Journal articles on the topic 'Hopi mythology'

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Abstract: Although it may seem an impossible task to offer a panorama of contemporary Brazilian poetry, we will discuss a selection of poets who possibly epitomize the most significant current trends. We start with a brief presentation of four well-regarded authors whose works represent major poetic currents: Augusto de Campos, Francisco Alvim, Armando Freitas Filho and Adélia Prado. We then comment on excerpts from a few important younger poets, whose works embrace several different tones and styles, from indigenous symbolic mythology to crude or ironic testimonials of life in the big city, from melodious lyrical intimacy to a more social perspective. For the second part of this article, we have chosen Paulo Henriques Britto, Josely Vianna Baptista, Ricardo Aleixo, Carlito Azevedo, Eucanaã Ferraz and Ana Martins Marques. We hope this preliminary selection may awaken the interest of future readers to the enormous variety and richness of Brazilian poetry.

The 9th traditional biannual conference on Systems Medicine, Personalised Health & Therapy—“The Odyssey from Hope to Practice”, inspired by the Greek mythology, was a call to search for practical solutions in cardio-metabolic diseases and cancer, to resolve and overcome the obstacles in modern medicine by creating more interactions among disciplines, as well as between academic and industrial research, directed towards an effective ‘roadmap’ for personalised health and therapy. The 9th Santorini Conference, under the Presidency of Sofia Siest, the director of the INSERM U1122; IGE-PCV (www.u1122.inserm.fr), University of Lorraine, France, offered a rich and innovative scientific program. It gathered 34 worldwide distinguished speakers, who shared their passion for personalised medicine with 160 attendees in nine specific sessions on the following topics: First day: The Odyssey from hope to practice: Personalised medicine—landmarks and challenges Second day: Diseases to therapeutics—genotype to phenotype an “-OMICS” approach: focus on personalised therapy and precision medicine Third day: Gene-environment interactions and pharmacovigilance: a pharmacogenetics approach for deciphering disease “bench to clinic to reality” Fourth day: Pharmacogenomics to drug discovery: a big data approach and focus on clinical data and clinical practice. In this article we present the topics shared among the participants of the conference and we highlight the key messages.

That Puerto Ricans became American citizens in 1917 have been attributed by many to the need for soldiers as the U.S. entered the First World War. Such belief has been enshrined in Puerto Rican popular national mythology. While there is a rich body of literature surrounding the decision to extend U.S. citizenship to Puerto Rico and its effect on the Puerto Ricans, few, if any, challenge the assumption that the need for manpower for the armies of the metropolis influenced that decision. Reducing the issue of citizenship to a need for manpower for the military o nly o b s c ures c o mp lex imp erial-colonial relations based upon racial structures of power. In this essay I hope to demonstrate that the need for soldiers was unrelated to the granting of citizenship in 1917. As the U.S. prepared for war, domestic politics and geopolitics were mostly responsible for accelerating the passing of the Jones Act.

The present paper shows that the Mesoamerican astronomers were indeed able to calculate the positions and periods of the Nodes of Moon orbit and based their cosmology according to eclipse possibilities and impossibilities during their successive world eras. Here mythology and imperial ideology proves to be firmly constructed on scientific observations and conclusions. It is broadly accepted that the ‘Suns’, or eras of Aztec cosmology, began and ended on the days of their respective names in the years 2-Acatl, the years of the great New Fire Ceremonies returning every 52 years. It has also been claimed that eclipses accompanied these repeated cataclysms marking the end of the successive Suns. Although no such statement appear in Aztec sources, different information may lead to the conclusion supported by Susan Milbrath that the Aztecs feared the end of their world would come with a solar eclipse on a day 4- Ollin, the day name of the fifth Sun of Aztec mythology. The proposition is even more acceptable if we consider that such similar beliefs are documented in other Mesoamerican traditions, for example among the Mayas. If the solution proposed here for the names and order of the five Suns of Aztec cosmology can be accepted, it would prove that the Aztecs based their astronomical and calendrical calculations on the same bases as the other cultures of Ancient Mesoamerica and that the location and periods of the Nodes of Moon orbit were essential to these constructions. It also suggests that an astronomical abstraction was at the centre of their religious ideology. This very schematical presentation of a new hypothesis concerning the names and order of Aztec eras is just tempting, as I am fully aware of the many odd hypotheses previously presented. I hope this new one deserves at least a careful examination, discussion and critics for further development or eventual rejection.

