Academic literature on the topic 'Hopi mythology'
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Journal articles on the topic "Hopi mythology"
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Geertz, Armin W. "Uto-Aztecan studies: A discussion." Method & Theory in the Study of Religion 8, no. 1 (1996): 51–64. http://dx.doi.org/10.1163/157006896x00071.
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AbstractThis article grew out of participation in the Workshop on Uto-Aztecan Religions and Cosmologies. The goal of the workshop was to explore similarities and differences in the religions and cosmologies of the various Uto-Aztecan societies. In this article I follow two lines of inquiry: The one promotes a comparative discussion of cosmological structural systems, and the other attempts to identify one or more motifs which might prove to be evident in Uto-Aztecan mythologies. Based on the religion of the Hopi Indians of Arizona, I suggest that one of the most productive motifs is that of gender. For the Hopis it is shown that cosmology and gender seem to converge in social and religious statements about gender that include androgynous and duogynous themes. Insights from mythology and ritual are then applied to the social ideals and practices of the Hopis.
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Maurantonio, Nicole. "“Reason to Hope?”: The White Savior Myth and Progress in “Post-Racial” America." Journalism & Mass Communication Quarterly 94, no. 4 (February 16, 2017): 1130–45. http://dx.doi.org/10.1177/1077699017691248.
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On April 4, 2015, White North Charleston, South Carolina, Police Officer Michael Slager shot and killed Black motorist Walter Scott. Upon the release of a bystander video of the deadly shooting, Mayor Keith Summey and Police Chief Eddie Driggers denounced Slager’s actions and announced his arrest for Scott’s death. This article argues that journalists’ use and subsequent circulation of White savior mythology to narrativize the work of the two leaders offered a message of hope, progress, and White redemption, anchored in a vision of a “post-racial” United States.
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Amin Shirkhani, Mohammad. "Configuration of the Self-Mythology and Identity of Female Characters in Paul Auster’s In the Country of Last Things and The New York Trilogy." International Journal of Applied Linguistics and English Literature 6, no. 7 (October 10, 2017): 81. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.7p.81.
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The works of American novelist Paul Auster (1947- ) are uniquely concerned with the mythology of self, metanarrative and the role gender plays in these transactions. In his earliest works, The New York Trilogy (1985-1986) and In the Country of Last Things (1987), Auster uses genre conventions and styles (for the former, detective novels; for the latter, dystopian fiction) to interrogate these preconceptions of self-mythology and the role of gender within these genres, subverting tropes and traits of these works to comment upon them. In the following, we investigate these works in depth along these themes, conducting a close textual analysis from the framework of Freudian and Lacanian theories of psychoanalysis and poststructuralism. By investigating the roles of women in The New York Trilogy and In the Country of Last Things, we hope to illuminate Auster’s uniquely postmodernist, deconstructive approach to the psychological imperatives women are socialized into within American society, and how they are informed by narrative and mythology. The role of women, from the absent trophies of The New York Trilogy to the central voice of sanity of Anna in In the Country of Last Things, posits women as a societal superego whose goal it is to keep the destructive, nihilistic id-like impulses of men in check.
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Geertz, Armin W., and Geneviève Deschamps. "Les araignées et les insectes dans la mythologie et la religion des Indiens hopis1." Recherches amérindiennes au Québec 47, no. 2-3 (June 12, 2018): 47–59. http://dx.doi.org/10.7202/1048595ar.
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Les araignées et les insectes jouent un rôle important dans la mythologie et la religion des Indiens hopis. Ils apparaissent souvent dans l’art rupestre, sur les peintures murales et les objets cérémoniels. Ils sont également très présents dans les mythes et les histoires, où ils jouent des rôles de héros ou de méchants. Les insectes sont en effet conceptualisés comme des créatures bénéfiques portant la vie dans les mythes fondateurs des rituels, ou comme des assistants malfaisants dans la sorcellerie et la magie noire. Il n’existe aucune étude systématique générale sur les araignées et les insectes dans la mythologie et la religion des Indiens hopis, mais un certain nombre de recherches s’intéressent à des insectes en particulier, et l’on retrouve évidemment des références aux insectes dans la littérature. Dans cette étude préliminaire, l’auteur explore les diverses représentations des araignées et des insectes dans la pensée et les comportements des Hopis.
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Zeeshan, Mahwish, Aneela Sultana, and Abid Ghafoor Chaudhry. "Aastaanas of Magicians: A Ray of Hope for the Marginalised Community of Rawalpindi." Global Sociological Review V, no. III (September 30, 2020): 1–10. http://dx.doi.org/10.31703/gsr.2020(v-iii).01.
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People continue to believe in the efficacy of magic in the era of science and technology. Mythology pertaining to curative aspect of magic which is believed to solve the social, economic and medical problems of the people. Initially, a socio-economic survey of the households was conducted in Rawalpindi at Dhok Ratta and Dhok Khabba, which tapped 796 households. Later, 44 people who confessed using magic were interviewed with the help of an interview guide and participant observation at the aastaanas of the aamils. Mostly people who believed in the magical practices were inflicted with health, domestic, social and economic problems and sought magical cure as a last resort. The efficacy of magic is determined by socio-economic status, sex, marital status and education of the people rather than their belief in religion and fatalism.
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Djordjevic, Charles. "Where Are Our Words?" Conversations: The Journal of Cavellian Studies, no. 8 (December 28, 2020): 51–91. http://dx.doi.org/10.18192/cjcs.vi8.5791.
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This essay aims to offer a response to Cavell and his invitation for just such responses, as I read him. It offers a reading of later Wittgenstein based on a different mythology than Cavell’s modernist mythological one. Specifically, I aim to provide a myth that sees words in their metaphysical uses not as in exile, as a cast out of the garden of the everyday by the machinations of serpentine philosophers. Instead, I offer a myth that sees the metaphysical use as a holiday for our words, a form of unrestrained playfulness that is a facet of how we learn our ways about with them. In turn, this optimistic myth casts a philosopher not as an individual engaged in a tragically heroic, but ultimately futile, seeking of the “kingdom of the everyday” but as a person who has come to understand the axis of our real needs. I shall unfold such a myth later and hope to show that it gives us a means to dance. Pursuant to this, my mythology casts metaphysics not as an inherent flaw, a manifestation of our inability to live with our finitude, but as a playful response to it.
