Post has attachment
Super Foods Vitamins ! Make sure to bring out the best in your health !!https://alexanderfresco.kyani.net/ 

Post has attachment
ANCIENT IMAGES OF DEATH
#death #ancientegypt #culture

The demise of my father was a very difficult experience for me. For the first time in my life I had a direct and tangible encounter with death. It was years ago, but I still remember clearly the acute feeling of void; something very valuable had been forcefully torn away, leaving a painful sense of a cleft. In fact, it almost felt like an abyss – one careless moment of neglecting rational considerations and I would slip into pure agony. 

Of course I couldn’t say what death is. Like most people, I could say what it was not: my father wasn’t sitting in his armchair, he wasn’t reading, we didn’t have our usual conversations - and his poor health was no longer a subject of constant concern. 

After the first phase of shock and confusion, I realized I needed to think of him in a somewhat concrete manner. Most people, either having a vague feeling that the deceased still exists or fully believing in the immortality of the soul, can’t avoid the most simple, basic question: where is the dead person now? Many feel he or she is ‘in the sky’. Our fundamental mental structure contains visual images of a person, even after his or her death. 

I admit I find it hard to connect with the vision of heaven and hell, I am not quite sure why.  Maybe it is its underlying premise that people are either good or bad; perhaps it is the very images of heaven, which seem to me inactive, almost idle. The most I could imagine was my father existing somewhere in space. 

By chance, at that time I came across a book discussing the perception of death in ancient Egypt. Jan Assmann’s Death and Salvation in Ancient Egypt contains a profound and detailed analysis of perceptions of death in various cultures, ancient Egypt in particular.  He examines this fascinating topic from an anthropological perspective: what can we learn about societies by their attitude towards death? Is death taken simply as a termination of life, or as a new beginning? Is it a negation of life, or its sequel? Is it more important than life, or not as significant? 

Assmann’s point of departure is that death is the main generator of cultures. Man has always seen death as a central part of his life, and therefore it shaped his world. Yet modern culture is an exception: it excludes death, rejects it. “Few cultures in this world exclude death and the dead from their reality as we do. Living with the dead and with death is one of the most normal manifestation of human cultures, and it presumably lies at the heart of of the stuff of human existence.”

In Christianity, argues Assmann, the afterlife is more important than life; it is there that true reward and punishment are exercised. In Judaism, the striving for immortality is materialized in children and grandchildren. In ancient Egyptian religion, death was often seen as transition, a passage, a long journey to the throne of Osiris. 
This image of the traveling dead was completely new to me. In my mind death was stationary, unchanging; something that, once it has happened, is static. But this ancient Egyptian image of afterlife was so dynamic and vital. In fact it was not death, but rather a departure of this world while alive: “The deceased has departed, and the continuation of his journey to the afterlife thus entails, first and foremost, a distancing from death.” He had to cross ‘a great lake’, a huge body of water, bewaring of frightful creatures, careful not to be left on its banks, where the dead are really dead. This journey, fascinating yet perilous, was an official one, so to speak. The dead were protected, and needed not worry about ill-will being spoken of them in this world. Defaming the deceased would have been severely punished by the gods. 

This perception of death that I was encountering for the first time brought me true comfort. Of course the pain was there, but this fresh visual idea of my father’s afterlife was so consoling. I could easily imagine him on a very long journey, his curious nature gratified by the changing scenery and the strange creatures on the way. Also this travel would have fitted his active nature, whereas imagining him in heaven seems almost unnatural.  

No one knows what death truly looks like; but sometimes adopting a certain image of the deceased may change our experience of loss and mourning. 


Jan Assmann, Death and Salvation in Ancient Egypt. Ithaca N.Y., Cornell University Press. 2005.


