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Journal articles on the topic 'Great Goddess'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

Paulinyi, Zoltán. "THE “GREAT GODDESS” OF TEOTIHUACAN: Fiction or Reality?" Ancient Mesoamerica 17, no. 1 (January 2006): 1–15. http://dx.doi.org/10.1017/s0956536106060020.

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A critical review of the history of research devoted to the Great Goddess of Teotihuacan shows that over the past twenty years, and in several publications, this goddess has been transformed gradually into a universal nature deity, has received the title “Great,” and has been regarded by many authorities as the principal deity of Teotihuacan. This has become accepted even though, in my judgment, the goddess was created through a highly speculative line of argument, fusing several different iconographic complexes under that name, and despite the fact that the greater part seem to have nothing to do with each other. As a consequence, the concept of this omnipotent goddess has become a serious obstacle holding back the progress of iconographic research on the Teotihuacan supernatural world. The discussion here reaches the conclusion that in place of a Great Goddess, we are able to identify at least six different gods and goddesses, several among them not yet subjected to analysis.

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2

Dowling, Nancy H. "O great goddess." Indonesia Circle. School of Oriental & African Studies. Newsletter 22, no. 62 (March 1994): 70–82. http://dx.doi.org/10.1080/03062849408729807.

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3

Roller, Lynn E. "The Great Mother at Gordion: The Hellenization of an Anatolian Cult." Journal of Hellenic Studies 111 (November 1991): 128–43. http://dx.doi.org/10.2307/631891.

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Gordion, the principal city of Phrygia, was an important center for the worship of the major Phrygian divinity, the Great Mother of Anatolia, the Greek and Roman Cybele. Considerable evidence for the goddess's prominence there have come to light through excavations conducted at the site, first by Gustav and Alfred Körte and more recently by the continuing expedition sponsored by the University Museum in Philadelphia. These include sculptural representations of the goddess and numerous votive objects dedicated to her. The material pertinent to the goddess and her cult in Gordion during the most prominent period of Phrygian culture, the eighth and seventh centuries BC, is similar to that from other contemporary Phrygian centers. Even after the loss of Phrygian political independence in the seventh century, the cult of the goddess in Anatolia continued to flourish, and the older traditions of iconography and votive types were maintained. During the Hellenistic period, however, we see a different version of the goddess at Gordion. The earlier Phrygian forms of cult image and votive were gone, and in their stead are figurines and votive objects which are clearly of Greek inspiration. The Mother goddess was still at home in Gordion—several stone and terracotta representations of her from this period attest to that—but her visual image had become thoroughly Hellenized.

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4

Wolfgram, Matthew. "Devi: The Great Goddess:DEVI: THE GREAT GODDESS." Museum Anthropology 24, no. 1 (March 2000): 75–79. http://dx.doi.org/10.1525/mua.2000.24.1.75.

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5

Smith, Mary. "Athena and the Great Goddess." Self & Society 19, no. 5 (September 1991): 23–29. http://dx.doi.org/10.1080/03060497.1991.11085211.

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6

Ulbrich, Anja. "The Great Goddess at Maroni-Vournes." Cahiers du Centre d'Etudes Chypriotes 45, no. 1 (2015): 201–9. http://dx.doi.org/10.3406/cchyp.2015.1634.

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7

Miyares, Rub�n Vald�s. "Sir Gawain and the Great Goddess." English Studies 83, no. 3 (June 1, 2002): 185–206. http://dx.doi.org/10.1076/enst.83.3.185.8690.

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8

Fernández Guerrero, Olaya. "Hera, The Perfect Wife? Features and Paradoxes of the Greek Goddess of Marriage." Journal of Family History 47, no. 2 (October 28, 2021): 115–31. http://dx.doi.org/10.1177/03631990211031280.

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In the ancient Greek polytheistic religion, Hera was considered the wife of Zeus and she was worshipped as the goddess of marriage. This paper analyses pre-Olympian references to Hera as an unmarried Great Goddess related to nature and fertility, and it explores from a critical perspective the origins and contents of her cult as Hera Teleia, the “perfect wife.” Mythological tales about her fights with Zeus, their conflictive relationship and his continuous love affairs with goddesses and women show us that the divine Greek model for human marriage was far from being a state of marital bliss.

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9

Gamidova, A. "The Problem of the Assimilation of the Oppositions in "The White Goddess", the Concept of Robert Graves." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 2(88) (September 5, 2018): 50–54. http://dx.doi.org/10.35433/philology.2(88).2018.50-54.

