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This book considers how adults attempt to socialise young children into the adults it aspires to produce, from a number of diverse perspectives. The evolution of storytelling and its impact upon child development is initially explored, followed by the consideration of how social class, ethnicity, culture, and colonialism impact upon the ways that societies ‘school’ children about what to expect from adulthood. Different perspectives of early years education and growing up within a British/British colonial perspective are discussed and analysed. There is a focus throughout upon the way that children are constructed by the society in question, particularly those who are considered to be of lower status in terms of being poor, orphaned, or from ethnic groups against which the dominant culture discriminates. Topics covered by the chapters include topics covered by this Special Issue: current and historical constructions of childhood; the development of linguistic and ‘storying’ skills in childhood; childhood play and recreation; childhood and ‘folk’ narratives; philosophies of childhood; childhood and industrialisation; childhood and post-industrialisation; childhood education; childhood health; and cultures of childcare.

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Some 630 lamps in the J. Paul Getty Museum represent production centers that were active across the ancient Mediterranean world between 800 B.C. and A.D. 800. Notable for their marvelous variety—from simple clay saucers that held just oil and a wick to elaborate figural lighting fixtures in bronze and precious metals—the Getty lamps display a number of unprecedented shapes and decors. Most were made in Roman workshops, which met the ubiquitous need for portable illumination in residences, public spaces, religious sanctuaries, and the grave. The omnipresent oil lamp is a font of popular imagery, illustrating myths, nature, and the activities and entertainments of daily life. Presenting a largely unpublished collection, this extensive catalogue is an invaluable resource for specialists in lychnology, art history, and archaeology alike.

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The art history of South Asia covers a time span of roughly four and a half thousand years. During this period, a vast number of animal stone sculptures has been produced, ranging from the pre-historic period till today and covering a great variety of motifs and imagery in different regions and religious traditions. Even so, the number of studies devoted to these animal sculptures has remained extremely limited. The present book aims at filling this knowledge gap. With this richly illustrated book, the first of its kind, Van der Geer offers a comparative study of the ways in which various animals have been depicted and a lucid analysis of the sculptors’ treatment of their “models”: living animals. The art history of sculptured animals is contextualized with a description of the use of animals as can be read from ancient texts, archaeological evidence and contemporaneous culture. In doing so, parallels as well as differences in style or iconography are highlighted, elucidating the variety of animal depictions across regions, religious contexts and through time. The corpus of discussed material ranges from Indus seals, stupa panels and railings, monumental temples from North and South India, non-religious palace and fort architecture to loose sculptures in museum collections.

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It is well known that classical mythology outlasted the Christianization of the Roman Empire. This volume undertakes a new investigation of the complex conditions under which it continued to exist and thrive in Late Antiquity. Particular attention is devoted to the polemical and educational contexts in which classical mythology was often used, and to strategies designed to neutralize or assimilate it.

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The premise of this book is that the theme of being and meaning in Thomas Mann’s novel tetralogy Joseph und seine Brüder unites the novel’s stylistic and thematic structure. The author demonstrates persuasively how these leading ideas are worked out in detail, pervading plot-structure, symbolism, characterization and narration. Through a subtle series of analyses - of the concepts of time and identity underlying the novel, its image-patterns, the changing psychology of its characters, above all Joseph’s process of individuation and the narrator’s changing behaviour - patterns of overlap and discrepancy between being and meaning are brought out in such a way as to unite many parts of the novel into an overall coherent structure of meaning. The analysis makes use of Jungian theory to explain the mythical dimension and the emergence of consciousness from it. Jungian concepts are applied deftly and offer real insights into the early psychology of myth and its late psychologizing by mythologists, as presented in the novels. There is much fresh thinking here to stimulate a fuller understanding and enjoyment of Mann’s representing of the biblical Joseph story.