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McReynolds, Clayton. "Yeats's Barfieldian Rebellion: Locating Yeats's Synthetic Symbolism in Barfield's Evolution of Consciousness." Journal of Inklings Studies 8, no. 1 (April 2018): 65–82. http://dx.doi.org/10.3366/ink.2018.0004.
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In this paper, I draw on Barfield's theory of the evolution of consciousness and language to argue that William Butler Yeats employs language in his poetry in a way which resembles the older, ‘organic’ poetry Barfield describes. I observe how Yeats's ‘concrete’ understanding allowed him to weave a rich web of meaning into his poetry without feeling confined by T.S. Eliot's ‘dissociation of sensibility’. Many of Yeats's Modernist contemporaries struggled to bridge a perceived gap between thought and feeling, but Yeats's view of the world as innately symbolic allowed him to use language both literally and symbolically at once, speaking simultaneously of a literal rock, a symbol for stasis, and an emblem of the idée fixe. Thus, Yeats creates, in Barfield's terms, ‘organic’ poetry where the multilayered meanings arise naturally from Yeats's understanding. I further note how Yeats attempts to create a mythology in A Vision that would function much as Barfield describes mythology operating in ancient, concrete societies. Through this study, I hope to illuminate both the interconnectedness of Yeats's symbolic metaphysic and poetic technique and the relevance of Barfield for understanding Yeats and, perhaps, other poets finding new ways to communicate through an evolving language.
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Bernstein, Mark. "Fatalism and Time." Dialogue 28, no. 3 (1989): 461–71. http://dx.doi.org/10.1017/s0012217300015973.
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A certain mythology has been perpetuated in discussions of philosophy of time. It has been contended that the adoption of a particular theory of time, what I will call the “Non-dynamic Theory of Time” (NDTT) results in a commitment to Fatalism. This unwanted, if not intolerable baggage, is said to be avoided only by jettisoning NDTT and espousing what I will call the “Dynamic Theory of Time” (DTT). What I hope to show is that the truth of the matter is almost completely the reverse; while NDTT has absolutely no Fatalistic ramifications, DTT, when it is conjoined with a most plausible supposition, does.
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Lane, Belden C. "Mother Earth as Metaphor: A Healing Pattern of Grieving and Giving Birth." Horizons 21, no. 1 (1994): 7–21. http://dx.doi.org/10.1017/s0360966900027900.
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AbstractMother Earth is often revered as a goddess in world mythology, but seldom recognized as also an important metaphor in the biblical theology of Old and New Testaments. The image of the earth as grieving mother is a recurrent theme, used in Scripture to symbolize the movement from tragedy and loss to the beginnings of hope. It is an image rich in implications for a theological approach to ecological questions, a search for human and sexual wholeness in a technological age, and a study of the relationship of biblical thought to the universal process of mythogenesis. More than this, however, it touches most deeply the human quest for the lost mother and the role of Christ's passion in the renewal of spiritual connectedness to the natural world.
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Llorens-Cubedo, DÍdac. "Destined to Hope or Remorse: T.S. Eliot, Francis Bacon, and Their Furies." Modern Drama 66, no. 3 (September 1, 2023): 349–67. http://dx.doi.org/10.3138/md-66-3-1268.
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This article traces the relationship between the Furies as depicted in T.S. Eliot’s The Family Reunion (1939) and the work of painter Francis Bacon. Bacon’s Three Studies for Figures at the Base of a Crucifixion (1944) – a triptych depicting three grotesque amorphous creatures, which he identified with the Furies – was directly inspired by The Family Reunion , which in turn draws on Aeschylus’ The Eumenides . Eliot’s play not only generated a creative response by Bacon that inaugurated his characteristic style; crucially, it also led him to the Oresteia as a source of inspiration that would be pivotal for his later career. In the play, Eliot’s goddesses of retribution pursue Harry, who is said to have perpetuated a family curse by murdering his wife. The integration of the Furies into a modern play with a Christian background and their visual representation on stage are central challenges of The Family Reunion , as Eliot acknowledged. Bacon represented the Furies as monsters in Three Studies , a triptych that evokes Christian iconography linked to mythology. There are, however, essential differences between Eliot’s and Bacon’s approaches. In The Family Reunion , the Furies become salvific “bright angels” offering Harry an escape from his private hell, whereas in Bacon’s representations, they remain monsters or birds of ill omen that never bring hope. Eliot eventually came to consider his Furies a dramatic failure, recommending they be invisible on stage and subsequently adhering to realism in his drama; for Bacon, the Furies became recurrent images of horror and guilt, haunting but inspirational.
Dissertations / Theses on the topic "Hopi mythology"
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Pérez, Patrick. "Le monde au-delà du bambou : analyse et interprétation de quelques représentations de l'espace chez les Hopi d'Arizona, Etats-Unis." Paris, EHESS, 1998. http://www.theses.fr/1998EHES0106.