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Robert Graves, who in his literary and artistic work combined historical legitimacy, mythology and poetic intuition, sought to create a religious concept which is capable of responding to the moral and spiritual expectations of the modern man, and this expectation found its ideal embodiment in his conceptual idea of the Great Goddess. Like other sensitive followers of the Great Goddess, Robert Graves once saw the awakening of the universal spirit. Many poets, such as Robert Graves, William Butler Yates, Aleister Crowley, Ezra Pound, presented themselves as apostles of the Great God, although they could not pass through the abyss of the phenomenal world, drowned in the waters of their own reflections and spirituality, and became instruments of the Great Goddess. In the Graves' concept, the supposed Great Goddess represents the Divine Child as the fruit of a ''mysterious marriage'' in unity with the other half of this child as the unity of opposites, and the new God, symbolized by the Black Goddess (black and white, expresses intelligence),it will create a new state of consciousness. The Black Goddess must assimilate opposites in the human psyche, in other words, a harmonious substitution will take place. Although Robert Graves came up with an important concept related to the new religion, new consciousness, new world order, he is not optimistic about the development of humanity and the transition to a new religion.

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10

Richards, Stella. "Baba Iaga and the Great Phallic Goddess." San Francisco Jung Institute Library Journal 23, no. 1 (February 2004): 54–66. http://dx.doi.org/10.1525/jung.1.2004.23.1.54.

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11

Hossain, Md Kohinoor. "DEATH IN 2020 AND A COVID-19 GREAT EPIDEMIC: AN ISLAMIC ANALYSIS." Psychosophia: Journal of Psychology, Religion, and Humanity 2, no. 2 (December 27, 2020): 126–41. http://dx.doi.org/10.32923/psc.v2i2.1303.

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Only love to almighty Allah is the greatest love. From ages to ages, Allah has sent his messengers to preach only love to Him. Many destructions, disruptions, and explosions have occurred in this world. This paper tries to explore the causes of the great disasters in the world. The global people when they lead an invalid way, there occurs a terrible crisis. None of the worlds saves it. Only Allah can save global people. Today, the present world is full of share-ism, idolatry-ism, usury-ism, zakat-free-ism, killing-ism, injustice-ism, and inhumanity-ism. They practice about Gods and Goddesses. They believe that the sun, the moon, the stars, the trees, the stone, the angels, the jinn, and other animals can reach Allah. They are the dearest persons who are God, Gods, Goddess, and Goddesses related. Above eleven million people think and say that there is no creator of the universe. It is operating as automated. Marriages and sexism are human to animal. They practice as same-sex, polygamy, polygyny, and polyandry. Most of the global people pray to Materials, Death Guru, God, Gods, Goddess, Goddesses, Peer, Saai, Baba, Abba, Dihi Baba, Langta Baba, Khaja Baba, Joy Guru, Joy Chisty, Joy Baba Hydery, Joy Maa Kali, Maa Durga, Moorshid Kibla, Baba Haque Bhandary, Joy Ganesh Pagla, Joy Deawan Baggi, Joy Chandrapa, Joy Sureshwaree, Fooltali Kebla, Sharshina Kebla, Foorfoora Kebla, Joy Ganapati, Joy Krishnan, Joy Hari, Joy Bhagaban and Mazzarians. The new religions have preached in the world such as Baha’i, Kadyany, Khaljee, Din-E-Elahi, Brahma, and Humanism. The world is full of Shirkism, Moonafikism, Goboatism, Bohtanism, Mooshrikiaism, Oathlessism, and Khianotkariism. In the past, undetermined civilizations have vanished but none can save civilization. This Covid-19 great destruction is human-made. It is from climate change that comes to the global people as a great curse.

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12

Reid-Bowen, Paul. "Great Goddess, Elemental Nature or Chora? Philosophical Contentions and Constructs in Contemporary Goddess Feminism." Feminist Theology 16, no. 1 (September 2007): 101–9. http://dx.doi.org/10.1177/0966735007082520.

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13

Hogenson, George B. "The Great Goddess ReconsideredRecent Thinking about the "Old European Goddess Culture" of Marija Gimbutas." San Francisco Jung Institute Library Journal 10, no. 1 (January 1991): 5–24. http://dx.doi.org/10.1525/jung.1.1991.10.1.5.

