This book celebrates the flowering of women in American Buddhism. Lenore Friedman set out to explore this phenomenon by interviewing some of the remarkable women who were teaching Buddhism in the United States. The seventeen women she writes about vary in background, personality, and form of teaching. Together the represent the growing presence and influence of women teachers in America—a development that will surely affect Buddhism in the West for years to come. This revised edition includes a new section describing developments in these women's lives and work since the book's first publication in 1987. Teachers include:Toni Packer, Maurine Stuart, Pema Chödrön, Joko Beck, Ruth Denison, Bobby Rhodes, Jiyu Kennett, Sharon Salzberg, Karuna Dharma, Joanna Macy, Gesshin Prabhasa Dharma, Sonja Margulies, Yvonne Rand, Jacqueline Mandell, Colleen Schmitz, Ayya Khema, Tsering Everest

As the first examination of women's foremost contributions to Jerzy Grotowski's cross-cultural investigation of performance, this book complements and broadens existing literature by offering a more diverse and inclusive re-assessment of Grotowski's legacy, thereby probing its significance for contemporary performance practice and research. Although the particularly strenuous physical training emblematic of Grotowski's approach is not gender specific, it has historically been associated with a masculine conception of the performer incarnated by Ryszard Cieslak in The Constant Prince, thus overlooking the work of Rena Mirecka, Maja Komorowska, and Elizabeth Albahaca, to name only the leading women performers identified with the period of theatre productions. This book therefore redresses this imbalance by focusing on key women from different cultures and generations who share a direct connection to Grotowski's legacy while clearly asserting their artistic independence. These women actively participated in all phases of the Polish director’s practical research, and continue to play a vital role in today's transnational community of artists whose work reflects Grotowski's enduring influence. Grounding her inquiry in her embodied research and on-going collaboration with these artists, Magnat explores the interrelation of creativity, embodiment, agency, and spirituality within their performing and teaching. Building on current debates in performance studies, experimental ethnography, Indigenous research, global gender studies, and ecocriticism, the author maps out interconnections between these women's distinct artistic practices across the boundaries that once delineated Grotowski's theatrical and post-theatrical experiments. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Even now, nearly two decades after his death, Osho’s books continue to sell in the hundreds of thousands, and his website receives over a million hits every month. His host of admirers simply increases with every succeeding generation. Here, Osho brings to life many of mankind’s most influential religious and spiritual leaders from a variety of cultures, including Krishna, the Buddha, and Jesus; poets such as Lao Tzu and Rumi; philosophers from Pythagoras and Socrates to Heraclitus and Nietzsche; and great thinkers of more recent times, including Gurdjieff, Krishnamurti, and Kahlil Gibran. Osho uses their lives and knowledge to guide the reader in a profound journey of spiritual discovery and wisdom

EXACTLY A MONTH HAS ELAPSED since I finished the first series of my writings—just that period of the flow of time which I intended to devote exclusively to resting the parts of my common presence subordinate to my pure reason. As I wrote in the last chapter of the first series, I had given myself my word that during the whole of this time I would do no writing whatsoever, but would only, for the well-being of the most deserving of these subordinate parts, slowly and gently drink down all the bottles of old calvados now at my disposal by the will of fate in the wine-cellar of the Prieuré, and specially provided the century before last by people who understood the true sense of life. Today I have decided, and now I wish—without forcing myself at all, but on the contrary with great pleasure—to set to work at my writing again, of course with the help of all the corresponding forces and also, this time, with the help of the law-conformable cosmic results flowing in from all sides upon my person from the good wishes of the readers of the first series. I now propose to give a form understandable for everyone to everything I have written down for the second series, in the hope that these ideas may serve as preparatory constructive material for setting up in the consciousness of creatures similar to myself a new world—a world in my opinion real, or at least one that can be perceived as real by all degrees of human thinking without the All and Everything: Beelzebub’s Tales to His Grandson, p. 1236 slightest impulse of doubt, instead of the illusory world which contemporary people picture to themselves. And indeed, the mind of contemporary man, of whatever level of intellectuality, is only able to take cognizance of the world by means of data which, whenever accidentally or intentionally activated, arouse in him all sorts of fantastic impulses. And these impulses, by constantly affecting the tempo of all the associations flowing in him, gradually disharmonize the whole of his functioning, with such sorrowful results that it is impossible for any man, if he is able to isolate himself even a little from the influences of the established abnormal conditions of our ordinary life and is willing to think about it seriously, not to be terrified—as, for example, by the shortening of our life with each decade. First of all, for the ‘swing of thought’, that is, for establishing a corresponding rhythm for my thinking and also for yours, I wish to follow somewhat the example of the Great Beelzebub and imitate the form of thinking of one highly respected by him and by me, and perhaps already, brave reader of my writings, by you, if of course you have had the daring to read through to the end all of the first series. That is to say, I wish to introduce at the very beginning of this writing of mine what our dear-to-all Mullah Nassr Eddin1 would call a ‘subtly philosophical question.’ I wish to do this at the very beginning because I intend to use freely, both here and in my later expositions, the wisdom of this sage, who is now recognized almost everywhere and upon whom, it is rumoured, the title of ‘The One and Only’ is soon to be officially conferred by the proper person. And this subtly philosophical question may already be sensed in that sort of perplexity which is bound to arise in the consciousness of every reader of even the very first paragraph of this chapter, if he compares the many data on which his firm convictions about medical matters are based with the fact that I, the author of Beelzebub’s Tales to His Grandson, after the accident which nearly cost me my life, with the functioning of my organism not yet fully re-established owing to the incessant active effort Mullah Nassr Eddin, a legendary figure in numerous countries of the Near East, is an embodiment of popular wisdom.

'An endlessly fascinating and enjoyable book' Neil MacGregor 'Full of delights' Tom Stoppard An extraordinary exploration of the medieval world - the most beguiling history book of the year This is a book about why medieval manuscripts matter. Coming face to face with an important illuminated manuscript in the original is like meeting a very famous person. We may all pretend that a well-known celebrity is no different from anyone else, and yet there is an undeniable thrill in actually meeting and talking to a person of world stature. The idea for the book, which is entirely new, is to invite the reader into intimate conversations with twelve of the most famous manuscripts in existence and to explore with the author what they tell us about nearly a thousand years of medieval history - and sometimes about the modern world too. Christopher de Hamel introduces us to kings, queens, saints, scribes, artists, librarians, thieves, dealers, collectors and the international community of manuscript scholars, showing us how he and his fellows piece together evidence to reach unexpected conclusions. He traces the elaborate journeys which these exceptionally precious artefacts have made through time and space, shows us how they have been copied, who has owned them or lusted after them (and how we can tell), how they have been embroiled in politics and scholarly disputes, how they have been regarded as objects of supreme beauty and luxury and as symbols of national identity. The book touches on religion, art, literature, music, science and the history of taste. Part travel book, part detective story, part conversation with the reader, Meetings with Remarkable Manuscripts conveys the fascination and excitement of encountering some of the greatest works of art in our culture which, in the originals, are to most people completely inaccessible. At the end, we have a slightly different perspective on history and how we come by knowledge. It is a most unusual book.