Throughout the course of human history, the idea of a messiah has been incorporated into a wide variety of narrative tapestries, including those that are religious and cultural in nature. In this article, the multiple aspects of the messiah myth are explored, beginning with its origins and progressing through its impact on a wide variety of different civilizations. People turn to the archetype of the messiah as a representation of their hope for salvation and redemption. The concept of the messiah can be traced back to ancient mythology, which describes the arrival of saviour characters to save societies from danger. The understanding of the messiah that is held by various faiths has developed over the course of time. It is common practice to use the term “messiah” to refer to a person who has been selected or blessed and is anticipated to play a significant role in his or her community. It is common for this role to be associated with the rescue, saving, or altering of individuals or the world.

The abdomen is called Pandora’s Box by surgeons, because one is not sure what will come out of it when one opens it. Even well experienced surgeons are constantly amazed at the variety of pathology they have encountered on opening up patients’ abdomen. In spite of so many new investigations at our disposal like ultrasound, CT scan and MRI, the human belly defies them all and reveals its secret only when confronted by a surgeon’s scalpel. We have to deal with the mystery inside the tummy on the operating table! Pandora’s box is an artefact in Greek mythology, Pandoras box was a gift from the Gods to Pandora the first woman on earth. It contained all evils of the world unknowingly Pandora opened, though she hastened to close the container, only thing that was left behind the box was Hope – spreading the pessimistic meaning of “ deceptive expectation “. Based on this story this idiom has grown “to open a Pandora’s box“ means we may expect something and go and may get something entirely different.

The symbols contained in a vihara is intentionally used to remind the people to something that is believed, both cultural and spiritual values. This article aims to analyze the meaning and value of spiritual and cultural symbols in Vihara Lotus Surakarta. This is a qualitative research. This article shows that (1) The meaning and value of spiritual symbols in Vihara Lotus can be found on the category of altar and statue which consist of ancestor altar, Amitabha Buddha Altar, Avalokitesvara Altar, Three Buddhas Alta, Si Mien Fo Altar, Maitreya Buddha, Si Da Tian Wang Statues, And Earth Gods. Then in category of Prayer tools consist of Ching/Gong, Muk Ie, He Che, and Tan Che. Those spiritual symbols have meaning and value in term of the Buddha teaching such as the Sigalovada sutta, sukhavati realm, reflection of Buddhas nature, concept of Tri Kaya, affection state, four nobles qualities, dharma wheel turning, awareness, equanimity concept, introspection, and catumaharajika realm. (2) Meaning and Value of Cultural Symbols in Vihara Lotus can be found on the category of altar and statue consists of Thian Kong Altar, Chinese Generals, Earth gods, and Horse statues. Then in plant and food category consist of soy bean, Candy and Cookie, cigarette, wine, Chinese evergreen, and pineapple. Those cultural symbols have meaning and value in term of Chinese tradition and habit, such as Tradition of Sky Praising, merits appreciation, Chinese mythology, traditional food, hope of better life, special service to idol, and hope of sustenance.

The main problems in this study are (1) To analyze how the stages of ritual procession of public trust in Sande boat making ', (2) To analyze what the symbolic message is contained in the ritual procession of public confidence in the making of Sande' s boat. This research was conducted in Pamboang District, Bonde Village, Majene Regency. This type of research is descriptive with qualitative approach. Primary data obtained through in-depth interviews to the parties that have been determined by using purposive sampling techniques, as well as direct observation in the field. Secondary data is obtained from data collection through documents and literature related to the research topic. The results of this study indicate that the ritual procession that accompanies Sande boat making is seen in three major stages ie before boatbuilding, boat making process and after boatbuilding. The meaning contained in the implementation of the ritual is the hope that always be given salvation by Allah SWT in using the boat. In addition, the ritual also intends to invoke the abundant sustenance of the process of going to sea later.Keywords: Mythology, Sande 'Boat, Society.

One of the most familiar traits of the part-horse, part-man creatures known as silens is their keen interest in women. In Athenian vase-painting, the female companions of the silens are characterized by a variety of attributes and items of dress, and exhibit mixed feelings toward the attentions of silens. The complexities of the imagery have resulted in disagreement in modern scholarship on several points, including the identity of these females, the significance of their attributes, and the explanation of a change in their receptivity to the advances of the silens. One of the reasons for the lack of consensus in the scholarship is the fact that the imagery raises not one question but many: questions concerning iconographical method, mythology, ritual, and poetry. In what follows I have attempted to separate some of these entangled issues. I hope to show that the companions of the silens are nymphs and not maenads, and that a major change in the iconography of silens and nymphs, occurring in late sixth-century red-figure Attic vase-painting, reflects in some way developments in the Athenian dramatic genre of satyr-play.