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14

Talalay, Lauren E., Marija Gimbutas, Miriam Robbins Dexter, Lucy Goodison, Christine Morris, and Lynn E. Roller. "Review Article: Cultural Biographies of the Great Goddess." American Journal of Archaeology 104, no. 4 (October 2000): 789. http://dx.doi.org/10.2307/507158.

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15

Kelly, Veronica. "The Green Goddess: William Archer's Great War Play." Nineteenth Century Theatre and Film 40, no. 2 (November 2013): 2–30. http://dx.doi.org/10.7227/nctf.40.2.2.

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16

Aaro, Ane Faugstad. "Ricœur’s Historical Intentionality and the Great Goddess Freyja." Temenos - Nordic Journal of Comparative Religion 56, no. 1 (June 15, 2020): 75–94. http://dx.doi.org/10.33356/temenos.80350.

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The main question in this article concerns whether hermeneutic phenomenology as a methodology can address some of the problems and critiques raised in the study of religions. Inspired by Gilhus’s proposal in her article ‘The Phenomenology of Religion and Theories of Interpretation’, I investigate the possibilities in this strand of thought concerning interpretation and explanation from the perspective of Ricœur’s hermeneutic phenomenology and language theory, taking Norse mythology and the goddess Freyja as examples of how this method might work. I argue that Ricœur’s contribution to hermeneutic phenomenology is important to methodology in the study of religions, and that the historicity of the interpretation of religious phenomena is based on a lifeworldly intentionality. I also analyse the depth of understanding, the formation of ideas, and meaning in its historical context at the level of the historian’s process of interpretation, and I argue that the method may constitute a theoretical basis for an objective science.

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17

Pauwels, Heidi R. M. "The Great Goddess and Fulfilment in Love: Rādhā Seen Through a Sixteenth-Century Lens." Bulletin of the School of Oriental and African Studies 59, no. 1 (February 1996): 29–43. http://dx.doi.org/10.1017/s0041977x00028548.

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In the Hindu pantheon the goddess Rādhā, Krsna's milkmaid lover and consort, is a relative newcomer. Notwithstanding her ‘youth’, she has already attracted scholarly attention (Hawley and Wulff, 1982; Olson, 1983; Kinsley, 1986 and 1989). The interest in this goddess has to do with her ambiguous relation with the male god with whom she is associated; though she has no independent existence from her ‘Viṣṇu’, she is not completely submissive to him either. In fact, Rādhā's devotees affirm her superiority over Kṛṣṇa. The relation between Rādhā and Kṛṣṇa certainly is not always portrayed as one eternal happy fulfilment (saṃbhoga-śṛṅgāra). One of the basic traits of this goddess is her suffering, mainly on account of his (real or imagined) unfaithfulness. It is in fact the very stubborn strength of her love that forms the basis for Rādhā's exaltation as a model of devotion. Ironically, with the rise her status, the need to provide an end to her suffering increases. Blissful union with her lover is clearly felt to be the prerogative for a great goddess, and with that the inevitable marital status is only one step away. In this paper I propose to discuss the historical moment when this ‘happy ending’ becomes important.

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18

Hutton, Ronald. "The Neolithic Great Goddess: a Study in Modern Tradition." Pomegranate: The International Journal of Pagan Studies 1, no. 2 (February 13, 2012): 22–35. http://dx.doi.org/10.1558/pome.v1i2.22.

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19

Hutton, Ronald. "The Neolithic great goddess: a study in modern tradition." Antiquity 71, no. 271 (March 1997): 91–99. http://dx.doi.org/10.1017/s0003598x0008457x.

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Modern belief in the veneration of a single Great Goddess in the European Neolithic is often accompanied by the notion that those cultures of ‘Old Europe’ were woman-centred in society as well as religion. What is the long history which precedes these contemporary notions? What is the complex history of their political development? A chain runs from Classical times to Marija Gimbutas (Meskell 1995) and our own day.

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20

Long, Asphodel. "The One or the Many: The Great Goddess Revisited." Feminist Theology 5, no. 15 (May 1997): 13–29. http://dx.doi.org/10.1177/096673509700001503.

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21

TALALAY, LAUREN E. "A Feminist Boomerang: The Great Goddess of Greek Prehistory." Gender & History 6, no. 2 (August 1994): 165–83. http://dx.doi.org/10.1111/j.1468-0424.1994.tb00001.x.

