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Anglo-Saxon Prognostics, 900-1100
Recent scholarship on the Anglo-Saxon prognostics has tried to place these texts within the realm of folklore and medicine, inspired largely by studies and editions from the nineteenth and early twentieth centuries. By analysing prognostic material in its manuscript context, this book offers a novel approach to the status and purpose of prognostic texts in the early Middle Ages with particular attention to the Anglo-Saxon tradition. From this perspective, it emerges that prognostication in Anglo-Saxon England was not folkloric but a scholarly pursuit by monks not primarily interested in the medical aspects of prognostication. In addition, this book offers, for the first time, a comprehensive edition of prognostics in Old English and Latin from Anglo-Saxon and early post-Conquest manuscripts.
[-135321236_8479: 2019-11-18 16:45:00]
A critical edition of the Anglo-Saxon Lacnunga in BL MS Harley 585.
Edward Thomas Pettit
The Anglo-Saxon Lacnunga ("Remedies") is a miscellaneous collection of almost two hundred herbal remedies, charms, and prayers surviving on folios 130-193r of the eleventh-century manuscript BL Harley 585. It is written mainly in Old English and Latin, and includes a text of the seventh-century Irish Latin Lorica of Laidcenn with an Old English interlinear gloss. There are also brief passages of corrupted Irish, Greek, and Hebrew. β The thesis comprises: 1. Introduction. A description of the codicology and palaeography of the manuscript; a survey of previous scholarship, and a re-examination of the collection's character and place within the Old English magico-medical corpus; an examination of the Old English language of Lacnunga with emphasis on the non-West Saxon and early forms which may suggest an Anglian origin and earlier date for parts of the collection; a summary of the Anglo-Saxon manuscripts and texts in which variant versions of entries may be found, and of those texts which constitute sources. A collation table facilitates reference to the different sectional numbering of previous editions; another table lists the headings of individual entries. β 2. An edited text based on a fresh transcript of the manuscript. Many improvements have been made upon the readings of earlier editions; most notable is the discovery that an entry beginning Deo cell regi regum is a poem, the original form of which can be reconstructed with the aid of another manuscript. The textual apparatus includes the differing readings of previous editors. β 3. Commentary on individual entries: source and analogous texts; reconstruction of lost and damaged passages; discussion of localized points of interpretative difficulty or interest; separate surveys of previous scholarship for the metrical charms, together with analysis of their metre; consideration of the medicinal efficacy of some remedies.
[-135321236_8478: 2019-11-18 16:31:00]
Collection of Latvian Charms
The Collection of Latvian Charms, gathered from various places around Latvia, were submitted to the Archives of Latvian Folklore mostly in the 1920s and 1930s; a number of exhibits were also contributed after 1991. The collection consists mainly of original, small-format, handmade books, or also a copy or transcript of the original. The collection also includes compilations of charms submitted separately, and folk medicine recipes with instructions on how to use them.
The tradition of writing down charms in handmade books or notebooks was widespread in Latvia during the second half of the 19th century. This practice was related to the circulation of handwritten βBooks of Heavenβ, which were used to protect their holders or their holdersβ houses from misfortune. Many of the books are similar in content, testifying to their common derivation. These books were said to have divine origins. Some came down to earth in the city of London, others through the intercession of the angel Michael; some expressed gratitude for miraculous salvation from death, such as in the case of Count Philipβs servant, who by miracle kept his head, or General Skobolev, who survived many battles. Some books also included lucky and unlucky daysβwhen certain activities should be performed or avoided. The Charm books include a second section containing spells for treating various human and animal ailmentsβto staunch bleeding, to relieve pain, to cure ergotism, and others.
http://garamantas.lv/ee/collection/886642/Collection-..
[-135321236_8477: 2019-11-18 16:28:00]
Writing charms : the transmission and performance of charms in Anglo-Saxon England.
