{"id":1285,"date":"2023-09-26T04:21:25","date_gmt":"2023-09-26T04:21:25","guid":{"rendered":"http:\/\/box2473.temp.domains\/~socieue2\/coreopsis\/autumn-2023-issue\/?page_id=1285"},"modified":"2023-10-04T22:04:37","modified_gmt":"2023-10-05T05:04:37","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/societyforritualarts.com\/coreopsis\/autumn-2023-issue\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n\n[et_pb_section fb_built=”1″ admin_label=”Top thru Author” _builder_version=”4.16″ background_enable_image=”off” min_height=”250px” custom_margin=”0px||-40px||false|false” custom_padding=”0px||0px||true|false” saved_tabs=”all” global_colors_info=”{}”][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_image src=”https:\/\/societyforritualarts.com\/coreopsis\/autumn-2023-issue\/wp-content\/uploads\/2020\/02\/coreopsis-winter-2019-header.png” title_text=”coreopsis-winter-2019-header” admin_label=”Coreopsis logo” _builder_version=”4.22.2″ global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_5,3_5,1_5″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”1_5″ _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Content Block” _builder_version=”4.16″ background_color=”RGBA(255,255,255,0)” background_enable_image=”off” custom_margin=”0px||0px||true|false” custom_padding=”0px||0px||true|false” saved_tabs=”all” global_colors_info=”{}”][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.16″ background_color=”RGBA(255,255,255,0)” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text module_class=”noindent” _builder_version=”4.22.2″ custom_margin=”||||false|false” custom_padding=”||0px|||” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

\"\"Coreopsis Journal of Myth & Theatre<\/strong><\/p>\n

Autumn 2023<\/strong><\/p>\n

Vol. 11 Number 2<\/strong><\/p>\n

ISSN 2333-0627<\/strong><\/p>\n

The Dark Fae<\/h1>\n

Come Fairies, take me out of this dull world, for I would ride with you upon the wind and dance upon the mountains like a flame!<\/i><\/p>\n

— William Butler Yeats<\/p>\n

Cover art: Inna Vjuzhanina, all rights reserved<\/p>\n

<\/h2>\n

<\/h2>\n

Editorials<\/h2>\n

Guest Editor: E. S Hudson \u201cThe Magic Cancer Taught Me\u201d<\/i><\/a><\/p>\n

The jackal showed up again almost as soon as I fell back asleep, and I had a few more nights of this dream image. Every time, all the jackal did was look at me. It was as if I were lying on a table, with the jackal looking over me. On the day of the colonoscopy, I wasn\u2019t surprised when the gastroenterologist said she took a sample of something unusual for analysis \u2026<\/i><\/p>\n

Papers<\/h2>\n

Hans Christian Andersen And His Characters’ Inherent Passivity<\/i><\/a><\/p>\n

Prya Sindar, MBA<\/p>\n

Nineteenth century Danish author, Hans Christian Andersen, constantly discussed the theme of “inherent rejection” in his stories. The Steadfast Tin Soldier reflects this theme perfectly, as does The Little Mermaid. Both of the title characters yearn for someone from a distance, but they cannot act before tragedy separates them from true love.<\/i><\/p>\n

<\/i><\/p>\n

The Magical Process of Creation<\/i><\/a><\/p>\n

Valentina Osinki, Singer\/songwriter\/multi instrumentalist.<\/p>\n

When we sit down to create, we do it because we have a deep need, an innate drive, indeed; a spiritual call from our most essential self to express our viewpoint.<\/i><\/p>\n

<\/i><\/p>\n

Dark Faeries in Pre-Raphaelite Art: Exploring Symbolism and Mythology<\/i><\/a><\/p>\n

By Helena Domenic, M.A., M. F. A., Associate Professor of Drawing, Kutztown University of PA.<\/p>\n

Clearly, the folklore and stories told about dark faeries from many different cultures play out the notion of the Victorian Age\u2019s concerns regarding humans and the ambiguity and duality of nature. Additionally, during the late nineteenth and early twentieth centuries, the resurgence of interest in the supernatural, the occult, and the metaphysical present opportunities for luscious narrative imagery. The Pre-Raphaelites would have been especially drawn to stories of seduction, temptation, and danger.<\/i><\/p>\n