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Many modern Beowulf translations, while excellent in their own ways, suffer from what Kathleen Biddick might call “melancholy” for an oral and aural way of poetic making. By and large, they tend to preserve certain familiar features of Anglo-Saxon verse as it has been constructed by editors, philologists, and translators: the emphasis on caesura and alliteration, with diction and syntax smoothed out for readability. The problem with, and the paradox of this desired outcome, especially as it concerns Anglo-Saxon poetry, is that we are left with a document that translates an entire organizing principle based on oral transmission (and perhaps composition) into a visual, textual realm of writing and reading. The sense of loss or nostalgia for the old form seems a necessary and ever-present shadow over modern Beowulfs.What happens, however, when a contemporary poet, quite simply, doesn’t bother with any such nostalgia? When the entire organizational apparatus of the poem—instead of being uneasily approximated in modern verse form—is itself translated into a modern organizing principle, i.e., the visual text? This is the approach that poet Thomas Meyer takes; as he writes,[I]nstead of the text’s orality, perhaps perversely I went for the visual. Deciding to use page layout (recto/ verso) as a unit. Every translation I’d read felt impenetrable to me with its block after block of nearly uniform lines. Among other quirky decisions made in order to open up the text, the project wound up being a kind of typological specimen book for long American poems extant circa 1965. Having variously the “look” of Pound’s Cantos, Williams’ Paterson, or Olson or Zukofsky, occasionally late Eliot, even David Jones.A glance anywhere in Meyer’s text demonstrates the stunning results. One place he turns it to especially good effect is the fight with Grendel in Fit 11, transforming the famously hyper-condensed syntax of the scene from a discouraging challenge for the translator into a visually pleasing strength:The eyes of Hygelac’s kin watched the wicked raiderexecute his quick attack:without delay,snatching his first chance,a sleeping warrior,he tore him in two,chomped muscle, sucked veins’gushing blood,gulped down his morsel, the dead man,chunk by chunk,hands, feet & all.& thenfootstephandclawfiendreachmanbedquicktrickbeastarmpainclampnewnotknownheartrunfleshofeargetawaygonowrunrunnever before hadsinherd feared anything so.Here the reader is confronted with the words themselves running together, as if in panic, in much the same way that the original passage seems in such a rush to tell the story of the battle that bodies become confused. This is just one example of the adventurous and provocative angle on Beowulf to which Meyer introduces us. His Beowulf—completed in 1972 but never before published—is sure to stretch readers’ ideas about what is possible in terms of translating Anglo-Saxon poetry, as well as provide new insights on the poem itself.

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Vol. 1 -- The age of fable ; Vol. 2 -- The age of chivalry ; Vol. 3 -- Legends of Charlemagne.

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This book treads new paths through the labyrinths of our human thought. It meanders through the darkness to encounter the monsters at the heart of the maze: Minotaurs, Centaurs, Automata, Makers, Humans. One part of our human thought emerges from classical Ionia and Greek civilisation more generally. We obsessively return to that thought, tread again its pathways, re-enact its stories, repeat its motifs and gestures. We return time and time again to construct and re-construct the beings which were part of its cosmology and mythology – stories enacted from a classical world which is itself at once imaginary and material.The “Never Never Lands” of the ancient world contain fabulous beasts and humans and landscapes of desire and violence. We encounter the rioting Centaurs there and never again cease to conjure them up time and time again through our history. The Centaur mythologies display a fascination with animals and what binds and divides human beings from them. The Centaur hints ultimately at the idea of the genesis of civilisation itself.The Labyrinth, constructed by Daedalus, is itself a prison and a way of thinking about making, designing, and human aspiration. Designed by humans it offers mysteries that would be repeated time and time again – a motif which is replicated through human history. Daedalus himself is an archetype for creation and mastery, the designer of artefacts and machines which would be the beginning of forays into the total domination of nature.Centaurs, Labyrinths, Automata offer clues to the origins and ultimately the futures of humanity and what might come after it.ABOUT THE AUTHORMartyn Hudson is the coordinator of the Co-Curate North East digital archives and machines project at Newcastle University in the School of Arts and Cultures, as well as a Lecturer in Art and Design History. He has published widely in landscape, history, music, and archives. His book The Slave Ship, Memory and the Origin of Modernity was published by Routledge in 2016, and he has two other books forthcoming from Routledge: Ghosts, Landscapes and Social Memory and Species and Machines: The Human Subjugation of Nature.

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Hale and Riverlea form the core of the Our Mythical Childhood project’s Australasian team, and Classical Mythology and Children’s Literature... An Alphabetical Odyssey incorporates reflection on children’s literature from around the English-speaking world (and beyond), revealing the sheer volume and scope of a creative field that brings together ancient and modern for our youngest readers, connecting the past and the present, and inspiring the literary odysseys of the future.

