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As I describe my leap beyond the golden ring of legitimacy I feel like Henri Nouwen, who in the Foreword to Reaching Out declares that "during the last few years I have read many studies about spirituality and the spiritual life; I have listened to many lectures, spoken with many spiritual guides and visited many religious communities. I have learned much, but the time has come to realize that neither parents nor teachers nor counselors can do much more than offer a free and friendly place where one has to discover his own lonely way.

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  8. All that is quite possible, but more important is that the time seems to have come when I can no longer stand back with the remark, "Some say Swami Abhishiktananda in The Eyes of Light offers a powerful description of the priest for whom India and the world await. I want to use another quote from Henri Nouwen to shed some light on this stage, which he entitles, The Absence and Presence of God. Still he is in the center of all of it. Here we touch the heart of prayer since here it becomes manifest that in prayer the distinction between God's presence and God's absence no longer really distinguishes.

    In prayer, God's presence is never separated from his absence and God's absence is never separated from his presence. His presence is so much beyond the human experience of being together that it quite easily is perceived as absence. His absence, on the other hand, is often so deeply felt that leads to a new sense of his presence. Astonished he shall reach the Kingdom, and having reached the Kingdom, he shall rest.

    Susanne Fincher throws some light on the use of colors from the perspective of Kundalini Yoga. The first chakra at the base of the spine is associated with red, "the color of blood, of dark passion" Jung, b The next chakra a few inches below the navel, is given orange, "the color of the dawn or the last rays of the sun" p.

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    Moving up the spine we find the next chakra in the areas of the solar plexus. Jung describes this as "the place where the sun rises" p. It is given the color yellow. The color of the next chakra, located near the heart, is green. Moving a few inches higher, we find the fifth chakra located in the throat area. Its color is blue.

    The sixth chakra is located in the head, at a point between and above the eyes. Its color is indigo. On top of the head is located the crown chakra. Its color is purple often shown as lavender.

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    I like the way St. John of the Cross describes this beautifully in the Dark Night. O night! O guide! Fully Indian Authentically Christian carries a quote from D. Amalorpavadass , 15 which sums up the process of integration. These two streams do not flow in parallel lines as two separate streams but both merge at the depth of our being as a single river and become an ocean of single experience. In his poem with a divine intention, Not for all the Beauty, I feel St. You may find yourself struggling to make a decision or embarking on some new venture.

    Perhaps a cross is telling you that you are integrating a new ego center Kellogg, A sannyasi is one who renounces not only the world of sin, the world which today is so clearly set on the path of destruction. A sannyasi renounces the whole world of 'signs', of appearances. As I bring to a close this revelatory journey with phenomenological humor I realize that my unconventional and creative experiment to realize the wave of the fullness of recognition is very relevant 'at the edge of history.

    Symbiosis requires shared processes and not simply adjacent locations. And so we have to learn how to live together and understand "the patterns that connect," the patterns that connect the global economy to the global ecology, the human mind to the network of computers, and the national political institution to the planetary culture. Another wave is on the horizon for the nineties. Compassion is the "keen awareness of the interdependence of all living things which are all part of one another and involved in one another," as Thomas Merton observed two hours before his untimely death.

    A dualistic culture is uneasy with the deep, true meaning of compassion and sentimentalizes or relegates it to a lifestyle for "bleeding hearts. This means that all creatures as children of God hold compassion in common. Compassion unites us, it forms the common "field" that all creatures share. The mystic intuits this, feels it, experiences it, tries to live it out in some fashion.

    Kabir celebrates this when he declares, "I am like a pitcher of clay floating in the water, water inside, water outside. Now suddenly with a touch of the guru the pitcher is broken. Inside, outside, o friends, all one. The separation between the human and the divine is broken through for Kabir as he says, "O friend, Kabir has looked for him everywhere, but to no avail. For Kabir and he are one, not two.