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Cette these presente, analyse et interprete plusieurs representations spatiales des hopi, une petite communaute amerindienne etablie sur trois plateaux (mesas) dans le nord de l'etat d'arizona (e. U). Apres une rapide revue des principaux ecrits sur cette culture depuis le debut de ce siecle, suivie d'une presentation generale du monde pueblo et de la societe hopi, l'etude aborde la question de l'espace hopi par l'analyse de la cosmologie, du paysage, de l'architecture et de l'urbanisme, de la geographie de l'au-dela, de la poterie et du tissage, des arts de la representation (la peinture de poterie particulierement), des sexuations spatiales, enfin de la cognition spatiale (par les classifications). Developpee dans le cadre d'une anthropologe des systemes symboliques, la these sonde un espace ou se croisent mythes et objets, gestes et pratiques, afin de degager les contours d'une maniere hopi de penser l'espace, ainsi que de son esthetiqueThis thesis presents, analyses and interprets some spatial representations of the hopi indians, a small community living on three mesas in northern arizona (u. Sa. ). After a rapid glimpse of the main writings about this culture, followed by a general presentation of pueblo world and hopi society, the study focuses on cosmology, landscape, architecture and urbanism, metaphysical geography, potery and weaving, visual arts (potery painting especially), gender stratification of space, and spatial cognition. Mainly developed within the framework of a symbolic anthropology, the thesis explores a space where myths and objects, gestures and practices join together in order to discern a specific hopi space view with his own aesthetics
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Steiner, Elizabeth. "A discussion of the Canaanite mythological background to the Israelite concept of eschatological hope in Isaiah 24-27." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c50562f6-8f26-43ea-826c-b24d00e5686b.
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The thesis begins with an overview of views concerning the dating of Isa 24–27 and its place within the genres of apocalyptic and eschatology, before stating its aim as showing how Canaanite myths were used by the author to give future hope rooted in cultic ideals. The second chapter looks at the image of the divine warrior, with particular emphasis on the chaos enemy as the dragon/serpent/sea, and the remarkable similarities between Isa 27:1 and the Ugaritic KTU 1.5.i.1–5. A possible cultic setting of the combat myth is examined, together with the question of why the myth appears here in an eschatological manner. The following chapter discusses the Israelite and Canaanite traditions concerning the holy mountain and divine banquet. Zion motifs are compared with those of Mt. Zaphon, and the nature of cultic feasts considered in Israelite and Canaanite literature, as well as later traditions. Chapter Four argues that the verses concerning death and resurrection represented exile/oppression and restoration, at a time when ideas of resurrection and judgment after death were emerging. The Israelite imagery of Mot/Death and Sheol are examined in relation to the nature of Ugaritic Mot, showing how Canaanite traditions were used to demonstrate Yahweh’s might and the possibility of individual and universal restoration. The following chapter places Israelite religion within the context of Canaanite fertility cults and popular practices. That myth and cult are connected is the basis for the view that the themes in Isa 24–27 were passed down to the post-exilic era via cultic activities and the reuse of myths to promote Yahweh, whether the author was aware that he was using ancient, mythological ideas or not. The sixth chapter gives a short overview of hope in the Hebrew Bible, before demonstrating how the universalism of Isa 24–27 combines with the ancient mythic themes to provide an eschatological hope in an all-encompassing deity. The paper concludes that the author of these chapters deliberately used Canaanite mythology to show how the final victory, rule, and celebration of Yahweh would bring about a personal and moral victory for all nations.
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Goodwin, Grant. ""Why Persephone?" investigating the unique position of Persephone as a dying god(dess) offering hope for the afterlife." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017896.
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Persephone’s myth is unique, as it was the central narrative of one of the most prominent ancient mystery religions, and remains one of the few (certainly the most prominent) ancient Greek myths to focus on the relationship of a mother and her daughter. This unique focus must have offered her worshippers something important that they perhaps could not find elsewhere, especially as a complex and elaborate cult grew around it, transforming the divine allegory of the changing seasons or the storage of the grain beneath the earth, into a narrative offering hope for a better place in the afterlife. To understand the appeal of this myth, two aspects of her worship and mythic significance require study: the expectations of her worshippers for their own lives, to which the goddess may have been seen as a forerunner; and the mythic frameworks operating which would characterise the goddess for her worshippers. The myth, as described in The Hymn to Demeter, is initially interpreted for its literary meaning, and then set within its cultural milieu to uncover what meaning it may have had for Persephone’s worshippers, particularly in terms of marriage and death, which form the initial motivating action of the myth. From this socio-anthropological study we turn to the mythic patterns and motifs the story offers, particularly the figure of the goddess of the Underworld (primarily in the influential Mesopotamian literature), and the Dying-Rising God figure (similarly derived from the Near East). These figures, when compared to the Greek goddess, may both reveal her unique appeal, and highlight the common attractions that lie in the figures generally. By this two-part investigation, on the particular culture’s expectations and the general mythic framework she exists in, Persephone’s meaning in her native land may be uncovered and understood.
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Gelas, Nicolas. "Fiction et humanisme dans l'oeuvre de Romain Gary : s'affranchir des limites, s'éprouver dans les marges." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20123/document.
