Available as a single volume or as part of the 10 volume set "Frances Yeats: Selected Works"

The Dictionary of Ancient Near Eastern Mythology covers sources from Mesopotamia, Syro-Palestine and Anatolia, from around 2800 to 300 BC. It contains entries on gods and goddesses, giving evidence of their worship in temples, describing their 'character', as documented by the texts, and defining their roles within the body of mythological narratives; synoptic entries on myths, giving the place of origin of main texts and a brief history of their transmission through the ages; and entries explaining the use of specialist terminology, for such things as categories of Sumerian texts or types of mythological figures.

eBook available with sample pages: EB:020302852X

In this book , discover the Life Continuum, the means by which a being inherits and then lives the lives of others. Here also discover the Chart of Attitudes, containing the buttons which, when pressed, unlock any case.

Taking us on a journey through the history of sacred art and architecture, Sacred Sites explores the myriads of ways in which we imbue our environments with profound and enduring meaning.  From our early designation of nature and the body as temple to our futuristic embrace of imaginary realms, we travel the vast and mystical landscapes of myth, religion, and imagination. 
 
Through gathering, we ignite our spaces with spirit, we circle the bonfire, bow down at the forest altar, give praise at the temple to our chosen divinities.  Through pilgrimage, we carve indelible pathways, making our meditative way across continents, generations of footsteps treading, again and again, upon sacred grounds. And through our creative offerings to spirit - we envision new worlds, wildly imaginative odes to what we deem as holy; golden temples hewn of rock, enormous spirals sculpted from sand and soil, silent sanctuaries hidden among wooded groves. We paint the ancient cave walls, carve petroglyphs to mark the way, place roses in veneration at the candlelit shrine. 
 
Slowly, stone-by-stone, we build monuments to our gods, a cosmic geometry held within our sacred architecture of worship. These hidden patterns can be found in the mysterious, towering pyramids found across the globe and throughout an astounding diversity of cultures, in the marble sanctuaries built to house the Greek and Roman goddesses, and in the windblown mountain monasteries of ancient Asia and the indigenous cliff-dwellings of the American Southwest.
 
Nature, art, beauty, these are the common elements found both within the places made sacred by our ancestors and in the multitude of environments where we strive to connect to source, and to ourselves.  Tracing a hallowed route from rugged stone temples to transcendent works of modern architecture, the fifth volume in The Library of Esoterica celebrates the collective history of spaces made sacrosanct through human worship.

People with eating disorders often make desperate attempts to exert magical control over their bodies in response to the threats they experience in relationships. Mary Levens takes the reader into the realm of magical thinking and its effect on ideas about eating and the body through a sensitive exploration of the images patients create in art therapy, in which themes of cannibalism constantly recur. Drawing on anthropology, religion and literature as well as psychoanalysis, she discusses the significance of these images and their implications for treatment of patients with eating disorders.

The Magical Control of the Body will be of interest to all of those concerned with patients or clients who have troubled relationships, both with others and with their own bodies.

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Spanning from the innauguration of James I in 1603 to the execution of Charles I in 1649, the Stuart court saw the emergence of a full expression of Renaissance culture in Britain. In "Art and Magic in the Court of the Stuarts," Vaughan Hart examines the influence of magic on Renaissance art and how in its role as an element of royal propaganda, art was used to represent the power of the monarch and reflect his apparent command over the hidden forces of nature.Court artists sought to represent magic as an expression of the Stuart Kings' divine right, and later of their policy of Absolutism, through masques, sermons, heraldy, gardens, architecture and processions. As such, magic of the kind enshrined in Neoplatonic philosophy and the court art which expressed its cosmology, played their part in the complex causes of the Civil War and the destruction of the Stuart image which followed in its wake.