This is a study of two groups of Anglo-Saxon charms: six charms for remedying theft; and six charms intended to staunch bleeding. The aim of this study is to build up a picture of the life of these charms and their recording, use, performance and transmission by examining the contents and manuscript context of the charms. I argue that by modifying methodologies presented in previous scholarship, it is possible to develop a new approach to Anglo-Saxon charms, enabling the scholar to reconstruct the ways in which an Anglo-Saxon might have recorded, transmitted and performed charms. I suggest that by taking into account the content of the charms and the way in which they are structured, one can investigate the manuscript context of the charms in order to reveal the worldviews and beliefs of the scribes, users and performers of the charms. The final chapter of the thesis explores the ways in which the charms relate to oral and literate culture, material culture and performance. Thus, I break down the modem dichotomies so often applied to charms, specifically oral/written, magic/religion, prayer/charm and male/female. By combining these investigations of charm content with manuscript context, I reconstruct the Anglo-Saxon experiences of charmin
[-135321236_8476: 2019-11-18 16:28:00]
ΠΠΎΡΡΠΎΡΠ½ΡΠΉ ΡΠΎΠΌΠ°Π½ Π ΠΎΠ±Π΅ΡΡΠ° ΠΡΡΠΌΠ° ΠΡΠ²ΠΈΠ½Π°
ΠΠ½Π³Π»ΠΈΠΉΡΠΊΠΈΠΉ ΠΏΠΈΡΠ°ΡΠ΅Π»Ρ, ΠΈΡΡΠΎΡΠΈΠΊ-ΠΌΠ΅Π΄ΠΈΠ΅Π²ΠΈΡΡ, ΡΠΏΠ΅ΡΠΈΠ°Π»ΠΈΡΡ ΠΏΠΎ ΠΈΡΡΠΎΡΠΈΠΈ ΡΡΠ΅Π΄Π½ΠΈΡ
Π²Π΅ΠΊΠΎΠ² ΠΡΠ°Π±ΡΠΊΠΎΠ³ΠΎ ΠΈ ΠΠ»ΠΈΠΆΠ½Π΅Π³ΠΎ ΠΠΎΡΡΠΎΠΊΠ°, Π·Π½Π°ΡΠΎΠΊ Π°ΡΠ°Π±ΡΠΊΠΎΠΉ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΡ. Π ΠΎΠ΄ΠΈΠ»ΡΡ Π² 1946 Π³ΠΎΠ΄Ρ. ΠΠΊΠΎΠ½ΡΠΈΠ» ΠΠΊΡΡΠΎΡΠ΄ΡΠΊΠΈΠΉ ΡΠ½ΠΈΠ²Π΅ΡΡΠΈΡΠ΅Ρ, Ρ 1972 Π³ΠΎΠ΄Π° ΠΏΡΠ΅ΠΏΠΎΠ΄Π°Π²Π°Π» ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΡ ΠΈ ΡΡΠ΅Π΄Π½Π΅Π²Π΅ΠΊΠΎΠ²ΡΡ ΠΈΡΡΠΎΡΠΈΡ Π² ΡΠ½ΠΈΠ²Π΅ΡΡΠΈΡΠ΅ΡΠ΅ Π‘Π΅Π½Ρ-ΠΠ½Π΄ΡΡΡ. Π§ΠΈΡΠ°Π» Π»Π΅ΠΊΡΠΈΠΈ ΠΏΠΎ Π°ΡΠ°Π±ΡΠΊΠΎΠΉ ΠΈ Π²ΠΎΡΡΠΎΡΠ½ΠΎΠΉ ΡΡΠ΅Π΄Π½Π΅Π²Π΅ΠΊΠΎΠ²ΠΎΠΉ ΠΈΡΡΠΎΡΠΈΠΈ Π² ΠΠΊΡΡΠΎΡΠ΄ΡΠΊΠΎΠΌ, ΠΠ΅ΠΌΠ±ΡΠΈΠ΄ΠΆΡΠΊΠΎΠΌ ΠΈ ΠΠΎΠ½Π΄ΠΎΠ½ΡΠΊΠΎΠΌ ΡΠ½ΠΈΠ²Π΅ΡΡΠΈΡΠ΅ΡΠ°Ρ
.