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Récusant à la fois les déterminismes naturels et les représentations d’un ordre politique ou moral, l’œuvre de Gary est marquée par une aspiration au dépassement des limites et par une posture de résistance. Face à la haine ou à la barbarie, elle défend les vertus de la dérision et le pouvoir de l’imaginaire et s’engage dans une double démarche de mise à distance et de réenchantement du monde. Nourrie par le traumatisme de la seconde Guerre Mondiale, elle soutient l’idée que l’humain est à réinventer, qu’il n’est pas une donnée préalable mais un fiction à construire, un idéal à atteindre. Artistes et créateurs se doivent donc de contribuer à l’invention d’une nouvelle mythologie de l’homme qui vienne réaffirmer un principe inaliénable de dignité et qui instille dans l’esprit de chacun la force de ne pas désespérer. Mais l’humanisme n’est pas seulement une valeur abstraite ou un horizon à conquérir : il met aussi en question une façon d’être au monde dans le présent. Il s’agit de se prémunir de ce que la réalité peut avoir d’envahissant et de dogmatique en privilégiant des « marges » où l’humain se trouve reconnu dans ses paradoxes et sa fragilité. Loin de l’idéalisme prophétique, ces refuges deviennent un espace propice à l’expression de l’intime et permettent à la fois de se dérober au regard de l’autre et d’échapper à l’injonction des discours de vérité. Façonnés autour des valeurs de l’affectif, ils incitent chacun à se rendre sensible à l’humanité latente du monde. Ils viennent rappeler que, face aux certitudes inflexibles et au principe aliénant de transparence, l’approximation et le mystère ouvrent des espaces de liberté et conditionnent bien souvent la possibilité d’être heureuxChallenging both apparent determinism and political or moral representations, Gary's work is defined by its predilection for off limit situations and contentious attitudes. Confronted with hatred or barbarism, it will always stand for irony and the power of creativity, involved both in the process of getting detached as well as enrapturing the world anew. Fed on the World War II trauma, it sustains the concept of humanness needing reinvention, not being a set notion but a fiction to be built, an ideal to achieve. Artists and creators owe their contribution to such foundation of a new human mythology upholding the unalienable principle of dignity, thus implanting everyone's spirit with the strength to resist despair. However, humanism cannot be seen just as an abstracted value or some shore to reach, it also implies the actual manner of living in the world. One has to keep clear from whatever overwhelming dogmas reality can impose, by favoring “margins” that will accept human contradictions and frailty. Away from any prophetic idealism, these dedicated spaces become shelters for intimate expression, allowing one to avoid onlookers and escape compelling truth assessments. Shaped around affective values, they bring one to become sensitive to a potential world humanity. Against rigid certitudes and the alienating principle of transparency, they help remember that approximation and mystery can give access to freedom and oftentimes condition the possibility of happiness
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Araujo-Rousset, Anthony de. "Figures françaises de Dante : un mythe romantique." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3008.
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Ce travail construit une dantologie transcendantale fondée sur la fécondité et la légitimité du commentarisme français tout au long du dix-neuvième siècle. Le nom et l’œuvre de Dante progressent dans la vie de l’esprit et de la culture après la sidération de la Révolution, avec la naissance, l’apogée, le déclin et les suites métamorphosées du Romantisme. Un amour soumis à la loi de la divisibilité de quelques fragments de la Divine Comédie se transforme graduellement en une première dantologie. Des figures archétypiques issues de domaines hétérogènes donnent une armature conceptuelle et poétique à cette double spirale entrecroisée : la lecture des textes de Dante éclairée par la critique contemporaine ; et la compréhension des morphologies divergentes du Romantisme en la diversité de ses moments. Dante est un penseur de l’histoire, des enjeux politiques, du christianisme jusqu’en ses limites internes et externes, du fait initiatique, de la différence sexuelle dans laquelle UN POETE SE TRANSHUMANISE PARCE QU’IL EST AIME PAR BEATRICE APRES AVOIR ETE GUIDE PAR VIRGILE. Chateaubriand, Balzac, Nerval et Hugo sont les parangons d’une lecture tournée vers un usage libre, infidèle mais hautement créateur. Fauriel, Ozanam et Aroux représentent la volonté d’une critique raisonnée de la doctrine philosophique et théologique dantesque. Dante et son œuvre s’inscrivent au cœur des mille agitations d’un dix-neuvième siècle qui reconfigure la France et l’Europe. La rémanence de l’espérance du voyageur cherchant à revoir les étoiles et à contempler la Trinité influence les réminiscences du progressisme plurivoque. La figure d’airain du poète acrimonieux et vengeur accompagne les esprits désenchantés. Celui qui devient l’égal des dieux après avoir affronté une Dame qui tue autant qu’elle ennoblit inspire les mystiques et ceux qui cherchent une nouvelle spiritualité. Le chantre de la foi, revenu dans le giron de l’Église après la conversion de son amour, réchauffe les catholiques. L’homme qui dédouble les pouvoirs comme les soleils de Rome devient un interlocuteur privilégié après l’Empire. Nous ne cherchons pas une liste exhaustive, thématique ou chronologique, notionnelle ou par auteur. À travers des exemples ayant valeur de paradigmes, nous montrons comment cette union de connaissance et d’usage créateur construit des FIGURES de Dante qui entrent en écho avec les inquiétudes et les espérances, les attentes et les angoisses, du Romantisme. Alors Dante et son « Poème Sacré » ne sont plus seulement des occasions de références. Ils deviennent un MYTHE au cœur du rapport entre mystique religieuse et initiation par l’Éternel-Féminin, engagement dans l’histoire et culte de la Beauté, aspiration à un sursaut régénérateur du monde et conscience amère du tragique de la scission entre l’Idéal et le Réel, mythe du Tombeau et promesse d’élévation spirituelle. Parmi les voies possibles, NOUS DEFENDONS UN DANTE SE VOUANT AU CULTE INITIATIQUE DES TOMBEAUX ET DES « DAMES QUI ONT L’INTELLECT D’AMOUR. » Il appartient à un catholicisme élargi, dilaté – le catholicisme transcendantal de Maistre qui assume son ésotérisme arcane fondé sur la polysémie des textes et la liberté accordée par Dante au commentaire. L’auteur de la Divine Comédie s’inscrit dans un Romantisme de plus en plus sombre, antimoderne, à la fois POUVOIR D’ANAMNESE D’UNE GRANDEUR ABOLIE ET