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22

Kraus, Nicholas Larry. "Tuṭṭanabšum: Princess, Priestess, Goddess." Journal of Ancient Near Eastern History 7, no. 2 (November 26, 2020): 85–99. http://dx.doi.org/10.1515/janeh-2020-0008.

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AbstractTuṭṭanabšum, daughter of Naram-Suen, was one of the most powerful women of the Akkadian dynasty. The princess was installed as the high priestess of Enlil at Nippur; she held one of the highest cultic positions for the head of the Sumerian pantheon, in a city whose temple served as the religious capital of Sumer. Now, an administrative tablet from the Iraq Museum shows that Tuṭṭanabšum, like her father, was also elevated to the realm of the divine. Never before has there been evidence that a member of the Akkadian royal family other than the king was given divine status. The tablet demonstrates that the divinity adopted by Naram-Suen after his victory in the Great Rebellion applied not only to the king, but to other members of the royal family. Tuṭṭanabšum, therefore, was not only a member of the royal house and one of the highest cultic officials in the empire, but was also elevated to the divine realm.

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23

Skupniewicz, Patryk, and Katarzyna Maksymiuk. "The Warrior on Claps from Tillya Tepe." Vestnik of Saint Petersburg University. History 66, no. 2 (2021): 567–84. http://dx.doi.org/10.21638/11701/spbu02.2021.215.

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Among the objects excavated in 1978 at the site of Tillya Tepe (Northern Afghanistan) by the Soviet-Afghan archaeological expedition led by Victor I. Sarianidi, the twin golden clasps from Burial III attract special and instant attention of any military historian or a researcher of ancient arms and armour. The identity of the personage(-s) on the Tillya Tepe clasps has quite rarely been studied. Scholars are usually satisfied with a generic term a “warrior”. Kazim Abdullaev has identified the personage as Ares-Alexander. Jeannine Davis-Kimball has identified the personage as Enaree, the castrated priest of one of the epiphanies of Great Goddess. Patryk Skupniewicz supported the latter identification associating the personages from Tillya Tepe clasps with the North Indian, mainly Gandharan iconography of Skanda Kartikeya who, as a war-god, was an Indian equivalent of Ares. This article establishes the correspondence between the images on Tillya Tepe clasps with the representations of enthroned and armed goddesses which are quite common in the iconography related to the discussed clasps. The armed and enthroned goddess has been identified as the Iranian goddess Arshtat on Kushan coins. The warrior depicted on the golden clasps from Tillya Tepe should be interpreted as a portrayal of Arshtat, whose image was borrowed from the iconography of Athena. The goddess is shown seated on the throne with griffin-shaped legs known already in the Achaemenid times in the pose developed in the images in the late Hellenistic period, which is in line with the date of the entire site.

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24

Pandey, Anjali. "WOMEN AS GODDESS IN INDIAN ART." International Journal of Research -GRANTHAALAYAH 4, no. 3 (March 31, 2016): 205–8. http://dx.doi.org/10.29121/granthaalayah.v4.i3.2016.2804.

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In India, we find the worship of great mother in varying forms. The Female figures from Indus civilization indicate the fertility cult. , the early records of terracotta sculpture are the evidences. Since IInd century A.D. Devi Durga, Lakshmi and Matraka are remain popular and worshipped. The goddess on a lion depicted first time in Kushan Period. Some of the goddess is the anthromorphic personification of nature. The Yakshis are the nature goddess. In Folk societies, socialization, education, recreation and communication of new ideas moral values and knowledge are inculcated by the women. They are the active bearer of oral tradition in India.

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25

Jeffcoat Schedtler, Justin. "Mother of Gods, Mother of Harlots." Novum Testamentum 59, no. 1 (January 5, 2017): 52–70. http://dx.doi.org/10.1163/15685365-12341556.

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One of the primary interpretive challenges in the study of Revelation 17 has been to ascertain the identity of an historical personage or entity evoked by the description “Whore of Babylon.” This paper explores a previously neglected figure, Cybele the “Great Mother” Goddess. Through an examination of the artistic, archaeological, and literary evidence relating to the Mother Goddess during the time of her greatest flourishing in the Roman periods, several elements of the description of the Harlot in Rev 17 can be understood to evoke Cybele. Insofar as the Mother Goddess was closely associated with Roman socio-political-religious systems, this scene constitutes an attack on the Roman Imperial apparatus.