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This anthology is a thorough introduction to classic literature for those who have not yet experienced these literary masterworks. For those who have known and loved these works in the past, this is an invitation to reunite with old friends in a fresh new format. From Shakespeare's finesse to Oscar Wilde's wit, this unique collection brings together works as diverse and influential as The Pilgrim's Progress and Othello. As an anthology that invites readers to immerse themselves in the masterpieces of the literary giants, it is must-have addition to any library

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Dubliners is a collection of vignettes of Dublin life at the end of the 19th Century written, by Joyce’s own admission, in a manner that captures some of the unhappiest moments of life. Some of the dominant themes include lost innocence, missed opportunities and an inability to escape one’s circumstances. Joyce’s intention in writing Dubliners, in his own words, was to write a chapter of the moral history of his country, and he chose Dublin for the scene because that city seemed to him to be the centre of paralysis. He tried to present the stories under four different aspects: childhood, adolescence, maturity and public life. ‘The Sisters’, ‘An Encounter’ and ‘Araby’ are stories from childhood. ‘Eveline’, ‘After the Race’, ‘Two Gallants’ and ‘The Boarding House’ are stories from adolescence. ‘A Little Cloud’, ‘Counterparts’, ‘Clay’ and ‘A Painful Case’ are all stories concerned with mature life. Stories from public life are ‘Ivy Day in the Committee Room’ and ‘A Mother and Grace’. ‘The Dead’ is the last story in the collection and probably Joyce’s greatest. It stands alone and, as the title would indicate, is concerned with death. ---------- Contains [Sisters](https://openlibrary.org/works/OL15073389W/The_Sisters) [Encounter](https://openlibrary.org/works/OL15073256W) [Araby](https://openlibrary.org/works/OL20570121W) [Eveline](https://openlibrary.org/works/OL15073302W) [After the Race](https://openlibrary.org/works/OL18179262W) [Two Gallants](https://openlibrary.org/works/OL20570300W) [Boarding House](https://openlibrary.org/works/OL15073259W/The_Boarding_House) [Little Cloud](https://openlibrary.org/works/OL18179222W) [Counterparts](https://openlibrary.org/works/OL20570464W) [Clay](https://openlibrary.org/works/OL18179205W) [A Painful Case](https://openlibrary.org/works/OL5213767W) [Ivy Day In the Committee Room](https://openlibrary.org/works/OL20571820W) [Mother](https://openlibrary.org/works/OL18179244W) [Grace](https://openlibrary.org/works/OL15073323W) [Dead](https://openlibrary.org/works/OL15073437W/The_Dead) ---------- Also contained in: - [Dubliners / Portrait of the Artist as a Young Man](https://openlibrary.org/works/OL15073371W/Dubliners_Portrait_of_the_Artist_as_a_Young_Man) - [Essential James Joyce](https://openlibrary.org/works/OL86338W/The_Essential_James_Joyce) - [Portable James Joyce](https://openlibrary.org/works/OL86334W/The_Portable_James_Joyce)

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This Special Issue addresses philosophical questions regarding various non-classical religious beliefs. The contemporary philosophy of religion includes an active and venerable tradition of arguments concerning religious beliefs. While some new approaches address different questions, the vast majority address the belief in and nature of God. Frequently, ‘God’ is defined as a perfect being: a supernatural being with the greatest powers and qualities (omniscience, omnibenevolence, necessity, omnipresence, etc.) who created the universe. This concept of God is often labeled as ‘classical theism.’ While defining ‘God’ as a perfect being is fairly common in Abrahamic religious traditions, it is far less prevalent in non-Western traditions. In Indian religions, Gods are bound by karma and therefore not omnipotent. In Afro-American traditions, vodoun or loa are sometimes regarded as localized and therefore not omni-present. Many adherents of Christianity, Islam, and Judaism also hold beliefs on ‘intermediary’ supernatural beings that lack perfection, such as angels, demons, and Jinn. This Special Issue contains publications that discuss various topics pertaining to non-classical religious beliefs, including the epistemic features of belief in spirits or demons, belief in angels, belief in animism, process theism, Indian beliefs and practices, Chinese philosophy of religion, Afro-Brazilian practices, and neo-pagan spirituality.

