This dissertation aims to research the form, symbolic artistic imagery (iconography), and related meanings (iconology), of the Rider-Waite-Smith deck of Tarot cards, which have remained relatively similar to previous decks with some alterations throughout five-hundred years, until the late-twentieth century with the proliferation of New-Age decks. Whereas, most contemporary literature on Tarot, aims to interpret the occult significance of each card placing exclusive emphasis on the divinatory meanings, this research does not follow the standard pattern, for it is fundamentally ethnographic in its assumption. For at least five centuries, the Tarot has tenaciously survived the condemnation of church, the persecution of state and the ridicule of academia. However, the Tarot cards have changed in form and function since their first appearance during the early Renaissance. Preface Divination and fortune telling are the first things that most people assume, when they see or hear about Tarot cards. She takes the reader on a journey, which if truly felt, would certainly aid in the restoration of compassion and justice, so needed in our world today. Ultimately she purports a kind of sensual mysticism and a model of the creative process that she shows is a necessary paradigm shift for the healing of ourselves and the planet.
![domus galilae domus galilae](https://www.casonegroup.com/media/formato5/img_219.jpg)
Her perspective is in close alignment with the creation centered spirituality of theologian and educator, Mathew Fox. Focusing, a technique discovered by Eugene Gendlin from the University of Chicago, is examined as a primary tool for growth and spiritual insight. A major tenant in her theory of creativity is a Jungian concept called "holding the tension of opposites." She draws heavily from the archetypal psychology of Carl Jung, as well as James Hillman, and Marion Woodman. She is also an artist whose creative avenues include performance art, pottery, poetry and painting.
![domus galilae domus galilae](https://media-cdn.tripadvisor.com/media/photo-s/07/e6/75/17/domus-galilaeae.jpg)
The author has related this study to many diverse fields, such as theater arts, psychology, modern psychics, mystical theology and philosophy. Integral to this study, is the investigation of (1) the internal experiential use of energy as it relates to change and creation, (2) ritual, as a technology of the sacred, and (3) empowerment and embodiment through the creative use of body/feeling related expressive therapies. The author journeys through her own psyche and experiences and delineates the creative process, phenomenologically and artistically, developing a model of transformation that can be explored by others as well as herself. Embodiment of spirit is a major theme, emphasizing spirit as immanent (as well as transcendent), incarnate as body and feelings. CREATIVITY, A SOMATIC AND MYSTICAL PERSPECTIVE This thesis is an exploration of the concept of Mandala Theatre, as a tool for integration of the many aspects of personality and the Being on the path to wholeness.