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26

Petrosyan, Armen Ye. "Reflexes of a Hurrian Word in Armenian: A Theonym, a Dendronym, an Anthroponym." Вопросы Ономастики 18, no. 3 (2021): 100–109. http://dx.doi.org/10.15826/vopr_onom.2021.18.3.035.

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In Old Armenian, saws means ‘proud, luxurious, great,’ ‘some (bright) color,’ and saws and sawsi mean ‘oriental plane tree’. The word has no etymology. Hurrian has the word šauša [sausa] ‘big, great’ and the theonym Šauša / Šauška for the local version of the great goddess Ištar. The article undertakes to find a single etymon looking for the clue in comparative mythology. It is known that Anušavan, one of the ancient Armenian mythical patriarchs, was referred to as Sawsanuēr which can be interpreted as “The gift of plane trees” (with a reference to the cult of the plane trees of Armawir, the earliest capital of Armenia). According to mythology, Anushavan’s father and grandfather were related to Šamiram (Greek Semiramis), the queen of the city of Nineveh (capital of Assyria) that is seen as a historicized version of the local goddess Šauš(k)a otherwise called “Ishtar of Nineveh.” The Armenian saws ‘great, magnificent’ quite correlates with this name as a loan from the Hurrian šauša ‘great,’ with a regular apocope. The plane trees were probably symbols of the goddess. Thus, it is natural to assume that the dendronym saws / sawsi (the second form with the Indo-European suffix *-iyā, characteristic of Armenian dendronyms, cf. the genitive plural form sawseac‘) is of Hurrian origin. The first meaning of the Hurrian word ‘great, magnificent’ subsequently turned into theonym and then to the Armenian dendronym, the name of the largest and most luxurious tree in the Armenian Highland and adjacent territories.

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27

Kinsley, David, and Vidya Dehejia. "Devi, the Great Goddess: Female Divinity in South Asian Art." Journal of the American Oriental Society 120, no. 2 (April 2000): 289. http://dx.doi.org/10.2307/605062.

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28

Warmind, Morten Lund. "Freyja: The Great Goddess of the North. Britt-Mari Näsström." History of Religions 38, no. 2 (November 1998): 213–15. http://dx.doi.org/10.1086/463539.

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29

Patton, Laurie L., and Tracy Pintchman. "Seeking Mahadevi: Constructing the Identities of the Hindu Great Goddess." Journal of the American Oriental Society 124, no. 3 (July 2004): 563. http://dx.doi.org/10.2307/4132282.

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30

Carreira López, María. "Vestixios e funcións da Gran Deusa no imaxinario galego desde a obra de Méndez Ferrín." Abriu estudos de textualidade do Brasil Galicia e Portugal, no. 8 (July 30, 2019): 197–213. http://dx.doi.org/10.1344/abriu2019.8.11.

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This study focuses on the analysis of Guinevere reflected in the works of Méndez Ferrín and, by extension, the analysis of other female (and some male) characters, establishing the connection between these mythical characters and the archetype of the Great Goddess. These characters potentially integrate different aspects of the ancestral symbol that need to be elucidated, highlighting in each of them a particular condition or characteristic. The methodology of the analysis is circumscribed within the broad field of imaginary studies. This work seeks to reflect on the ancient archetype of the Great Goddess and its close relationship to aspects of sovereignty, and how it applies to the Galician imaginary.

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31

Manring, Rebecca J. "Rādhātantram: Rādhā as Guru in the Service of the Great Goddess." International Journal of Hindu Studies 23, no. 3 (December 2019): 259–82. http://dx.doi.org/10.1007/s11407-019-09264-1.

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32

McDaniel, J. "Review: Seeking Mahadevi: Constructing the Identities of the Hindu Great Goddess." Journal of the American Academy of Religion 71, no. 4 (December 1, 2003): 964–66. http://dx.doi.org/10.1093/jaarel/lfg122.

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33

Reir, Patricia. "The mysteries of creativity: Self-seeding, death and the great goddess." Psychological Perspectives 17, no. 1 (March 1986): 11–33. http://dx.doi.org/10.1080/00332928608408703.

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34

Chebotaeva, M. P. "Embroidery ornament on a traditional Khakass holiday women’s fur coat." Ethnography of Altai and Adjacent Territories 10 (2020): 136–45. http://dx.doi.org/10.37386/2687-0592-2020-10-136-145.