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If the "great" mythology, the Olympian one in particular, has always been studied by scholars, the same cannot be said of the "small" mythology (a name attributed to the Grimm brothers): readily relegated to the nursery and the sphere of children, an almost universal consensus considers it to be a "sub-genre", even though it is the repository of a mythical and poetic memory that is just as precious as that of its classical "sister". The oral traditions, conveyed in particular by the tales, represent an inexhaustible breeding ground of patterns which very often join, by the structure, the themes and the meanings, the "great" mythology: the two maintain intimate relations, speak the same language, it is true with multiple variants, but with the same great heart. The main objective of the works gathered in this volume is to highlight this ancestral memory and to build bridges between the two continents of "scholarly" and "popular" culture, wrongly separated by an invisible frontier that has long been considered impervious. But a "learned" theme almost always has its "popular" counterpart, and vice versa... Si la « grande » mythologie, l’olympienne en particulier, est depuis toujours l’enfant chéri des savants et la muse des artistes, il n’en va pas de même avec la « petite » mythologie (dénomination attribuée aux frères Grimm) : volontiers reléguée dans la chambre des nourrices et la sphère des enfants, un consensus quasi ­universel la considère comme un « ­sous-genre » alors qu’en réalité, elle est dépositaire d’une mémoire mythique et poétique aussi précieuse que sa grande sœur classique. Les traditions orales, véhiculées en particulier par les contes, représentent un vivier inépuisable de motifs qui rejoignent bien souvent, par la structure, les thématiques et les signifiances, la « grande » mythologie : les deux entretiennent des relations intimes, parlent un même langage, il est vrai aux variantes multiples, mais au même grand cœur. L’objectif principal des travaux réunis dans ce volume est de porter non seulement à la lumière du jour toute cette mémoire ancestrale, mais d’établir des ponts entre les deux continents du « savant » et du « populaire », à tort séparés par une frontière invisible et longtemps considérée comme étanche : une thématique « savante » a presque toujours son pendant « populaire », et inversement.

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Why the British fantasy comedy TV show »Good Omens« – co-produced by the BBC and Amazon Prime – has become such a hit is not at all »ineffable«. The series, based on the beloved novel by Neil Gaiman and Terry Pratchett, follows the angel Aziraphale and the demon Crowley in their attempts to prevent the Apocalypse and save humanity from both ›above‹ and ›below‹, while slowly falling for each other. »Good Omens’« unique blend of humor, fantasy, and biblical themes has captivated audiences. The lead performances by Michael Sheen (Aziraphale) and David Tennant (Crowley) have been particularly praised for their chemistry and ability to bring these iconic characters to life. The series has also been lauded for its clever writing, stunning visual effects, intricate costumes and set-design, and its exploration of profound themes such as free will, good vs. evil, friendship, the meaning of life, and the very nature of existence. Because of its subversive humor, the constant transgression of societal norms as well as its pointed intertextual references to popular culture, literature, and history, »Good Omens« gained a strong and dedicated fan-following, which centers around Aziraphale and Crowley. The contributions of this volume from literary, cultural, media, film, and television studies as well as related disciplines are concerned with a broad variety of aspects of this thought-provoking series regarding mythology, intertextuality, gender, and fandom in particular.

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V knjigi je zbranih petnajst prispevkov domačih in tujih avtorjev, ki se lotevajo različnih zgodovinskih ali z zgodovino povezanih tem. Prispevke zgodovinarjev popestrijo še teme s področij arheologije, jezikoslovja in muzikologije. Iz knjige boste izvedeli več o sledovih slovenskih krajevnih imen na vzhodnem Tirolskem, o tem, kako si je srednjeveška elita predstavljala kmete, kdo so bili prvi tuji popotniki po Sloveniji in kako so svoja popotovanja doživljali, itn. Avtorji besedil so Jury L. Bessmertnyj, Nikos Čausidis, Paul Freedman, Aleš Gabrič, Catherine Gallagher, Johannes Gönner, Metoda Kokole, Matevž Košir, Silke Leopold, Božo Otorepec, Heinz D. Pohl, Trevor R. Shaw, Michael Talbot, Ivan Turk in Marta Verginella.

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While concepts of Earth have a rich tradition, more recent examples show a distinct quality: Though ideas of wholeness might still be related to mythical, religious, or utopian visions of the past, ''Earth'' itself has become available as a whole. This raises several questions: How are the notions of one Earth or our Planet imagined and distributed? What is the role of cultural imagination and practices of signification in the imagination of ''the Earth''? Which theoretical models can be used or need to be developed to describe processes of imagining Planet Earth? This collection invites a wide range of perspectives from different fields of the Humanities to explore the means of imagining Earth.

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While concepts of Earth have a rich tradition, more recent examples show a distinct quality: Though ideas of wholeness might still be related to mythical, religious, or utopian visions of the past, ''Earth'' itself has become available as a whole. This raises several questions: How are the notions of one Earth or our Planet imagined and distributed? What is the role of cultural imagination and practices of signification in the imagination of ''the Earth''? Which theoretical models can be used or need to be developed to describe processes of imagining Planet Earth? This collection invites a wide range of perspectives from different fields of the Humanities to explore the means of imagining Earth.