PROPHETE D’UN MONDE EN GERMINATION, qui reprend ses thèmes : les questions de la laïcité, de la langue pour le peuple contre celle des dieux, de l’aspiration à l’idéal et à la communication du visible et de l’invisible, de la puissance métaphysique de la Dame. Notre Dante est celui qui doit choisir « l’autre voie », celle de la catabase nécessaire avant l’anabase ; et qui doit faire preuve de la plus grande piété envers les ombres. Alors ce Dante et ce Romantisme « ne descendent pas sans raison dans l’abîme » : ils y trouvent, notamment par la puissance de la parole, la promesse de l’EspritThis work builds a transcendental dantology based on a leibnizian paradigm of a perennial philosophy. Dante's name and work get on gradually in the life of spirit and French culture, after the astonishment of the Revolution, with the birth, the apogee, the decline and the transformed sequels of Romanticism. One love submitted to the rule of divisibility in direction of some fragments of the Divine Comedy turns into a first dantology. Archetypal figures coming from heterogeneous domains provide a conceptual and poetical framework at this double-crossed spiral: the reading of Dante's texts enlightened by present-day criticism; and the understanding of the divergent morphologies of the various moments of Romanticism. Dante appears as a thinker of history, political stakes, Christianism even in his internal and external limits, initiatory fact, sexual difference in which A POET BECOMES TRANSHUMAN THANKS TO BEATRICE'S LOVE AND VIRGIL'S GUIDING. Chateaubriand, Balzac, Nerval and Hugo are the paragons of a reading going to a free use, inaccurate but highly creative. Fauriel, Ozanam and Aroux represent the quest of a reasoned criticism of the philosophical and theological dantean doctrine. Dante and his work got included in the heart of thousands occasions of unrest of a nineteenth century that reconfigure France and Europe. The persistence of the hope of a traveller attempting to see once more the stars and contemplate the Trinity influence the reminiscences of progressivism in many aspects. The brazen figure of an acrimonious and revengeful poet goes with disenchanted minds. The one that becomes a companion of the other gods after struggling with an ennobling and killing Lady inspire the mystics and those who look for a new spirituality. The faith apologist, once he has got back into the bosom of the Church thanks to the conversion of his love, warms up the Catholics. The man who divides into two the powers as the suns of Rome turns to a favoured speaker after the Empire. We don't look for an exhaustive, thematical, notional, chronological or nominal list. But, through examples as paradigms, it's shown how that union between knowledge and creative use builds, in less than a century, some figures of Dante that echo with the concerns and hopes, expectations and anguishes, of Romanticism. In this way Dante and his "Sacred Poem" aren't reductive to citations occasions. They become a myth at the heart of the relation between religious mystic and initiation thanks to the Eternal-Feminine, commitment in history and cult of Beauty, craving for a world-wide regenerative burst and being aware of the tragic scission between Ideal and Real, myth of the Tomb and promise of spiritual elevation. Among the various possibilities, WE DEFEND A DANTE DEVOTED TO THE INITIATORY CULT OF THE SEPULCHRE AND THE "LADIES WHO GOT THE INTELLECT OF LOVE." He belongs to a broadened, dilated Catholicism - the transcendental Catholicism by Maistre, that takes on his Arcanum esotericism based on the polysemy of the texts and the freedom granted by Dante to the commentary. The author of the Divine Comedy takes place in a more and more gloomy, antimodernist, Romanticism; BOTH THE ANAMNESIS POWER OF AN ABOLISHED GREATNESS AND THE PROPHET FOR WORLD IN GERMINATION that picks his themes up again: questions of laicity, popular language in front of the gods 'one, aspiration at the Ideal and at the link between visible and invisible, metaphysical power of the Lady. Our Dante is the one who has to take care of "the other path", the catabasis before the anabases; and who has to show up the highest devotion toward the shadows. Then, this Dante and this Romanticism don't journey to the "deep randomly": here they find, in particular thanks to the power of Speech, the promise of the Spirit
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De, Araujo Rousset Anthony. "Figures françaises de Dante : un mythe romantique." Thesis, 2018. http://www.theses.fr/2018LYSE3008/document.
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Ce travail construit une dantologie transcendantale fondée sur la fécondité et la légitimité du commentarisme français tout au long du dix-neuvième siècle. Le nom et l’œuvre de Dante progressent dans la vie de l’esprit et de la culture après la sidération de la Révolution, avec la naissance, l’apogée, le déclin et les suites métamorphosées du Romantisme. Un amour soumis à la loi de la divisibilité de quelques fragments de la Divine Comédie se transforme graduellement en une première dantologie. Des figures archétypiques issues de domaines hétérogènes donnent une armature conceptuelle et poétique à cette double spirale entrecroisée : la lecture des textes de Dante éclairée par la critique contemporaine ; et la compréhension des morphologies divergentes du Romantisme en la diversité de ses moments. Dante est un penseur de l’histoire, des enjeux politiques, du christianisme jusqu’en ses limites internes et externes, du fait initiatique, de la différence sexuelle dans laquelle UN POETE SE TRANSHUMANISE PARCE QU’IL EST AIME PAR BEATRICE APRES AVOIR ETE GUIDE PAR VIRGILE. Chateaubriand, Balzac, Nerval et Hugo sont les parangons d’une lecture tournée vers un usage libre, infidèle mais hautement créateur. Fauriel, Ozanam et Aroux représentent la volonté d’une critique raisonnée de la doctrine philosophique et théologique dantesque. Dante et son œuvre s’inscrivent au cœur des mille agitations d’un dix-neuvième siècle qui reconfigure la France et l’Europe. La rémanence de l’espérance du voyageur cherchant à revoir les étoiles et à contempler la Trinité influence les réminiscences du progressisme plurivoque. La figure d’airain du poète acrimonieux et vengeur accompagne les esprits désenchantés. Celui qui devient l’égal des dieux après avoir affronté une Dame qui tue autant qu’elle ennoblit inspire les mystiques et ceux qui cherchent une nouvelle spiritualité. Le chantre de la foi, revenu dans le giron de l’Église après la conversion de son amour, réchauffe les catholiques. L’homme qui dédouble les pouvoirs comme les soleils de Rome devient un interlocuteur privilégié après l’Empire. Nous ne cherchons pas une liste exhaustive, thématique ou chronologique, notionnelle ou par auteur. À travers des exemples ayant