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The article deals with the traditional Khakas holiday coats «tone», «Oh ton» and «idect tone.» The research was based on the Museum collections of the Russian ethnographic Museum (Saint Petersburg)and the Museum of anthropology and Ethnography. Peter the Great (Kunstkamera), Khakass national Museum of local lore and Askiz Museum of local lore. The author analyzes the canons of embroidery arrangement on women’s fur coats of the Khakas ethnic groups-Kachin, sagay, koibal, Kyzyl and Shor. Folk embroidery of the Khakas on a festive fur coat had mythological motifs and was a kind of amulet of a person. The main ornamental motifs in embroidery were associated with the Pantheon of gods among the Khakas Tengri (Tigir), Umai (Ymai), the goddess of Fire (From Ine), the God of the Middle world «Earth-Water» (Chir-su), the Sun Goddess (kun) and the moon Goddess (AI).

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35

LiDonnici, Lynn R. "The Images of Artemis Ephesia and Greco-Roman Worship: A Reconsideration." Harvard Theological Review 85, no. 4 (October 1992): 389–411. http://dx.doi.org/10.1017/s0017816000008208.

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In a recent essay, Nicole Loraux identified a pattern of scholarly dependence on the origins of a particular deity for the interpretation of how human beings at various, specific times and places related to and used that figure to meet the needs of their lives. Shifting social and political conditions, such as the development and modification of the Athenian polis, led to changes in people's religious needs and are reflected by modifications, sometimes radical, in the conceptualization and worship of their gods. Loraux discussed the problems that this scholarly perspective brought to the study of goddesses in particular, where focus on the origins of many goddesses in a hypothesized worship of a Great Goddess of fertility can obscure our understanding of the ways in which these figures met the needs of individuals and cities at specific points in antiquity.

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36

Dubey, Abhay. "MUSIC AND SOCIETY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3390.

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In India, music is believed to be as eternal as God. Before the creation of the world —it existed as the all-pervading sound of "Om" —ringing through space. Brahma, the Creator, revealed the four Vedas, the last of which was the Sama Veda —dealing with music.Vedic hymns were ritualistic chants of invocation to different nature gods. It is not strange therefore to find the beginnings of Hindu music associated with Gods and Goddesses. The mythological heaven of Indra, God of Rain, was inhabited by Gandharvas (singers), Apsaras (female dancers) and Kinnaras (instrumentalists). Saraswati, Goddess of Music and Learning, is represented as seated on a white lotus playing on the Veena. The great sage Narada first brought the art to earth and taught it to men.

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37

Håland, Evy Johanne. "Fee, Christopher, and David Leeming: The Goddess - Myths of the Great Mother." Anthropos 112, no. 2 (2017): 666–67. http://dx.doi.org/10.5771/0257-9774-2017-2-666.

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38

Tepfer, Ellen. "The presence of absence: Beyond the “great goddess” in Ana Mendieta'sSilueta Series." Women & Performance: a journal of feminist theory 12, no. 2 (January 2002): 235–50. http://dx.doi.org/10.1080/07407700208571382.

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39

SARKAR, BIHANI. "The Rite of Durgā in Medieval Bengal: An Introductory Study of Raghunandana's Durgāpūjātattva with Text and Translation of the Principal Rites." Journal of the Royal Asiatic Society of Great Britain & Ireland 22, no. 2 (April 2012): 325–90. http://dx.doi.org/10.1017/s1356186312000181.

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The autumnal Durgā Pūjā, the ten-lunar-day worship of the goddess Durgā, also known as Caṇḍī or Caṇḍīkā, is one of the most important festivals in East India and Nepal. Throughout villages and cities in Bengal, Orissa, Assam and the Kathmandu Valley the occasion is marked by pomp and circumstance. In Bengal especially, this worship is a reflection of a culture that has given goddesses a privileged position over male deities from at least the time of the Pālas.2 However, despite the availability of material from the eighteenth century to the present day, the worship of the goddess prior to the colonial presence still remains to a great extent terra incognita. Sanskrit paddhatis (ritual manuals) from the medieval era are among the few records available from Bengal that shed light on the pedagogical and performative context of the rite. The purpose of this article is to provide a synchronic sketch of the medieval ceremony based on the influential and widely cited medieval manual, the Durgāpūjātattva (“The truth concerning the rite of Durgā”, henceforth DPT) of Raghunandana Bhaṭṭācārya (1520–1575 ce)3 supported by parallel accounts of the rite contained in related literature. The sketch will be used as a broad framework to illustrate the manner in which the ceremony was performed or could have been performed in Bengal during the fourteenth to the sixteenth centuries ce.