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This volume brings together scholars from archaeology, historical linguistics and comparative mythology to explore how early Indo-European communities imagined death and what lies beyond. From poetic visions of the afterlife to the ritual logic of cremation and the etymology of mourning, Indo-European Afterlives examines how the transition from life to death was conceptualized and ritualized across the Indo-European world. Topics include the eschatological power of poetry, the symbolic role of fire in funerary rites, linguistic reconstructions of underworld deities and rituals and the significance of mythic figures such as the Valkyries, the R̥bhus and Orpheus in navigating the boundary between life and the afterlife. By interweaving philological analysis, archaeological evidence and mythological narratives, the volume offers new perspectives on how notions of death and the beyond were embedded in early Indo-European belief systems. Interdisciplinary in scope, Indo-European Afterlives will appeal to scholars and curious readers alike.

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Current scientific advances are reshaping our understanding of prehistory, offering unprecedented insights into the movements and kinship patterns of prehistoric populations. These new advances provide us with detailed information on several aspects of the early speakers of Indo-European and their lives. However, the prehistoric humans that we know through bones and potsherds were once real people speaking real languages and having specific beliefs, mythological tales and poetic expressions. With this book, we want to apply a multidisciplinary approach that combines historical linguistics, archaeology, and comparative religion in order to improve our understanding of the early speakers of Indo-European. The book is a collection of papers by specialists in historical linguistics, archaeology and comparative religion, each examining different facets of the early Indo-European speakers, including their language, culture, and religious practices.

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Current scientific advances are reshaping our understanding of prehistory, offering unprecedented insights into the movements and kinship patterns of prehistoric populations. These new advances provide us with detailed information on several aspects of the early speakers of Indo-European and their lives. However, the prehistoric humans that we know through bones and potsherds were once real people speaking real languages and having specific beliefs, mythological tales and poetic expressions. With this book, we want to apply a multidisciplinary approach that combines historical linguistics, archaeology, and comparative religion in order to improve our understanding of the early speakers of Indo-European. The book is a collection of papers by specialists in historical linguistics, archaeology and comparative religion, each examining different facets of the early Indo-European speakers, including their language, culture, and religious practices.

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What were the ideas about conflicts and conflict resolutions in the Nordic countries during the Vendel Period and the Viking Age? What role did i.e. gender and power hierarchies play in the conflicts?

All of the contributing texts are, in one way or another, related to the theme ‘war and peace’. They present new interpretations of some of the Old Scandinavian texts as well as of archaeological material: the runic inscription on the Eggja stone (Andreas Nordberg), texts about the fight between the god Thor and the giant Hrungnir (Tommy Kuusela), about the valkyries (Britt-Mari Näsström), about a phalos cult (Maths Bertell), about fylgjur, a type of beings regarded as related to the fate of a person (Eldar Heide), about enclosed areas for fights and battles (Torsten Blomkvist), about the defilement of sacred areas and places as a power strategy (Olof Sundqvist), about ritualisations of peace negotiations (Stefan Olsson), and about Ragnarök, the end and renewing of the world (Anders Hultgård).

The book has been edited by Hakan Rydving and Stefan Olsson, both from the The Department of Archaeology, History, Cultural Studies and Religion (AHKR) at the University of Bergen.

***

This book is published in Swedish:

Vilka idéer om konflikter och konfliktlösningar hade man i Norden under vendel- och vikingatid (från ca 550 till ca 1100)? Hur uppfattades gudar som Oden och Tor och andra väsen som valkyrior och fylgjor kunna påverka krig och fred? Hur reglerades användningen av våld och hur utformades fredsprocesser? Vilken roll spelade kön och makthierarkier i konflikterna? Hur förhåller sig de förkristna skandinaviska föreställningarna om den sista striden till motsvarande kristna och forniranska traditioner? Det är några av de frågor som bidragen i den här boken diskuterar. Undersökningarna baseras i huvudsak på texter från den aktuella perioden och från tidig medeltid, men också på arkeologiskt material. De ger intressanta exempel på hur källorna till vendel- och vikingatida traditioner kan analyseras om man tar utgångspunkt i frågor om krig och fred.

Boken har redigerats av Håkan Rydving och Stefan Olsson, båda verksamma vid Institutt for arkeologi, historie, kultur- og religionsvitskap (AHKR) vid Universitetet i Bergen.

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What were the ideas about conflicts and conflict resolutions in the Nordic countries during the Vendel Period and the Viking Age? What role did i.e. gender and power hierarchies play in the conflicts?

