCCULT OR EXACT SCIENCE? THE ESOTERIC CHARACTER OF THE GOSPELS OCCULTISM VERSUS THE OCCULT ARTS IS THEOSOPHY A RELIGION? THE VOICE OF THE SILENCE THE KEY TO THEOSOPHY THE SECRET DOCTRINE

At the age of 17, rejecting nineteenth-century materialism, Helena Blavatsky (1831-1891) left her native Russia and traveled through India, Tibet, Egypt, Europe, and the Americas seeking out the sources of ancient wisdom as a key to spiritual truth. In 1875 in New York, she co-founded the Theosophical Society for the study of occult traditions. Many popular ideas of rediscovered ancient wisdom, including reincarnation and karma, trace their origin to Helena Blavatsky and Theosophy. This anthology includes material on her life and travels, as well as excerpts from her major works.

A cumulative list of works represented by Library of Congress printed cards.

This book deals with the early intellectual reception of the cinema and the manner in which art theorists, philosophers, cultural theorists, and especially artists of the first decades of the twentieth century responded to its advent. While the idea persists that early writers on film were troubled by the cinema’s lowly form, this work proposes that there was another, largely unrecognized, strain in the reception of it. Far from anxious about film’s provenance in popular entertainment, some writers and artists proclaimed that the cinema was the most important art for the moderns, as it exemplified the vibrancy of contemporary life. This view of the cinema was especially common among those whose commitments were to advanced artistic practices. Their notions about how to recast the art media (or the forms forged from those media’s materials) and the urgency of doing so formed the principal part of the conceptual core of the artistic programs advanced by the vanguard art movements of the first half of the twentieth century. This book, a companion to the author’s previous, Harmony & Dissent, examines the Dada and Surrealist movements as responses to the advent of the cinema.