In Ukrainian mythology as in world mythology, there is an idea of the possibility of a love relationship between a human and a demonic creature – a dead lover or a devil. Thus, F. Potushnyak’s article Dead Love in Folk Beliefs (1944) is devoted to this theme. Folk beliefs about demonic lovers precondition the relationship between them and a human, and methods of their overcoming are examined in this article. In the short story About, why the Peshevtsov pond was dried up in the town of Voronezh (1839) written by P. Kulish, we can find a very interesting interpretation of folk beliefs when a dead husband visits his wife. The writer modeled the tragic story of the woman, whose husband disappeared, with the help of folk mythological stories. And because of her deep regret, she became a victim of a demon who appeared in the image of her beloved husband. In the article, the psychological basis of the appearance of visions, in which the main figure is a dead object of love, is analyzed. Through the prism of Jung’s theory, the image of a dead lover is considered as a personification of one of the archetypes of the collective unconscious (Animus, its negative aspect). Destructive display of this image has the same psychological basis both in mythological legends and in P. Kulish’s short story About, why the Peshevtsov pond was dried up in the town of Voronezh. The woman’s consciousness refuses to take the reality as it is and creates an alternative variant for herself – the dead lover comes to her at night (when unconscious dominates – our wishes, fears, etc. are implemented in night dreams). The line between conscious and unconscious life is erased and the woman becomes a hostage of her own fantasy, which removes pain of loss and gives hope to renew the lost emotional and spiritual balance for a moment. Folk stories in the spirit of Christian morality contain “recipes” of fighting a dead lover. However, mostly these rituals cannot help the woman, who is obsessed with love to her dead lover as it happened in P. Kulish’s story.

Song Lyrics is a person's expression about something that has been seen, heard or experienced. In expressing their experiences, the poet or composer of the song makes words and language games to create attraction and distinctiveness to the lyrics or poetry. This study aims to see the connotation, denotation, and mythology meaning contained in the object of research, namely the song ‘Film Favorit' from Sheila On 7. In this study the main theory used is the Roland Barthes semiotic theory. The method used in this study is a qualitative method with a descriptive interpretive approach. The results showed that the lyrics of the song under study contained connotation and denotation meaning in it. Likewise with the myth. This song carries the common myth of love. The myth that contains the value of love illustrates that love must be fought for and makes a commitment to make love secured. Contains about the main character's outpouring of his partner to his partner and how to express his feelings to those he loves. The author's choice of the word "Favorite Film" because at present, millennials are now very close to film. Songwriters hope that this song is easy to remember and be made into learning in our lives.

The paper intends to examine the ways in which the American West has undergone a cinematic transformation with the advent of counter-cultural western movies that criticize and often dismantle American imperialism and expansionism. The paper makes the argument that the American West has arrived at a new stage in its mythology, namely that it has been re-mythologized as a locus of Eastern spiritual awakening. The western of the 1990s’ decade embraces a rebirth of spiritualism through the genre of the “acid western,” typified in this paper by Jim Jarmusch’s Dead Man (1995), a film that showcases the return of the West as a cultural frontier that must be re-assimilated instead of rejected. Given its symbolic title, Dead Man is not so much a Western as it is an Eastern romance, a rite of passage framed as a journey towards death. The paper will attempt to make its case by tackling the history of anti-establishment cinema, while also basing its argument on the assertions of director Jim Jarmusch, and various film critics who discuss the issue of the “acid western.” At the same time, the paper will offer a post-colonial perspective informed by Homi Bhabha’s theory of hybridity, with particular emphasis on Native American identity.

Amongst the most important roles which Isaac Luria (1534–1572), the preeminent kabbalist of sixteenth-century Safed, played in the lives of his disciples was that of physician of the soul. Before they could practice rituals which were intended to enable them to bind their souls to the divine realm, and to “repair” that realm in accordance with the teachings of Lurianic mythology, his disciples had first to mend theirownsouls, to cleanse and purify them of all imperfection No individual whose own soul had failed to achieve a certain level of perfection could hope to engage successfully in the intricate and elaborate contemplative rituals-such as theYiḥudim-which Luria devised. A person had to undergo a period during which he cultivated certain spiritual and moral traits and atoned for whatever sins he might have committed. Luria, in fact, provided his followers with highly detailed rituals of atonement by which they were to mend their souls. These penitential acts were known astikkunei avonot(“amends of sin”) whose purpose, in the words of Hayyim Vital's son Shmuel, was to “mend his soul"”and “cleanse him from the filth of the disease of his sins.” Hayyim Vital (1542–1620), Luria's chief disciple, himself introduces thetikkunei avonotwith a discussion of the relationship between one's soul and sin.