All of the contributing texts are, in one way or another, related to the theme ‘war and peace’. They present new interpretations of some of the Old Scandinavian texts as well as of archaeological material: the runic inscription on the Eggja stone (Andreas Nordberg), texts about the fight between the god Thor and the giant Hrungnir (Tommy Kuusela), about the valkyries (Britt-Mari Näsström), about a phalos cult (Maths Bertell), about fylgjur, a type of beings regarded as related to the fate of a person (Eldar Heide), about enclosed areas for fights and battles (Torsten Blomkvist), about the defilement of sacred areas and places as a power strategy (Olof Sundqvist), about ritualisations of peace negotiations (Stefan Olsson), and about Ragnarök, the end and renewing of the world (Anders Hultgård).

The book has been edited by Hakan Rydving and Stefan Olsson, both from the The Department of Archaeology, History, Cultural Studies and Religion (AHKR) at the University of Bergen.

***

This book is published in Swedish:

Vilka idéer om konflikter och konfliktlösningar hade man i Norden under vendel- och vikingatid (från ca 550 till ca 1100)? Hur uppfattades gudar som Oden och Tor och andra väsen som valkyrior och fylgjor kunna påverka krig och fred? Hur reglerades användningen av våld och hur utformades fredsprocesser? Vilken roll spelade kön och makthierarkier i konflikterna? Hur förhåller sig de förkristna skandinaviska föreställningarna om den sista striden till motsvarande kristna och forniranska traditioner? Det är några av de frågor som bidragen i den här boken diskuterar. Undersökningarna baseras i huvudsak på texter från den aktuella perioden och från tidig medeltid, men också på arkeologiskt material. De ger intressanta exempel på hur källorna till vendel- och vikingatida traditioner kan analyseras om man tar utgångspunkt i frågor om krig och fred.

Boken har redigerats av Håkan Rydving och Stefan Olsson, båda verksamma vid Institutt for arkeologi, historie, kultur- og religionsvitskap (AHKR) vid Universitetet i Bergen.

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Krivopete so divje žene z nazaj zasukanimi stopali, na Slovenskem znane le v folklori severozahodnega slovenskega etničnega prostora, predvsem Benečije in Zgornjega Posočja. Avtorica jih postavi ob bok bajčnim bitjem z enako deformacijo stopal, ki jih najdemo v folklori posamičnih ljudstev na različnih koncih sveta. Poleg etnoloških in folklorističnih obravnav (kulturno-zgodovinske in socialno-demografske značilnosti prostora, kontinuiteta in variabilnost zapisov skozi čas, vsebinsko-motivna analiza besedil ipd.) je izročilo predstavljeno še z vidika vpetosti v fizični prostor (mikrotoponimi) ter z jezikovnega vidika, ki razkrije veliko raznolikost poimenovanj za divje žene z nazaj zasukanimi stopali – evidentiranih je namreč kar 22 lokalnih različic. Teoretski del razprave zaključuje poglavje navzočnosti krivopet v sodobni kulturi – v umetniškem (po)ustvarjanju, kulturnih dogodkih, izobraževanju, turizmu ipd. Gradivski del prinaša 150 enot pripovedi in fragmentov, na katerih slonijo analize~tako je prvič na enem mestu zbrano gradivo o krivopetah, ki je bilo doslej večinoma razpršeno po težje dostopnih ali neznanih virih od konca 19. stoletja do danes.

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[The cultural genome.Space and its ideograms of the mythical story]As a biological genome determines our biological appearance, so too the cultural genome determines our cultural expression. This is a set of findings about the functioning of the universe and rules derived from them. When people verbalize these findings in a narrative, a mythical story occurs. A mythical landscape is a form of the cultural landscape that people created in accordance with their mythical conceptions that they could master the forces of nature with its help. From individual structures of the text fragments of Slavic folk traditions, a composite story in many versions is made, which explains the mechanism of renewal and describes the cyclical changes of the nature. People were using this mythical story as a mental model, which was materialized in specific spaces as spatial ideograms, which are discussed in the next part of the book (‘The cultural genome. Space and its ideograms of the mythical story’).