Π’Π°ΠΊΠΆΠ΅ Π ΠΎΠ±Π΅ΡΡ ΠΡΠ²ΠΈΠ½ ΠΈΠ·Π²Π΅ΡΡΠ΅Π½ ΠΊΠ°ΠΊ Π°Π²ΡΠΎΡ Π±ΠΎΠ»ΡΡΠΎΠ³ΠΎ ΠΊΠΎΠ»ΠΈΡΠ΅ΡΡΠ²Π° ΡΡΠ°ΡΠ΅ΠΉ ΠΈ ΠΌΠΎΠ½ΠΎΠ³ΡΠ°ΡΠΈΠΉ ΠΏΠΎ Π°ΡΠ°Π±ΡΠΊΠΎΠΉ ΠΈΡΡΠΎΡΠΈΠΈ ΡΡΠ΅Π΄Π½ΠΈΡ
Π²Π΅ΠΊΠΎΠ², ΠΊΡΠ΅ΡΡΠΎΠ²ΡΠΌ ΠΏΠΎΡ
ΠΎΠ΄Π°ΠΌ, ΠΈΡΠ»Π°ΠΌΡΠΊΠΎΠΌΡ ΠΈΡΠΊΡΡΡΡΠ²Ρ ΠΈ ΠΈΡΠ°Π»ΡΡΠ½ΡΠΊΠΎΠΌΡ ΠΠΎΠ·ΡΠΎΠΆΠ΄Π΅Π½ΠΈΡ. Π―Π²Π»ΡΠ΅ΡΡΡ ΡΠΎΠ²Π»Π°Π΄Π΅Π»ΡΡΠ΅ΠΌ ΠΌΠ°Π»Π΅Π½ΡΠΊΠΎΠ³ΠΎ ΠΈΠ·Π΄Π°ΡΠ΅Π»ΡΡΡΠ²Π°, ΠΊΡΡΠΈΡΡΠ΅Ρ Π½Π΅ΡΠΊΠΎΠ»ΡΠΊΠΎ ΠΏΡΠΎΠ΅ΠΊΡΠΎΠ², ΡΠ²ΡΠ·Π°Π½Π½ΡΡ
Ρ ΠΠ»ΠΈΠΆΠ½ΠΈΠΌ ΠΠΎΡΡΠΎΠΊΠΎΠΌ. ΠΠ½ΡΠ΅ΡΠ΅ΡΡΠ΅ΡΡΡ ΡΡΡΡΠΊΠΎΠΉ ΠΊΡΠ»ΡΡΡΡΠΎΠΉ ΠΈ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠΎΠΉ.