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Jencson, Linda. "Neopaganism and the Great Mother Goddess: Anthropology as Midwife to a New Religion." Anthropology Today 5, no. 2 (April 1989): 2. http://dx.doi.org/10.2307/3033137.

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Mandell, Elisa C. "A NEW ANALYSIS OF THE GENDER ATTRIBUTION OF THE “GREAT GODDESS” OF TEOTIHUACAN." Ancient Mesoamerica 26, no. 1 (2015): 29–49. http://dx.doi.org/10.1017/s0956536115000024.

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AbstractThis study explores the identification and gender attribution of the “Great Goddess” of Teotihuacan through re-examining what purportedly constitutes feminine and masculine in these representations. Recent efforts to reattribute this deity's gender have not offered satisfactory re-interpretations, but instead reify a binary model of Western ideas of gender. Transcending this binary model, I propose that one of the key figures identified as female—the central figure from the Tepantitla mural at Teotihuacan—can better be said to show characteristics of a mixed gender, a tradition for which there is significant precedence in the Americas.

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M, Sumathi. "The Liminality in Silapathikaram." International Research Journal of Tamil 4, SPL 1 (February 26, 2022): 213–19. http://dx.doi.org/10.34256/irjt22s130.

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‘The spirit of ancient culture is boon to the present life’. The world consists of the five great powers (pancha boothangal) land, air, fire, water and universe. The different religious worshipping present in Hindu culture. Production, protection, destroying, blessings predict through liminality. The essay reveals the views of liminality present in silapathikaram how related with present people’s principles. Humans who workshipped the nature, they workshipped the deities in the two forms, the minor deity and the super deity. To proclaim the God’s blessing, they designed a god’s statue, Idols and they celebrated a function to worship a god. In order to cover up the crimes committed by those who lived and died with them, the peace workship became as the deity worship. By praying soul, they hopped that the souls liminality will save and protect the people, so that they started workship a dead soul. All forums showed in silapathikaram had been seen as liminality. They had a fear and opinion that the God will punish the people , If anybody did a mistake. Many God’s has been as liminality in silapathikaram, kannaghi has been shown as a Pathini God. She was not a goddess for a particular part of people , she is defined as a goddess for all Tamil people. After Thousands of years , apart from language, race, country till now kannaghi is believed as a goddess, because in silapthikaram, the liminality is released through kannaghi. This is the reason which makes kannaghi as a goddess.

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Murphy, Luke John, and Carly Ameen. "The Shifting Baselines of the British Hare Goddess." Open Archaeology 6, no. 1 (October 10, 2020): 214–35. http://dx.doi.org/10.1515/opar-2020-0109.

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AbstractThe rise of social zooarchaeology and the so-called ‘animal turn’ in the humanities both reflect a growing interest in the interactions of humans and non-human animals. This comparative archaeological study contributes to this interdisciplinary field by investigating the ways in which successive human cultures employed religion to conceptualise and interact with their ecological context across the longue durée. Specifically, we investigate how the Iron Age, Romano-British, early medieval English, medieval Welsh, and Information Age populations of Great Britain constructed and employed supranatural female figures – Andraste, Diana, Ēostre, St. Melangell, and the modern construct ‘Easter’ – with a common zoomorphic link: the hare. Applying theoretical concepts drawn from conservation ecology (‘shifting baselines’) and the study of religion (‘semantic centres’) to a combination of (zoo)archaeological and textual evidence, we argue that four distinct ‘hare goddesses’ were used to express their congregations’ concerns regarding the mediation of violence between the human in-group and other parties (human or animal) across two millennia.

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Berger, Albrecht. "Constantine’s City: the Early Days of a Christian Capital." Studia Ceranea 10 (December 23, 2020): 11–29. http://dx.doi.org/10.18778/2084-140x.10.01.

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In his new city Constantinople, Constantine the Great established an imperial cult with pagan elements prevailing over Christian ones. This can be seen from a number of monuments and buildings, such as the Forum of Constantine with the emperor’s statue on a column, the Capitol, the emperor’s mausoleum, the Mesomphalon, and the temple of the city goddess Tyche.

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T, Jeyabharathi. "The Theory of the Major Theological Principles of Eight Anthologies." International Research Journal of Tamil 3, S-2 (April 30, 2021): 218–21. http://dx.doi.org/10.34256/irjt21s241.