<\/i><\/p>\n

The Resurrection of Inanna: A PLAY IN THREE ACTs<\/i><\/a><\/p>\n

By Deb Dale Jones, Sharon G. Mijares, & Cass Dalglish<\/p>\n

Our project began with Sharon Mijares\u2019 question, \u201cHow was Inanna transformed by her descent to the Netherworld?\u201d The story of Inanna\u2019s journey comes from the land we now call Iraq, near the confluence of the Tigris and Euphrates rivers. Inanna was one of the gods in the ancient Sumerian pantheon\u2014a very adventurous god. And her stories are particularly compelling for contemporary women.<\/i><\/p>\n

<\/i><\/p>\n

Adultery and Vengeance in Marie de France\u2019s <\/i>Yonec<\/a><\/p>\n

Yvonne Owens, MA Research Fellow at the University College of London, and Professor of Art History and Critical Studies.<\/p>\n

There are many familiar fairytale resonances and motifs in the lai of Yonec. There is the Rapunzel-like internment of the heroine where she is jealously guarded in a tower, and the sleeping knights in the other-worldly palace inside the hollow hills \u2026<\/i><\/p>\n

 <\/p>\n

Suicide, Art, and Personal Myths<\/a><\/p>\n

Stanley Krippner, Ph.D.<\/p>\n

One of my long-standing concerns involves the ways in which people can recover when close friends or family members take their own life. Sometimes they turn to creativity, as it allows them to work through their feelings and express them in artistic formats.<\/i><\/p>\n

Artist\u2019s Profiles<\/h2>\n

Interview: Inna Vjuzhanina<\/a><\/p>\n

By Sharon Mijares, Ph.D, California Institute for Human Science<\/p>\n

 <\/p>\n

Interview: \u201cPractical Fantasists\u201d<\/a><\/p>\n

By Lezlie Kinyon, Ph.D., Editor, Coreopsis Journal<\/i><\/p>\n

Words of Wisdom<\/h2>\n

About the Cover Art<\/i><\/a><\/p>\n

By Inna Vjuzhanina<\/p>\n

There’s something fascinating about a graceful feminine character controlling a massively destructive force<\/i>.<\/p>\n

Reviews<\/h2>\n

Music Review: The Labyrinth<\/i><\/a><\/p>\n

By Margaret Davis<\/p>\n

 <\/p>\n

Books<\/strong><\/p>\n

Fanaticism and Its Discontented Disruptions<\/a> a review of Catherine Nixey\u2019s The Darkening Age: the Christian Destruction of the Classical World<\/i>.<\/p>\n

By E.S. Hudson<\/p>\n

The Darkening Age makes for grim reading. It can be difficult to take in the levels of violence that accompanied the conversion of the Roman Empire to Christianity, just as it is mind-numbing to contemplate any systemic political, communal, or genocidal oppression.<\/i><\/p>\n

 <\/p>\n

Stitch your Magic<\/a><\/p>\n

Review of Simple Robes for Crafty Witches<\/i> by Dana Corby<\/p>\n

By E.S. Hudson<\/p>\n

New Releases<\/h2>\n

Music<\/a><\/p>\n

Books<\/a><\/p>\n

Announcements<\/a><\/p>\n

Fabulist Writers & Artists Retreat!<\/b><\/p>\n

The Final Word<\/h2>\n

About the Art for Stanley Krippner\u2019s Suicide, Art, and Personal Myths:<\/i><\/a><\/p>\n

\u201cSoar\u201d Medium: Mixed Media on canvas<\/p>\n

By Shelly Kay<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n\n","protected":false},"excerpt":{"rendered":"

Coreopsis Journal of Myth & Theatre Autumn 2023 Vol. 11 Number 2 ISSN 2333-0627 The Dark Fae Come Fairies, take me out of this dull world, for I would ride with you upon the wind and dance upon the mountains like a flame! — William Butler Yeats Cover art: Inna Vjuzhanina, all rights reserved Editorials […]<\/p>\n","protected":false},"author":1,"featured_media":1526,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"iawp_total_views":7,"footnotes":""},"class_list":["post-1285","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nTable of Contents - Coreopsis Journal Autumn 2023<\/title>\n<meta name=\"description\" content=\"Editorials, papers, art, reviews, and announcements of interest to the ritual arts community.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/societyforritualarts.com\/coreopsis\/autumn-2023-issue\/table-of-contents\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Table of Contents - 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