ΠΠ·Π²Π΅ΡΡΠ½ΠΎΡΡΡ ΠΊΠ°ΠΊ ΠΏΠΈΡΠ°ΡΠ΅Π»Ρ Π΅ΠΌΡ ΠΏΡΠΈΠ½Π΅Ρ ΠΏΠ΅ΡΠ²ΡΠΉ ΠΆΠ΅ Π½Π°ΠΏΠΈΡΠ°Π½Π½ΡΠΉ ΡΠΎΠΌΠ°Π½ β Β«ΠΡΠ°Π±ΡΠΊΠΈΠΉ ΠΊΠΎΡΠΌΠ°ΡΒ», ΠΊΠΎΡΠΎΡΡΠΉ ΡΠ²ΠΈΠ΄Π΅Π» ΡΠ²Π΅Ρ Π² 1983 Π³ΠΎΠ΄Ρ. ΠΡΠ° ΠΊΠ½ΠΈΠ³Π° ΠΌΠ½ΠΎΠ³ΠΎΠΊΡΠ°ΡΠ½ΠΎ ΠΏΠ΅ΡΠ΅ΠΈΠ·Π΄Π°Π²Π°Π»Π°ΡΡ, Π±ΡΠ»Π° ΠΏΠ΅ΡΠ΅Π²Π΅Π΄Π΅Π½Π° Π½Π° Π½Π΅ΡΠΊΠΎΠ»ΡΠΊΠΎ ΡΠ·ΡΠΊΠΎΠ², Π² ΡΠΎΠΌ ΡΠΈΡΠ»Π΅ Π²ΡΠ΅ ΠΎΡΠ½ΠΎΠ²Π½ΡΠ΅ Π΅Π²ΡΠΎΠΏΠ΅ΠΉΡΠΊΠΈΠ΅, ΠΈΠ²ΡΠΈΡ ΠΈ ΡΠΏΠΎΠ½ΡΠΊΠΈΠΉ. Π ΡΠ°ΠΌ Π°Π²ΡΠΎΡ ΠΏΠΎΠ»ΡΡΠΈΠ» ΠΎΡ ΠΊΡΠΈΡΠΈΠΊΠΎΠ² Π·Π²Π°Π½ΠΈΠ΅ Β«Π±ΡΠΈΡΠ°Π½ΡΠΊΠΎΠ³ΠΎ Π£ΠΌΠ±Π΅ΡΡΠΎ ΠΠΊΠΎΒ». ΠΠΎΡΡΡΠΎΠ΅Π½Π½ΡΠΉ ΠΏΠΎ ΠΏΡΠΈΠ½ΡΠΈΠΏΡ Β«ΡΠ°ΡΡΠΊΠ°Π·ΠΎΠ² Π² ΡΠ°ΡΡΠΊΠ°Π·Π°Ρ
Β», Β«ΠΡΠ°Π±ΡΠΊΠΈΠΉ ΠΊΠΎΡΠΌΠ°ΡΒ» ΠΏΡΠΎΠΏΠΈΡΠ°Π½ Π°ΡΠΎΠΌΠ°ΡΠ°ΠΌΠΈ ΠΈ ΠΌΠ°Π³ΠΈΠ΅ΠΉ ΠΠΎΡΡΠΎΠΊΠ°, ΠΈ ΠΏΠΎ ΡΠ»ΠΎΡΠΊΠ°ΠΌ ΠΠ°ΠΈΡΠ° ΠΊΠΎΠ½ΡΠ° XV Π²Π΅ΠΊΠ° Π»Π΅Π³ΠΊΠΎ ΡΠ²ΠΎΠ΄ΠΈΡ Π½Π°Ρ ΠΊΡΠ΄Π°-ΡΠΎ ΠΊ Π·ΡΠ±ΠΊΠΎΠΌΡ ΠΏΠΎΠ³ΡΠ°Π½ΠΈΡΡΡ ΠΌΠ΅ΠΆΠ΄Ρ ΡΠ΅Π°Π»ΡΠ½ΠΎΡΡΡΡ ΠΈ ΡΠ½ΠΎΠΌ, ΡΡΠΎ Π±Π΅Π·ΡΡΠ»ΠΎΠ²Π½ΠΎ ΠΏΠΎΠ·Π²ΠΎΠ»ΡΠ΅Ρ ΠΎΡΠ½Π΅ΡΡΠΈ ΠΊΠ½ΠΈΠ³Ρ ΠΊ ΠΆΠ°Π½ΡΡ ΠΌΠ°Π³ΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ ΡΠ΅Π°Π»ΠΈΠ·ΠΌΠ°.