valeur de paradigmes, nous montrons comment cette union de connaissance et d’usage créateur construit des FIGURES de Dante qui entrent en écho avec les inquiétudes et les espérances, les attentes et les angoisses, du Romantisme. Alors Dante et son « Poème Sacré » ne sont plus seulement des occasions de références. Ils deviennent un MYTHE au cœur du rapport entre mystique religieuse et initiation par l’Éternel-Féminin, engagement dans l’histoire et culte de la Beauté, aspiration à un sursaut régénérateur du monde et conscience amère du tragique de la scission entre l’Idéal et le Réel, mythe du Tombeau et promesse d’élévation spirituelle. Parmi les voies possibles, NOUS DEFENDONS UN DANTE SE VOUANT AU CULTE INITIATIQUE DES TOMBEAUX ET DES « DAMES QUI ONT L’INTELLECT D’AMOUR. » Il appartient à un catholicisme élargi, dilaté – le catholicisme transcendantal de Maistre qui assume son ésotérisme arcane fondé sur la polysémie des textes et la liberté accordée par Dante au commentaire. L’auteur de la Divine Comédie s’inscrit dans un Romantisme de plus en plus sombre, antimoderne, à la fois POUVOIR D’ANAMNESE D’UNE GRANDEUR ABOLIE ET PROPHETE D’UN MONDE EN GERMINATION, qui reprend ses thèmes : les questions de la laïcité, de la langue pour le peuple contre celle des dieux, de l’aspiration à l’idéal et à la communication du visible et de l’invisible, de la puissance métaphysique de la Dame. Notre Dante est celui qui doit choisir « l’autre voie », celle de la catabase nécessaire avant l’anabase ; et qui doit faire preuve de la plus grande piété envers les ombres. Alors ce Dante et ce Romantisme « ne descendent pas sans raison dans l’abîme » : ils y trouvent, notamment par la puissance de la parole, la promesse de l’EspritThis work builds a transcendental dantology based on a leibnizian paradigm of a perennial philosophy. Dante's name and work get on gradually in the life of spirit and French culture, after the astonishment of the Revolution, with the birth, the apogee, the decline and the transformed sequels of Romanticism. One love submitted to the rule of divisibility in direction of some fragments of the Divine Comedy turns into a first dantology. Archetypal figures coming from heterogeneous domains provide a conceptual and poetical framework at this double-crossed spiral: the reading of Dante's texts enlightened by present-day criticism; and the understanding of the divergent morphologies of the various moments of Romanticism. Dante appears as a thinker of history, political stakes, Christianism even in his internal and external limits, initiatory fact, sexual difference in which A POET BECOMES TRANSHUMAN THANKS TO BEATRICE'S LOVE AND VIRGIL'S GUIDING. Chateaubriand, Balzac, Nerval and Hugo are the paragons of a reading going to a free use, inaccurate but highly creative. Fauriel, Ozanam and Aroux represent the quest of a reasoned criticism of the philosophical and theological dantean doctrine. Dante and his work got included in the heart of thousands occasions of unrest of a nineteenth century that reconfigure France and Europe. The persistence of the hope of a traveller attempting to see once more the stars and contemplate the Trinity influence the reminiscences of progressivism in many aspects. The brazen figure of an acrimonious and revengeful poet goes with disenchanted minds. The one that becomes a companion of the other gods after struggling with an ennobling and killing Lady inspire the mystics and those who look for a new spirituality. The faith apologist, once he has got back into the bosom of the Church thanks to the conversion of his love, warms up the Catholics. The man who divides into two the powers as the suns of Rome turns to a favoured speaker after the Empire. We don't look for an exhaustive, thematical, notional, chronological or nominal list. But, through examples as paradigms, it's shown how that union between knowledge and creative use builds, in less than a century, some figures of Dante that echo with the concerns and hopes, expectations and anguishes, of Romanticism. In this way Dante and his "Sacred Poem" aren't reductive to citations occasions. They become a myth at the heart of the relation between religious mystic and initiation thanks to the Eternal-Feminine, commitment in history and cult of Beauty, craving for a world-wide regenerative burst and being aware of the tragic scission between Ideal and Real, myth of the Tomb and promise of spiritual elevation. Among the various possibilities, WE DEFEND A DANTE DEVOTED TO THE INITIATORY CULT OF THE SEPULCHRE AND THE "LADIES WHO GOT THE INTELLECT OF LOVE." He belongs to a broadened, dilated Catholicism - the transcendental Catholicism by Maistre, that takes on his Arcanum esotericism based on the polysemy of the texts and the freedom granted by Dante to the commentary. The author of the Divine Comedy takes place in a more and more gloomy, antimodernist, Romanticism; BOTH THE ANAMNESIS POWER OF AN ABOLISHED GREATNESS AND THE PROPHET FOR WORLD IN GERMINATION that picks his themes up again: questions of laicity, popular language in front of the gods 'one, aspiration at the Ideal and at the link between visible and invisible, metaphysical power of the Lady. Our Dante is the one who has to take care of "the other path", the catabasis before the anabases; and who has to show up the highest devotion toward the shadows. Then, this Dante and this Romanticism don't journey to the "deep randomly": here they find, in particular thanks to the power of Speech, the promise of the Spirit
Books on the topic "Hopi mythology"
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Geneste, Éric. Kachina: Messagers des dieux hopis et zuñis = messengers of the Hopi and Zuñi gods. Paris: Somogy, 2011.
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Rothrock, David P. Hopi petroglyphs in the Swelter shelter, Dinosaur National Monument, Utah. Silver City, N.M: D.F. Rothrock, 1994.
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Rothrock, David P. Garden shrine petroglyph: A planting record in the Petrified Forest of Arizona. [Silver City, N.M: D.F. Rothrock, 1994.
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Rothrock, David P. Sikyatki, Kisakovi, Awatovi villages relate to Davis Gulch pictographs of Kane County, Utah. [Silver City, N.M: Donald F. Rothrock, 1994.
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Boissiere, Robert. The return of Pahana: A Hopi myth. Santa Fe, N.M: Bear & Co., 1990.
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Boissiere, Robert. The return of Pahana: A Hopi myth. Santa Fe, N.M: Bear & Co., 1990.
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Frederik, Hetmann. Der Tanz der Gefiederten Schlange: Märchen und Mythen der Navaho-, Hopi und Pueblo-Indianer : Indianermärchen aus dem Südwesten Amerikas. Frankfurt am Main: Fischer Taschenbuch Verlag, 1985.