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Mito: relato explicativo, simbólico y dinámico, de uno o varios acontecimientos extraordinarios personales con referente trascendente, que carece en principio de testimonio histórico, se compone de una serie de elementos invariantes reducibles a temas y sometidos a crisis, que presenta un carácter conflictivo, emotivo, funcional, ritual y remite siempre a una cosmogonía o a una escatología absolutas, particulares o universales. Esta definición, general, fría e indeterminada, requiere un tiempo, un espacio, y sobre todo una conciencia que la viva. El mito no es un constructo mental ajeno a las vicisitudes socioculturales: lleva marcada en su piel y sus entrañas la huella de cada individuo y sociedad que lo vio nacer; pero también sabe adaptarse a las condiciones del nuevo tiempo que lo acoge. Mitos de hoy narra esa tensión del mito por mantenerse vivo en el terreno, aparentemente inhóspito, de un mundo desengañado. La Mitocrítica Cultural, aquí puesta en práctica, combina las herramientas tradicionales de la mitocrítica con factores no considerados sistemáticamente por la crítica precedente: la globalización, la inmanencia y el consumismo. Ofrece así una modesta contribución a la tarea de identificar, analizar y sintetizar la tipología de las manifestaciones del mito en la literatura, las artes y los medios de comunicación contemporáneos. Así será más fácil comprendernos a nosotros mismos en este mundo desconcertante. José Manuel Losada (Universidad Complutense), es fundador y editor de Amaltea. Revista de Mitocrítica, presidente de Asteria. Asociación Internacional de Mitocrítica y director de Acis. Grupo de Investigación de Mitocrítica.

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Go to top; Introduction; Regent Mythology; The Story of Daphne; The Question of Allies; Mannhardt; Philology and Demeter Erinnys; Totemism; The Validity of Anthropological Evidence; The Philological Method in Anthropology; Criticism of Fetishism; {120a}; {120b}; {118d}; {118b}; {118c}; {118a}; {117b}; {117a}; {116}; {114}; {115}; {111a}; {111b}; {110}; {109}; {106b}; {106a}; {103}; {101b}; {101a}; {100}; {97c}; {97a}; {97b}; {93a}; {93b}; {93c}; ; {89b}; {89a}; {88b}; {88a};; {85a}; {85b}; {85c}; {84d}; {84c}; {83a}; {83b}; {84a}; {84b}; {82b}; {82a}; {81a}

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The recent fascination in Finnish folklore studies with popular thought and the values and emotions encoded in oral tradition began with the realisation that the vast collections of the Finnish folklore archives still have much to offer the modern-day researcher. These archive materials were not only collected by scholars, but also by the ordinary rural populace interested in their own traditions, by performers and their audiences. With its myriad voices, this body of source material thus provides new avenues for the researcher seeking to penetrate popular thought. What does oral tradition tell us about the way its performers think and feel? What sorts of beliefs and ideas are transmitted in traditional songs and narratives? Perspectives from the study of mentalities and cultural cognition research provide a framework for investigating these issues.

This collection of articles works from the premise that the cultural models which shape mentalities give rise to manifest expressions of culture, including folklore. These models also become embedded in the representations appearing in folklore, and are handed down from one generation to the next. The topics of the book cover age-old myths and world views, concepts of witchcraft and the Devil stretching back to the Middle Ages, and the values and collective emotions of Finnish and Hungarian agrarian communities.

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The recent fascination in Finnish folklore studies with popular thought and the values and emotions encoded in oral tradition began with the realisation that the vast collections of the Finnish folklore archives still have much to offer the modern-day researcher. These archive materials were not only collected by scholars, but also by the ordinary rural populace interested in their own traditions, by performers and their audiences. With its myriad voices, this body of source material thus provides new avenues for the researcher seeking to penetrate popular thought. What does oral tradition tell us about the way its performers think and feel? What sorts of beliefs and ideas are transmitted in traditional songs and narratives? Perspectives from the study of mentalities and cultural cognition research provide a framework for investigating these issues.

This collection of articles works from the premise that the cultural models which shape mentalities give rise to manifest expressions of culture, including folklore. These models also become embedded in the representations appearing in folklore, and are handed down from one generation to the next. The topics of the book cover age-old myths and world views, concepts of witchcraft and the Devil stretching back to the Middle Ages, and the values and collective emotions of Finnish and Hungarian agrarian communities.

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Mythic discourses in the present day show how vernacular heritage continues to function and be valuable through emergent interpretations and revaluations. At the same time, continuities in mythic images, motifs, myths and genres reveal the longue durée of mythologies and their transformations. The eighteen articles of Mythic Discourses address the many facets of myth in Uralic cultures, from the Finnish and Karelian world-creation to Nenets shamans, offering multidisciplinary perspectives from twenty eastern and western scholars.

The mythologies of Uralic peoples differ so considerably that mythology is approached here in a broad sense, including myths proper, religious beliefs and associated rituals. Traditions are addressed individually, typologically, and in historical perspective. The range and breadth of the articles, presenting diverse living mythologies, their histories and relationships to traditions of other cultures such as Germanic and Slavic, all come together to offer a far richer and more developed perspective on Uralic traditions than any one article could do alone.