ΠΠΎΡΠ»Π΅Π΄ΡΡΡΠΈΠ΅ Ρ
ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΡΠ΅ ΡΠ°Π±ΠΎΡΡ ΠΡΠ²ΠΈΠ½Π° Π½Π΅ Π²ΡΠ΅Π³Π΄Π° Π±ΡΠ»ΠΈ ΡΠ²ΡΠ·Π°Π½Ρ Ρ Π²ΠΎΡΡΠΎΡΠ½ΠΎΠΉ ΡΠ΅ΠΌΠ°ΡΠΈΠΊΠΎΠΉ, Π½ΠΎ Π½Π΅Π±ΠΎΠ»ΡΡΠΎΠΉ ΡΠΎΠΌΠ°Π½ 1997 Π³ΠΎΠ΄Π° Β«ΠΠ»ΠΎΡΡ ΠΌΠΎΠ»ΠΈΡΠ²Π΅Π½Π½ΡΡ
ΠΏΠΎΠ΄ΡΡΠ΅ΠΊΒ», ΠΌΠΎΠΆΠ½ΠΎ ΡΠΊΠ°Π·Π°ΡΡ, ΠΏΠΎΠ²ΡΠΎΡΠΈΠ» ΠΌΠ°Π³ΠΈΡΠ΅ΡΠΊΠΎΠ΅ ΠΎΡΠ°ΡΠΎΠ²Π°Π½ΠΈΠ΅ Π΄Π΅Π±ΡΡΠ½ΠΎΠΉ ΠΊΠ½ΠΈΠ³ΠΈ ΠΏΠΈΡΠ°ΡΠ΅Π»Ρ. Π Π½Π΅ΠΌ, ΠΏΠΎ ΡΠ»ΠΎΠ²Π°ΠΌ Π. Π¦Π°ΡΠ΅Π²Π°, Β«ΡΠΎΠ΅Π΄ΠΈΠ½ΡΡΡΡΡ ΡΡΠ°Π΄ΠΈΡΠΈΠΈ ΠΈ ΠΊΠΎΠ»ΠΎΡΠΈΡ ΠΊΠ»Π°ΡΡΠΈΡΠ΅ΡΠΊΠΎΠΉ Π°ΡΠ°Π±ΡΠΊΠΎΠΉ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΡ Β«ΠΡΡΠΈΡΡΠΎΠ³ΠΎ ΡΠ°Π΄Π°Β» ΠΠ»Ρ-ΠΠ°ΡΠ·Π°Π²ΠΈ ΠΈ Β«Π’ΡΡΡΡΠΈ ΠΈ ΠΎΠ΄Π½ΠΎΠΉ Π½ΠΎΡΠΈΒ» Ρ Π·Π°ΠΏΠ°Π΄Π½ΡΠΌΠΈ ΡΠ°Π½ΡΠ°Π·ΠΈΡΠΌΠΈ Π² Π΄ΡΡ
Π΅ ΠΠ΅ΡΠ°ΡΠ° Π΄Π΅ ΠΠ΅ΡΠ²Π°Π»Ρ, Π€Π»ΠΎΠ±Π΅ΡΠ° ΠΈΠ»ΠΈ ΠΠ°Π»Π»Π°ΡΠΌΠ΅Β», Π° Π³Π΅ΡΠΎΠΈ Β«Π΄ΠΎΠ»ΠΆΠ½Ρ ΠΏΡΠ΅ΠΎΠ΄ΠΎΠ»Π΅ΡΡ ΠΈΠ·Π²ΡΠ°ΡΠ΅Π½Π½ΡΡ ΡΠ΅Π°Π»ΡΠ½ΠΎΡΡΡ ΡΠ΅ΡΠ°Π»Ρ-Π»Π°Π±ΠΈΡΠΈΠ½ΡΠ°, Π²ΡΠ΄Π΅ΡΠΆΠ°ΡΡ ΠΏΡΡΠΊΡ ΠΠΎΡΡΠΎΠΊΠΎΠΌ β