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Ātman is the first principle, the true self of an individual beyond identification with phenomena, the essence of an individual. In order to attain liberation (moksha), a human being must acquire self-knowledge (atma jnana), which is to realize that one's true self (Ātman) is identical with the transcendent self Brahman.
It is related to the PIE *etmen (a root meaning "breath"; cognates: Dutch adem, Old High German atum "breath," Modern German atmen "to breathe" and Atem "respiration, breath", Old English eþian).
The most interesting passage about Dažbog comes from the Hypatian Codex, a 15th-century compilation of several much older documents from the Ipatiev Monastery in Russia. The complete passage, reconstructed from several manuscripts, translates as follows:
(Then) began his reign Feosta (Hephaestus), whom the Egyptians called Svarog… during his rule, from the heavens fell the smith’s prongs and weapons were forged for the first time; before that, (people) fought with clubs and stones. Feosta also commanded the women that they should have only a single husband… and that is why Egyptians called him Svarog… After him ruled his son, his name was the Sun, and they called him Dažbog… Sun tzar, son of Svarog, this is Dažbog.
The Hebrew term Abaddon (Hebrew: אֲבַדּוֹן, 'Ǎḇaddōn), and its two Greek equivalents Apollyon (Greek: Ἀπολλύων, Apollyon) as a person/being and Τάρταρος Tartaros as a place/time, appears in the Bible as name of a place, time, or personification/incarnation of destructive nature. In the Hebrew Bible, Abaddon often appears alongside the place שְׁאוֹל (sheol), meaning the realm of the dead. In the New Testament Book of Revelation, an angel called Abaddon is described as the king of an army of locusts; his name is first transcribed in Greek (Revelation 9:11—"whose name in Hebrew is Abaddon, The Angel of Death." (Ἀβαδδὼν), and then translated ("which in Greek means the Destroyer" (Ἀπολλύων, Apollyon))). The Latin Vulgate and the Douay Rheims Bible have additional notes (not present in the Greek text), "in Latin Exterminans", exterminans being the Latin word for "destroyer".
In contrast, the Methodist publication The Interpreter's Bible states: "Abaddon, however, is an angel not of Satan but of God, performing his work of destruction at God's bidding", citing the context at Revelation chapter 20, verses 1 through 3.[page needed]
Jehovah's Witnesses as well cite Revelation 20:1-3 where the angel having "the key of the abyss" is actually shown to be a representative of God, one from heaven, and, rather than being "satanic", is the one that binds Satan and hurls him into the abyss; concluding that "Abaddon" is another name for Jesus Christ after his resurrection.
Scholars have proposed that Sól, as a goddess, may represent an extension of an earlier Proto-Indo-European deity due to Indo-European linguistic connections between Norse Sól, Sanskrit Surya, Common Brittonic Sulis, Lithuanian Saulė, Latin Sol, and Slavic Tsar Solnitse
Cameron said his inspiration was "every single science fiction book I read as a kid", and that he was particularly striving to update the style of Edgar Rice Burroughs's John Carter series and the deep jungles of Pandora were visualized from Disney's 37th animated film, Tarzan. He acknowledged that Avatar shares themes with the films At Play in the Fields of the Lord, The Emerald Forest, and Princess Mononoke, which feature clashes between cultures and civilizations, and with Dances with Wolves, where a battered soldier finds himself drawn to the culture he was initially fighting against.
In a 2007 interview with Time magazine, Cameron was asked about the meaning of the term Avatar, to which he replied, "It's an incarnation of one of the Hindu gods taking a flesh form. In this film what that means is that the human technology in the future is capable of injecting a human's intelligence into a remotely located body, a biological body."
In the later-written Liber 418, the voice of the 8th Aethyr says "my name is called Aiwass," and "in The Book of the Law did I write the secrets of truth that are like unto a star and a snake and a sword." Crowley says this later manifestation took the form of a pyramid of light.
Crowley went to great pains to argue that Aiwass was an objectively separate being from himself, possessing far more knowledge than he or any other human could possibly have. He wrote "no forger could have prepared so complex a set of numerical and literal puzzles". As Crowley writes in his Confessions: "I was bound to admit that Aiwass had shown a knowledge of the Cabbala immeasurably superior to my own" and "We are forced to conclude that the author of The Book of the Law is an intelligence both alien and superior to myself, yet acquainted with my inmost secrets; and, most important point of all, that this intelligence is discarnate."[
In Aleister Crowley's Thelema, the hexagram is usually depicted with a five-petalled flower in the centre which symbolises a pentacle. The symbol itself is the equivalent of the ancient Egyptian Ankh, or the Rosicrucian's Rosy Cross; which represents the microcosmic forces (the pentacle, representation of the pentagram with 5 elements, the Pentagrammaton, YHSVH or Yahshuah) interweave with the macro-cosmic forces (the hexagram, the representation of the planetary or heavenly cosmic forces, the divine).
Ambulatory passageways for circumambulation are present through which worshipers move in a clockwise direction, starting at the sanctuary doorway and moving inward toward the inner sanctum where the deity is enshrined. This is a translation of the spiritual concept of transition through levels in life into bodily movements by the worshipers as they move inwardly through ambulatory halls to the most sacred centre of spiritual energy of the deity.
The term has been used in philosophy by Plato to designate a receptacle, a space, a material substratum, or an interval. In Plato's account, khôra is neither being nor nonbeing but an interval between in which the "forms" were originally held; it "gives space" and has maternal overtones (a womb, matrix).
neither present nor absent, active or passive, the good nor evil, living nor nonliving - but rather atheological and nonhuman - khôra is not even a receptacle. Khôra has no meaning or essence, no identity to fall back upon. She/it receives all without becoming anything, which is why she/it can become the subject of neither a philosopheme nor mytheme. In short, the khôra is tout autre [fully other], very.
If, as one contributor concludes, KHÔRA means SPACE, it is an interesting space that "at times appears to be neither this nor that, at times both this and that," wavering "between the logic of exclusion and that of participation."