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Mythic discourses in the present day show how vernacular heritage continues to function and be valuable through emergent interpretations and revaluations. At the same time, continuities in mythic images, motifs, myths and genres reveal the longue durée of mythologies and their transformations. The eighteen articles of Mythic Discourses address the many facets of myth in Uralic cultures, from the Finnish and Karelian world-creation to Nenets shamans, offering multidisciplinary perspectives from twenty eastern and western scholars.

The mythologies of Uralic peoples differ so considerably that mythology is approached here in a broad sense, including myths proper, religious beliefs and associated rituals. Traditions are addressed individually, typologically, and in historical perspective. The range and breadth of the articles, presenting diverse living mythologies, their histories and relationships to traditions of other cultures such as Germanic and Slavic, all come together to offer a far richer and more developed perspective on Uralic traditions than any one article could do alone.

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Go to top; I. Introductory; II. Solar Myths and Christian Festivals; III. The Symbolism of the Zodiac; IV. Totem-Sacraments and Eucharists; V. Food and Vegetation Magic; VI. Magicians, Kings and Gods; VII. Rites of Expiation and Redemption; VIII. Pagan Initiations and the Second Birth; IX. Myth of the Golden Age; X. The Saviour-God and the Virgin-Mother; XI. Ritual Dancing; XII. The Sex-Taboo; XIII. The Genesis of Christianity; XIV. The Meaning of It All; XV. The Ancient Mysteries; XVI. The Exodus of Christianity; XVII. Conclusion; Appendix; Edward Carpenter Biography.

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paq’batlh: The Klingon Epic is the definitive edition of the grand Klingon epic of Kahless the Unforgettable (qeylIS lIjlaHbogh pagh). The story of Kahless is a tale of legendary proportions comparable to those of ancient heroes Hercules, Ulysses, and Gilgamesh. Betrayed by his brother and witness to his father’s brutal slaying, Kahless is pitted against his bitter enemy, the mighty tyrant Molor. To regain his honor he must travel into the Underworld, create the first bat’leth, and unite with his true love, Lady Lukara, to fight many epic battles. Through this awe-inspiring adventure Kahless redefines what its is to be truly Klingon. Reconstructed from several sources, this bilingual Klingon/English edition provides a keen insight into the nature of Klingon culture and mythology, and features the first publication of Ancient Klingon (no’ Hol) fragments. Meticulously translated by the world’s leading Klingon language expert, Marc Okrand, this classic epic is a must have for anyone interested in Klingon culture and language. The second edition includes a fully revised text and translation, as well as a new preface on no’ Hol by DeSDu’ jen puqloD.

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Fieldwork extending over a thirty-year period provided materials for this book. Paths and Rivers offers an unusually deep and broad picture of the Sa’dan Toraja as a society in dynamic transition over the course of the past century. The Toraja inhabit the mountainous highlands of South Sulawesi, Indonesia, and are well known for their dramatic architecture, their unusual cliff burials, and their flamboyant ceremonial life, which places extraordinary economic demands on individuals and families. The analysis is informed, firstly, by a comparative perspective which sets Toraja social structure in the context of the Austronesian world. Secondly, the author delves deeply into Toraja social memory to show how people think about the past. She examines the usefulness of history and myth in the present as a source of identity, a template for action, or a resource by means of which to claim precedence. The book gives a clear picture of the structure and ethos of the indigenous Toraja religion, the Aluk To Dolo or ‘Way of the Ancestors’, with its complex cycle of rituals. The book concludes with an analysis of the ceremonial economy, which draws upon both domestic subsistence production and the global market economy.Paths and Rivers draws together a fascinating picture of one society’s journey into modernity.Roxana Waterson is Associate Professor in the Department of Sociology, National University of Singapore. She is also the author of The living house: an anthropology of architecture in Southeast Asia (3rd ed., Thames and Hudson, 1997) and Southeast Asian lives: Personal narratives and historical experience (Singapore University Press/Ohio University Press, 2007).

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Pindar’s Pythian Twelve is the only choral lyric epinicion in our possession composed for the winner of a non-athletic competition. Often regarded as an ode of straightforward interpretation, close analysis of the text reveals that it presents several challenges to modern readers. This book offers an updated translation of the text and an investigation of the main interpretative issues of the epinicion with the aid of historical linguistics. By identifying devices which Pindar might have inherited from earlier periods of poetic language, the study provides insights into the thematic aspects of the ode as well as on Pindar’s compositional technique.

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