ΠΈΠ·Π±ΡΡΠΎΡΠ½ΠΎΠΉ ΠΊΡΠ°ΡΠΎΡΠΎΠΉ ΠΈ ΠΎΠΌΠ΅ΡΠ·ΠΈΡΠ΅Π»ΡΠ½Π΅ΠΉΡΠΈΠΌ ΡΡΠΎΠ΄ΡΡΠ²ΠΎΠΌ, Π½Π΅ΡΡΠ΅ΡΠΏΠΈΠΌΠΎΠΉ Π³ΠΎΡΠ΅ΡΡΡ ΠΈ Π½Π΅Π²ΡΠ½ΠΎΡΠΈΠΌΠΎ-Π»ΠΈΠΏΠΊΠΎΠΉ ΡΠ»Π°Π΄ΠΎΡΡΡΡ...Β»
Π‘ΡΠ΅Π΄ΠΈ Π΄ΡΡΠ³ΠΈΡ
ΠΊΠ½ΠΈΠ³ Π°Π²ΡΠΎΡΠ° Π΅ΡΡΡ ΠΈ Π±ΠΎΠ»Π΅Π΅ ΡΠ΅Π°Π»ΠΈΡΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ Β«ΠΡΠ΅Π΄Π΅Π»Ρ Π·ΡΠΈΠΌΠΎΠ³ΠΎΒ» ΠΈ Β«ΠΠ»ΠΆΠΈΡΡΠΊΠΈΠ΅ ΡΠ°ΠΉΠ½ΡΒ», Π΅ΡΡΡ ΠΌΠ΅ΡΠ°ΡΠΈΠ·ΠΈΡΠ΅ΡΠΊΠΈΠΉ ΠΊΠ²Π΅ΡΡ/ΡΡΠ°Π²Π΅Π»ΠΎΠ³ΠΈΡ Β«Π£ΡΠΎΠ½ΡΠ΅Π½Π½ΡΠΉ ΠΌΠ΅ΡΡΠ²Π΅ΡΒ», Π° ΠΎΠΊΠΊΡΠ»ΡΡΠ½ΠΎ-Π³ΠΎΡΠΈΡΠ΅ΡΠΊΠΈΠΉ ΡΠΎΠΌΠ°Π½ Ρ Π²ΡΠ·ΡΠ²Π°ΡΡΠΈΠΌ Π½Π°Π·Π²Π°Π½ΠΈΠ΅ΠΌ Β«Satan Wants MeΒ» (Ρ Π½Π°Ρ, Π²ΠΏΡΠΎΡΠ΅ΠΌ, ΠΈΠ·Π΄Π°Π½Π½ΡΠΉ ΠΊΠ°ΠΊ Β«ΠΠΎΠΆΠ° ΡΠ΅ΡΠ½ΠΎΠΊΠ½ΠΈΠΆΠ½ΠΈΠΊΠΎΠ²Β») ΠΏΠ΅ΡΠ΅ΠΌΠ΅ΡΠ°Π΅Ρ ΡΠΈΡΠ°ΡΠ΅Π»Ρ Π² ΠΊΡΠ»ΡΠΌΠΈΠ½Π°ΡΠΈΠΎΠ½Π½Π½ΠΎΠ΅ Π΄Π»Ρ ΠΏΠΎΠΊΠΎΠ»Π΅Π½ΠΈΡ Ρ
ΠΈΠΏΠΏΠΈ Β«Π»Π΅ΡΠΎ Π»ΡΠ±Π²ΠΈΒ» 1967 Π³ΠΎΠ΄Π°, Π³Π΄Π΅ Π½Π°Π΄ ΡΠ²ΠΈΠ½Π³ΡΡΡΠΈΠΌ ΠΠΎΠ½Π΄ΠΎΠ½ΠΎΠΌ Π½Π°Π²ΠΈΡΠ°Π΅Ρ ΡΠΌΡΡΠ½Π°Ρ ΡΠ΅Π½Ρ Π½ΠΎΠ²ΠΎΠΉ ΠΈΠ½ΠΊΠ°ΡΠ½Π°ΡΠΈΠΈ ΠΠ»ΠΈΡΡΠ΅ΡΠ° ΠΡΠΎΡΠ»ΠΈ...