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    When a drop is merged into the ocean how is it to be seen as distinct? When the ocean is submerged in the drop, who can say what is what? We are in God and God in us. That is the unitive experience of the mystics East or West. Its technical name is panentheism, which means that "God is in all things and all things are in God. Evolution gets back to the same pure consciousness, but the pilgrim goes back to his home, enriched with the experience of the splendor of Siva he has had on the way.

    Veil after veil lifts, and he is now poised in the heart of Reality. Sailors from England, Ireland, Europe, the American colonies, Africa, and Asia made British ships hubs that disseminated popular stories, of which those of ghosts were particular favourites.

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    Circulating across the trade routes of the sea, written up in cheap narrative pamphlets, and passed along by word of mouth, ghost stories moved across the edges of the British empire. Stories provided homesick travelers reminders of familiar places and folklore, and the close relationship between ghosts, hauntings, and forms of dwelling answered this need. Stories from outside the Anglophone imagination produced an exciting cosmopolitan frisson generated all the more compelling through the familiar narrative genre of a ghost story cf. Handley 91, Such diversity was tactically designed to reach an audience glutted on English, Scottish, and Irish fare.

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    Spiritualism mirrored new radio and wireless technologies and played on the ghostly possibilities of superimposition in photography. Introducing his internationalist collection of ghost stories, Curtis thus drew on a range of philosophical and technocultural discourses familiar to the popular imagination. The corners of a shrinking world held the power to thrill and horrify.

    As Curtis writes, These little tales, like instant photographs, bring us nearer to the life of other lands, and appraise us that, in an unexpected sense, we are all of one blood — a blood which is chilled by an influence that we cannot comprehend, and at a contact of which we are conscious of an apprehension beyond that of the senses.

    Tales like photographs, he says. Comparing visual technology to tale- telling reveals the crux by which stories turn: the thrilling moment in which a ghost is almost seen but not. Instead, hauntingly obscure, the ghost is left to the imagination. However, the comparison between narrative and photography ends there, since the latter suffers from the expectation that its products serve as a veridical and not an indexical discourse. In the same way that 11 It is worth mentioning that spirit photography as a genre seems to bridge photography and ghosts.

    A classic element of gothic horror, the invocation of blood reveals the type of affective state Curtis sought to engender in his readers. The play of ghosts between belief and popularity owes much to the way ghosts instantiate haunted logics in technological media of relationships between people and the various abstractions that represent them. This has not changed with either the Enlightenment, the industrial revolution, or the wars of the twentieth century, though the interest in a certain cadre of intellectuals revealed the complexity of belief.

    To look at the specificities of haunting as a form of narrative I examine ghosts in drama, where their narrative is embodied by actors as performing bodies and, thus, is historically demonstrable and technologically contingent. Yet, before getting there, I must register some of the many ways in which ghosts have been interpreted. Every new technological medium promised to somehow reconnect the dead and the living. These writers influenced much of modernist writing.

    It was precisely the strangeness of new forms of representation such as photography and phonographs that makes them compelling.

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    Aware of such technological reproductions, many scientists and members of the SPR hoped to find objective proof of the spectral phenomena intrinsic to the popular gothic. What they instead discovered was the widespread strangeness of vision itself. What they found, then, were not ghosts but apparitions.

    While the SPR charted changing popular perceptions of ghosts, psychoanalysis did more to express the relevance of perceptual forms of justification. Later in the story, however, the ghost reveals that its spectral currency is only an effect of psychological repression. Gradiva is simply the girl next door. Might a ghost quite simply be a figure caught out of time? More broadly, however, apparitions generate gothic structures in human imagination and memory. It returns in the form of a secret. What is a phantasm, after all, but a decreated image: an immaterialized apprehension trembling on the threshold of perception?

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    No wonder that such a tantalizing subject was a focus of inquiry that, at its onset, sought to find the ghosts 14 In Totem and Taboo Freud discounts ghosts as objects of belief that supernatually attempt to refuse death 25, Their gradual recognition has been a history of attempts to define with precision the source and effect of something utterly undefinable. European ghosts are often associated with inhabitations, places, and structures.

    This relationship is so strong that it has begun to be read backward onto architecture.