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Rudolf, Kaiser. The voice of the Great Spirit: Prophecies of the Hopi Indians. Boston: Shambhala, 1991.
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Kaiser, Rudolf. Im Einklang mit dem Universum: Aus dem Leben der Hopi-Indianer. München: Kösel, 1992.
Find full textBook chapters on the topic "Hopi mythology"
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Leeming, David A. "Creation." In World Mythology, 30—C2.P42. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/actrade/9780197548264.003.0003.
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Abstract Basic types of creation myth are treated here. The ex nihilo (from nothing) myth, for instance, emphasizes creation from the mind of the Creator (e.g., Yahweh/God/Allah) or creation from the words of the Creator (e.g., the Polynesian Io). The creation from chaos myth tells of creation from undifferentiated material such as cosmic eggs (e.g., the Dogon world egg). The world parents myth—creation from the sacrifice of the world parent(s) (e.g., the Chinese Pangu, the Indian Purusha, the Norse Ymir) often involves the separation of the two world parents, representing Earth and Heaven (e.g., the Polynesian Papa and Rangu, the Mesopotamian Apsu and Tiamat, the Egyptian Geb and Nut). In the earth diver myth an animal dives into the primordial waters to find soil that becomes Earth. This type is particularly prevalent among Native American tribes of the east (e.g., the Iroquoians). In the emergence-type myth, the people emerge from the World Mother (Earth). The birth metaphor is evident here. This myth type is almost exclusively southwestern Native American (e.g., Dine, Hopi) and in it goddesses play significant roles. The chapter undertakes to ask why we have creation myths. Why are they important for our sense of ourselves as cultures and as a species?
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Leeming, David Adams. "Aethra And Theseus." In Mythology, 13. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195121537.003.0003.
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Abstract Now, while Pittheus was still living at Pisa, Bellerophon had asked to marry his daughter Aethra, but had been sent away to Caria in disgrace before the marriage could be celebrated; though still contracted to Bellerophon, she had little hope of his return. Pittheus, therefore, grieving at her enforced virginity, and influenced by the spell which Medea was casting on all of them from afar, made Aegeus drunk, and sent him to bed with Aethra.
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Leeming, David Adams. "The Night Journey Of The Soul." In Mythology, 213–14. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195121537.003.0100.
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Abstract In the universal myth of the descent into the underworld the hero finds himself an explorer in the province of death itself. This is the continuance of the scapegoat process, in which the hero, as man’s agent, faces in depth what man himself so fears. The hero is our hope of overcoming death and understanding its meaning. The specific purpose of the voyage is usually to retrieve a loved one, to attain knowledge of personal or racial destiny, or simply to complete a great task. Whatever the reason, the myth involves the hero’s suffering or witnessing the actual torments of the underworld before defeating death definitively in rebirth or resurrection.
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"THE MYTHOLOGY OF NUCLEAR DISARMAMENT." In Change, Hope and the Bomb, 42–58. Princeton University Press, 2015. http://dx.doi.org/10.2307/j.ctt183prs1.8.
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Whitehouse, Harvey. "Overimitation and the Ritual Stance." In The Ritual Animal, 24–52. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199646364.003.0002.
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To engage in ritual is to adopt a unique stance on behaviour—one that forfeits all hope of ever discovering a causal structure in the actions involved. Rituals are causally opaque not only in a provisional or potentially resolvable way but irretrievably so. Psychologists describe the copying of such behaviour as ‘overimitation’—the uniquely human tendency to imitate actions modelled by others that have no transparent instrumental rationale but are simply that way because it is the established convention. This chapter explores the evolutionary origins of the ritual stance, as well as some of the many ways in which cultural systems exploit it to create magic, meaning, and mythology.
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Castoriadis, Cornelius, and Pierre Vidal-Naquet. "Seminar from January 26, 1983." In The Greek Imaginary, edited by Enrique Escobar, Myrto Gondicas, and Pascal Vernay, translated by John V. Garner and María-Constanza Garrido Sierralta, 137–58. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474475327.003.0008.
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This chapter examines the nature of myth broadly, defined as the figuration by means of a narrative of the meaning with which a given society invests the world. As distinct from a mere tale, Castoriadis sees myth as the carrier of an essential cultural meaning. He likewise argues that what is essential and universal in Greek myths remains so for us; and their universal significance is not limited to their own tradition. They unveil a signification of the world that constantly presents meaning over a background of un-meaning, i.e., a signification in which there is no room to hope for a correspondence between our desires or our decisions and the nature of being. As Castoriadis argues, this vision conditions the birth of both philosophy and democracy. It can be witnessed in the notion of Chaos in Hesiod, which means void and abyss, and later comes to mean indefinite mixture. Castoriadis then links the notions of order and chaos to the concepts of peras and apeiron and their importance in Anaximander, Plato, and Aristotle. In question-and-answer, Castoriadis addresses the philosophical dimension of mythology, the meaning of the sacred in Homeric religion, and the sense in which Greek mythology must be seen as true.