Π ΠΌΠ°Π»ΠΎΠΉ ΡΠΎΡΠΌΠ΅ ΠΡΠ²ΠΈΠ½ ΠΏΠΎΡΡΠΈ Π½Π΅ ΡΠ°Π±ΠΎΡΠ°Π΅Ρ. ΠΠ° ΡΡΠ±Π΅ΠΆΠ΅ 80-Ρ
β 90-Ρ
Π³ΠΎΠ΄ΠΎΠ² ΠΎΠ΄ΠΈΠ½ ΠΈΠ· Π΅Π³ΠΎ ΡΠ°ΡΡΠΊΠ°Π·ΠΎΠ² ΠΏΠΎΡΠ²ΠΈΠ»ΡΡ Π² Π°Π½ΡΠΎΠ»ΠΎΠ³ΠΈΠΈ Β«Tarot TalesΒ», ΠΏΠΎΡΠ²ΡΡΠ΅Π½Π½ΠΎΠΉ ΠΊΠ°ΡΡΠ°ΠΌ Π’Π°ΡΠΎ; Π΄ΡΡΠ³ΠΎΠΉ β Π² Β«Tales of the Wandering JewΒ», ΡΠΎΡΡΠ°Π²Π»Π΅Π½Π½ΠΎΠΉ ΠΡΠ°ΠΉΠ°Π½ΠΎΠΌ Π‘ΡΡΠ±Π»ΡΠΎΡΠ΄ΠΎΠΌ.
Π‘ΡΠ΅Π΄ΠΈ Π³Π»Π°Π²Π½ΡΡ
ΡΠ°Π±ΠΎΡ Π ΠΎΠ±Π΅ΡΡΠ° ΠΡΠ²ΠΈΠ½Π° ΠΏΠΎ ΠΈΡΠΊΡΡΡΡΠ²Ρ ΠΈ ΠΊΡΠ»ΡΡΡΡΠ΅ ΠΏΡΠ΅ΠΆΠ΄Π΅ Π²ΡΠ΅Π³ΠΎ ΡΡΠΎΠΈΡ ΠΎΡΠΌΠ΅ΡΠΈΡΡ ΠΊΠ½ΠΈΠ³Ρ Β«ΠΠ΅ΡΠ΅Π΄Π½ΡΡ ΠΠ·ΠΈΡ Π² ΡΡΠ΅Π΄Π½ΠΈΠ΅ Π²Π΅ΠΊΠ°Β» (Β«The Middle East in the Middle AgesΒ», 1984), ΠΊΠΎΠΌΠΌΠ΅Π½ΡΠ°ΡΠΈΠΈ ΠΊ Β«Π’ΡΡΡΡΠ΅ ΠΈ ΠΎΠ΄Π½ΠΎΠΉ Π½ΠΎΡΠΈΒ» β Β«The Arabian Nights: A CompanionΒ» (1994), Π° ΡΠ°ΠΊΠΆΠ΅ Β«ΠΡΠ»Π°ΠΌΡΠΊΠΎΠ΅ ΠΈΡΠΊΡΡΡΡΠ²ΠΎΒ» (Β«Islamic ArtΒ», 1997), ΠΈ Π°Π½ΡΠΎΠ»ΠΎΠ³ΠΈΡ ΠΊΠ»Π°ΡΡΠΈΡΠ΅ΡΠΊΠΎΠΉ Π°ΡΠ°Π±ΡΠΊΠΎΠΉ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΡ Β«ΠΠΎΡΡ. ΠΠΎΡΠ°Π΄ΠΈ. ΠΡΡΡΡΠ½Ρ.Β» (Β«Night and Horses and the DesertΒ», 1999).