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The creation of God is the belief that we will be safe by creating rituals and temples that are sacrificed by men who are afraid of the fury of nature. They also gave their hunting tools to the gods who created it and also established idolatry. Among the gods that were so, there is a dual ity of the small god. At first, the small deities were worshipped on the border of the village as a place where the dead ancestors lived as people. This is called the Guardian Goddess. The great deities are considered to be the deity of every deity shown in Thelly. The difference between the minor gods and the great gods does not appear to have been in the Sangam literature. However, it is a discretion to match the definition of today. In the society where the dead were usually the middle stones, the stones became worship. The study is the only small-sighted cult of the four temples that were built for the king, the deceased, the dead from the north, the life of the goddess, the king and the living.

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Hasagić, Sanda. "Orijentalni kultovi na tlu provincije Dalmacije u I stoljeću / Oriental cults in the province of Dalmatia in the 1st century." Journal of BATHINVS Association ACTA ILLYRICA / Godišnjak Udruženja BATHINVS ACTA ILLYRICA Online ISSN 2744-1318, no. 1 (December 1, 2017): 102–12. http://dx.doi.org/10.54524/2490-3930.2017.102.

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The end of the Roman conquest of the territory inhabited by the Illyrian peoples entered the final phase of pacification with the end of the Great Illyrian revolt (6-9 AD). After the establishment of the government, the situation the Romans encountered in the province of Dalmatia was heterogeneous in terms of spiritual and material culture of the peoples that inhabited this territory. Oriental cults started to spread as the result of imperial propaganda, the army, merchants from the east, sailors, immigrants from eastern provinces, freedmen and slaves. The monuments that witness about the presence of the cult of Phrygian goddess Cybele and Egyptian goddess Isis date back to the 1st century AD in the territory of the province of Dalmatia. These cults had arrived to Rome centuries before whence they started to spread across the imperial provinces.

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Amodio, Barbara A. "The Mahavidya (Great Lesson) of Sacred Transformation in Ten Mahesvan Icons of the Goddess." Journal of Indian Philosophy and Religion 16 (2011): 51–66. http://dx.doi.org/10.5840/jipr2011162.

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Blank, Jonah. "Questioning Ramayanas: A South Asian Tradition/Seeking Mahadevi: Constructing the Identities of the Hindu Great Goddess.:Questioning Ramayanas: A South Asian Tradition.;Seeking Mahadevi: Constructing the Identities of the Hindu Great Goddess." American Anthropologist 104, no. 4 (December 2002): 1228–30. http://dx.doi.org/10.1525/aa.2002.104.4.1228.

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Kleber, Kristin. "THE GREAT ADVENTURES OF A SMALL GOD: NEW EVIDENCE FOR THE DIVINE MESSENGER STAFF HUṬĀRU." Iraq 80 (September 21, 2018): 139–50. http://dx.doi.org/10.1017/irq.2018.6.

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The messenger staff Huṭāru was a non-anthropomorphic deity in the Neo-Babylonian Eanna temple of Uruk that also had a practical function: it served as a symbol of authority of the goddess Ištar during the collection of taxes and dues. In this article I edit and discuss two hitherto unpublished texts that shed new light on this little known divine object. Furthermore, I suggest its identification with the “Doppellöwenkeule”, a ceremonial mace with animal protomes that is represented alone or carried by Ištar on seals and terracotta plaques from the Old and Neo-Babylonian periods.

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Vassileva, Maya. "Further considerations on the cult of Kybele." Anatolian Studies 51 (December 2001): 51–64. http://dx.doi.org/10.2307/3643027.

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Modern scholarship has produced a large volume of literature on the Phrygian goddess Kybele. The image of the Great Mother-Goddess, both on European and on Anatolian soil, has long attracted scholarly attention. Besides works that have become classics (Graillot 1912; Vermaseren 1977), I will list just a few more recent studies (Naumann 1983; Borgeaud 1996; Işık 1999; Roller 1999). The representations of Kybele are gathered in the eight volume Corpus by M J Vermaseren (most valuable for the present study being volumes 1 and 2: Vermaseren 1982; 1987). Numerous articles are devoted to different aspects of Kybele's figure and cult. All contributions to the subject must take into consideration the recent exhaustive study on the Mother cult in Phrygia, Greece and Rome by L E Roller (1999). The present paper aims at offering another point of view on some disputable questions and at introducing new comparative material.

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