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"Hopi Religion The author gratefully acknowledges the assistance of Alice Schlegel in the preparation of this chapter. Alice Schlegel, a professor of anthropology at the University of Arizona, has maintained contacts among the Hopi for over twenty years and has written extensively on gender aspects of Hopi society and religion as well as comparative studies of adolescence. The sources for the data on sex/gender aspects of Hopi culture and religion are primarily the works of Alice Schlegel; the interpretations are predominantly due to her insights; and quotations not otherwise noted are from her writings: “The Adolescent Socialization of the Hopi Girl ,” Ethnology 12 (1973): 440–462; “Hopi Joking and Castration Threats,” Linguistics and Anthropology: In Honor of C.F. Voegelin , ed. M. D. Kinkade , H. Hale , & O. Werner ( Lisse, Netherlands : Peter de Ridder Press, 1975): 521–529; “Male and Female in Hopi Thought and Action,” in Sexual Stratification: A Cross-Cultural View , ed. A. Schlegel ( New York : Columbia University Press, 1977): 245–269; “Sexual Antagonism Among the Sexually Egalitarian Hopi ,” Ethos 7 (1979): 124–141; “Hopi Gender Ideology of Female Superiority ,” Quarterly Journal of Ideology 8/4 (1984): 44–52; “Fathers, Daughters, and Kachina Dolls ,” European Review of Native American Studies 3/1 (1989): 7–10; “Gender Meanings: General and Specific,” in Beyond the Second Sex: New Directions in the Anthropology of Gender , ed. P. R. Sanday & R. G. Goodenough ( Philadelphia : University of Philadelphia Press, 1990): 23–41; and “The Two Aspects of Hopi Grandmotherhood” (manuscript). The data for most other aspects of Hopi religion are from the writings of Armin Geertz, as well as extensive personal conversations with him, for which the author is most grateful. Of Geertz’s many publications, the most relevant to this chapter are the following: “A Reed Pierced the Sky: Hopi Indian Cosmography on Third Mesa, Arizona,” Numen 31 (1984): 216–241; Hopi Indian Altar Iconography ( Leiden : E. J. Brill, 1987); with Michael Lomatuway’ma , Children of Cottonwood: Piety and Ceremonialism in Hopi Indian Puppetry ( Lincoln : University of Nebraska Press, 1987) (it is to be noted that the orthography for Hopi words are from this work); “Hopi Hermeneutics: Ritual Person Among the Hopi Indians of Arizona,” in Concepts of Person in Religion and Thought ( Berlin : de Gruyter, 1990): 309–335; and “Structural Elements in Uto-Aztecan Mythology: The Hopi Example” (manuscript). The material on ritual is in large part from Mischa Titiev , Old Oraibi: A Study of the Hopi Indians of Third Mesa ( Cambridge : Peabody Museum, 1944). For Maasaw, Ekkehart Malotki and Michael Lomatuway’ma , Maasaw: Profile of a Hopi God ( Lincoln : University of Nebraska Press, 1987) is important, as is Hamilton A. Tylor , Pueblo Gods and Myths ( Norman : University of Oklahoma Press, 1964) for deities in general. Also referred to for this chapter are Leo W. Simmons , ed., Sun Chief: The Autobiography of a Hopi Indian ( New Haven : Yale University Press, 1942) for a male perspective; and Tracy Pintchman , “Speculative Patterns in Hopi Cosmology ,” Studies in Religion 22 (1993): 351–364. The data on Papago religion is from Ruth M. Underhill , Papago Woman ( New York : Holt, Rinehart and Winston, 1979). The analysis of Zuni culture is from John W. M. Whiting et al., “The Learning of Values,” in People of Rimrock: A Study of Values in Five Cultures , ed. Evon Vogt and Ethel M. Albert ( Cambridge : Harvard University Press, 1967): 83–125/107." In Through the Earth Darkly : Female Spirituality in Comparative Perspective. Bloomsbury Academic, 1996. http://dx.doi.org/10.5040/9781350005631.ch-009.
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Kieniewicz, Jan. "Bandar-Log in Action: The Polish Children’s Experience of Disaster in Literature and Mythology." In Our Mythical Hope. The Ancient Myths as Medicine for the Hardships of Life in Children’s and Young Adults’ Culture. University of Warsaw Press, 2021. http://dx.doi.org/10.31338/uw.9788323552888.pp.159-178.
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Sellers, Charles. "God and Mammon." In The Market Revolution, 202–36. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195038897.003.0007.
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Abstract Under peaking market pressures in the 1820s and 1830s, Americans found religious salvation more compelling than political salvation. With a Second Great Awakening doubling the 18oo rate of church affiliation, diaries and letters of ordinary folk breathed an everyday spiritual preoccupation that politics interrupted only sporadically. Hope for God’s grace and a better world to come sustained them through this world’s tribulations. Only by headlong flight into domesticity, benevolence, and feeling could they tolerate the market’s calculating egotism. Their pessimistic piety belies our historical mythology of capitalist transformation as human fulfillment Unitarianism reshaped Christianity most fully to the market mentality. Emerging around Boston, where Puritan rationality had long fused Calvinist calling with arminian effort, it engaged the new Brahmin elite of intermarried Cabots, Lowells, Appletons, and Perkinses. Having risen from the outports by rational calculation, these enterprising merchant princes no longer found credible the trinitarian Christian God who mystically blended a divine Son with Father and Holy Ghost. Amid commercial boom and nascent industrialization at the turn of the century, the most fashionable urban congregations were taken over by believers in a unitary, remote, and benign creator-God. Their God endowed people with enough rationality and prudential morality to win for themselves-if they tried the salvation of earthly happiness.
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Coys-Stones, G. R. "Primitive Wisdom and Stoic Exegesis after Posidonius." In Post-Hellenistic Philosophy, 44–59. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198152644.003.0003.
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Abstract In the last chapter I looked at the way in which the early Stoics thought that the outlook of the first men came to be articulated into a technical understanding of nature, and at how scraps of this understanding were subsequently preserved as the seeds of the mythological tradition; and I suggested that the Stoics thought the recovery of these fragments was worthwhile in so far as they could be used as evidence to support the general direction in which Stoic philosophy was developing. But the full historical impact of this theory was, as I hope to show, not confined to its implications for the Greeks’ understanding of mythology, or for the Stoics’ ability to support the truth of their doctrines on the basis of it. By suggesting that authoritative philosophical insights might be obtained by a student of the past, the theory would ultimately lead to a revolution in the way that philosophy itself was done: as I shall argue in Chapters 6 and 7, the Stoics’ theory of the transmission through readily accessible cultural traditions of a primitive and authoritative wisdom would form the basis of the new approach to philosophy developed by the Platonists of the second century AD.