Π Π±ΠΎΠ»ΡΡΠΎΠΌΡ ΡΠΎΠΆΠ°Π»Π΅Π½ΠΈΡ Π΄Π»Ρ Π΅Π³ΠΎ ΡΠΈΡΠ°ΡΠ΅Π»Π΅ΠΉ, Π² Π½ΠΎΠ²ΠΎΠΌ Π²Π΅ΠΊΠ΅ ΠΡΠ²ΠΈΠ½ ΠΎΠΏΡΡΡ ΡΠΊΠΎΠ½ΡΠ΅Π½ΡΡΠΈΡΠΎΠ²Π°Π»ΡΡ Π½Π° ΡΠ²ΠΎΠ΅ΠΉ Π½Π°ΡΡΠ½ΠΎΠΉ ΡΠ°Π±ΠΎΡΠ΅, Π²ΡΡΡΡΠΏΠΈΠ² Π² ΡΠ°ΡΡΠ½ΠΎΡΡΠΈ Ρ ΠΊΡΠΈΡΠΈΠΊΠΎΠΉ ΠΎΡΠΈΠ΅Π½ΡΠ°Π»ΠΈΠ·ΠΌΠ° ΠΈ ΠΊΠ½ΠΈΠ³ΠΈ ΠΠ΄Π²Π°ΡΠ΄Π° Π‘Π°ΠΈΠ΄Π° Π½Π° ΡΡΡ ΡΠ΅ΠΌΡ. Π‘Π²Π΅ΠΆΠΈΡ
Ρ
ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΡΡ
ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠΉ ΠΏΠΈΡΠ°ΡΠ΅Π»Ρ Π½Π΅ Π²ΡΠΏΡΡΠΊΠ°Π» ΡΠΆΠ΅ Π±ΠΎΠ»ΡΡΠ΅ 10 Π»Π΅Ρ, Π½ΠΎ, ΠΏΠΎ Π΅Π³ΠΎ ΡΠ»ΠΎΠ²Π°ΠΌ, ΡΠ°Π±ΠΎΡΠ°Π΅Ρ Π½Π°Π΄ ΡΠ»Π΅Π΄ΡΡΡΠΈΠΌΠΈ ΡΠΎΠΌΠ°Π½Π°ΠΌΠΈ (ΠΈΠ·Π²Π΅ΡΡΠ½ΠΎ, ΡΡΠΎ ΠΎΠ΄ΠΈΠ½ ΠΈΠ· Π½ΠΈΡ
Π±ΡΠ΄Π΅Ρ ΠΎ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΡ
ΠΌΠ°ΡΠ΅ΠΌΠ°ΡΠΈΠΊΠ°Ρ
).
Π€ΠΎΡΠΌΠ°Ρ: FB2, RTF
ΠΠ°ΡΠ΅ΡΡΠ²ΠΎ: ΠΠ·Π½Π°ΡΠ°Π»ΡΠ½ΠΎ ΠΊΠΎΠΌΠΏΡΡΡΠ΅ΡΠ½ΠΎΠ΅ (eBook)
Π‘ΠΊΠ°ΡΠ°ΡΡ Π°ΡΡ
ΠΈΠ²:
https://yadi.sk/d/lD7WNMeAUoavFA
[-135321236_8474: 2019-11-18 16:13:00]
True Magic: Unleashing Your Inner Witch
True Magic: Unleashing Your Inner Witch goes beyond everything you've ever tried before. Combining traditional magic and modern strategies, you will transform your life through spells, practices, rituals, and journeys, unlocking the power of your true self. True Magic takes the best parts of witchcraft, shamanism, occult and mystical paths from the ancient to the contemporary so that you can wield their wisdom. You will learn how to use plant magick, animal spirits, words of power, alchemy, ancient philosophy, the chakras and more to unleash your Inner Witch.
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[-135321236_8473: 2019-11-18 14:18:00]