From: onourselvesandothers.com  ©EmanuelaRubinstein
Photo

Post has attachment
THE MONA LISA – FEMALE BODY IMAGE  
#bodyimage #Feminism #India #themonalisa

Many many years ago, I happened to be invited to the home of a huge cosmetic brand owner. We were sitting in his lovely dining room, and as a pleasant conversation flowed, he was asked what his fundamental marketing strategy was. It is very simple, he replied immediately without any hesitation, any product that we sell must convey the notion that the woman is not only purchasing a foundation, a lipstick, a mascara, but she is getting “a whole new you”. Sales would drop drastically, he explained, if women were interested only in the products themselves. They must be persuaded that the use of a new product will create a transformation; their older self, with all its flaws and blemishes, will be gone, and a new, better woman will emerge. 

This observation, articulated in a dispassionate and impartial tone, reveals an unbelievably simple truth: women are motivated by a profound need to cease to be who they are and to become someone else. One could describe it as a seed of self-hatred; I tend to think of it as self-rejection, or self-negation. The striving to be another person is so powerful that it nourishes huge industries. 

Of course, feminine embellishment in itself is not new. It is documented since the dawn of humanity, in all cultures, regardless of their time and place. But the modern age has altered its nature, as it has done with so many of our desires. The hunger to go beyond the limits, to reach a new pinnacle, has been the source not only of endless achievements, but also, unfortunately, of a deformed self-perception. If one is to constantly try and ameliorate oneself, then perhaps his or her self is faulty and poor. This is the psychological mechanism, not the rational analysis, and it is true for both character and appearance. And since women were traditionally more prone to invest in their exterior aspect, they were more affected by the constant drive to both find faults and correct them. 

Think, for example, of the Mona Lisa, created in the beginning of the sixteenth century. Let us ignore the many theories of her enigmatic expression and smile, and look at her simply as a woman modeling for an artist. Facing Leonardo Da Vinci, her countenance doesn’t reveal self-criticism but rather self-acceptance; and though she is modeling, her body seems relaxed, at most she is sitting erect. One could hardly imagine her trying to be anyone but herself. Could we imagine a contemporary model sitting like that in front of a camera, self-absorbed, perhaps indifferent to how she would look in the picture? Nowadays models always pose, either in a subtle manner or vulgarly, without concealing the attempt to please the spectator.

The drive to look better, to fix flaws, to cover blemishes — with the profound dissatisfaction associated with it — is overpowering. Somehow, awareness of its destructive nature doesn’t abolish it. To escape it, people sometimes seek refuge in other cultures lacking this constant drive, which is both compelling and oppressive. 

Last summer I traveled for the first time to India. I spent the first day in Mumbai, touring the city with a friend. The first hours were overwhelming; a crowd huddling in muddy alleys on its way to a temple, children and elderly exhibiting their deformities as though they were treasures, foulness which is a pillow to rest one’s head on and fall asleep, starved dogs, and high society people dining at the fancy Taj Mahal Hotel. But in spite of the exhausting attempt to absorb it all, I immediately observed how Indian women walk gracefully in their traditional cloths, soft, colorful fabrics wrapped around their torsos, following the contour of the female body without forcing it into rigid forms. Rich or poor, full-figured or thin, young or old, they seemed at peace with themselves, so utterly remote from the Western inclination to constantly compare oneself to others, to try to be “a whole new you”. When I was leaving the Taj Mahal Hotel an elderly woman holding a basket of flowers approached me, her entire body covered yet her round belly bare, and she asked me in a soft voice: “Madam want flower?” 

From: onourselvesandothers.com  ©EmanuelaRubinstein
Photo

Post has attachment
Don't forget this Sunday
Memorial Day weekend
We have male trunks contest from 8:pm till 10:pm
Happy hour from 4:pm till 8:pm
.99 cent shots of Jose Cuervo
Tickets on sale now $10
Live DJ from 8:pm 

Post has attachment

Post has attachment

Post has attachment

Post has attachment

Post has attachment

Post has attachment
Wait while more posts are being loaded