Place branding is the idea of discovering or creating some uniqueness, which differentiates one place from others in order to gain a competitive brand value. This article is not about the concepts or justifications but about how it is actually done at the local level, especially as part of broader conventional place management policies. Three main local planning instruments are widely used throughout the world in various combination in diverse places, each of which is described and exemplified here. These are first, personality association, where places associate themselves with a named individual, from history, literature, the arts, politics, entertainment, sport or even mythology, in the hope that the necessarily unique qualities of the individual are transferred by association to the place. Secondly, the visual qualities of buildings and urban design is an instrument of place-branding available to local planners. This could include flagship building, signature urban design and even signature districts. Thirdly, event hallmarking is where places organise events, usually cultural or sporting, in order to obtain a wider recognition that they exist but also to establish specific brand associations. Lessons are drawn from practice about the importance of combining these instruments and integrating them into wider planning and management strategies.

AbstractThis is another article of what we hope will be a series of interesting contributions about the relationship between art and homeopathy and the art and science of homeopathy. Many have noted this connection between art and homeopathy, and there is something about the nature of the creative force and the way in which we perceive the vital force as creative, which puts homeopathy in the same dynamic place as that which drives artistic inspiration. We would like readers to reflect on these connections and how they may have experienced, used or made art a focus of their homeopathic practice and understanding. I know from starting my group ‘Art and Homeopathy’ that the direction of our own work is diverse, but all is founded on the principle of using art in some way to clarify and enhance practice. We invite you to send us your experience or take on this, be you artist, homeopath or both. This article tries to explain how art, homeopathy and myth are totally interconnected.

Ethnobotany is an applied multidisciplinary science in which we not only systemically study inter-relations between human and plant kingdom but also has applications in many fields, including food industry, climate change, biodiversity conservation, and human health. Ethnobotanical plants form an integral part of human life. Many medicinal and aromatic plants are used by locals and nomadic people, which come from a wild source. According to Atharva-Veda, Cannabis is one of the most sacred plants.Perfect development provides insurance for health and healthy life and maintains stability in the ecosystem. If we deeply observe our different traditions, we will find that every ritual shows the close relationship of humans with nature. There are a number of natural ingredients used for performing different rituals. Cannabis is the plant that is commonly known as “Bhang”. Cannabis has been traditionally associated with lord “Shiva” worship. There are various stories behind these rituals mentioned in various mythology books. In this research, we focus on this plant’s ethnomedicinal value and assessed the antidiabetic potential of Cannabis sativa, an ethnobotanical plant of Ranikhet tehsil, by in-silico method. Hence, we conducted molecular docking of phytochemicals with molecular antidiabetic targets, alpha-amylase. The aim of this paper is an in-silico study of the C. sativa’s phytochemicals on the glucose metabolism related to alpha-amylase. From our study, we hope to find potential phytochemicals which could be useful in treating diabetes problems

The conceptualization of the “wounded healer” is so historic that its roots can be traced back to the mythological figures of ancient Greece. The construct has also been used to illustrate the capacity of a certain inner “woundedness” within individuals that affects (if not enhances) their abilities to heal others, even while attempting to heal themselves. Yet, confusion remains as to what a “wounded healer” is, or how the woundedness serves to help others. A review of this subject matter was undertaken by the first author, under the supervision of the second author, due to a personal interest in the topic, as well as in anticipation of a career in counselling psychology. The paper was written with the intention to demystify the concept of “wounded healing” with further consideration of its influence on the therapist-client relationship. After describing the mythology, vocation and wounded healer paradigm, the paper considers the empirical research on the wounded healer phenomenon ending with some reflections on wounded healing in psychotherapy, and suggestions for further research. Waitara Nā te tino tawhito o te hiranga whakaaro mō te kaiwhakaora taotū ka taea te whai i ōna pūtaketanga ake ki ngā whakaatanga pakiwaitara o Kiriki. Kua whakamahia anō hoki tēnei aria hai tauira i te whānui o te ētahi mamae tautahi whakaroto ā-ngākau ā, ka pawerahia tōna kaha ki te whakaora i ētahi atu ahakoa e whakatau ana ki te whakaora i a rātou anō. Ahakoa tērā, kai te huri haere tonu ngā whakaaro ki te tikanga o tēnei mea te “kaiwhakaora taotū” ki te mōhio rānei he aha tōna painga ki ētahi atu. I arotakehia tēnei kaupapa e te kaituhi tuatahi, i raro i te maru o te kaituhi tuarua nā tōna kaingākau tonu ki te kaupapa me te wawata ka tae hai kaimahi hinengaro. I āta tuhia tēnei korero ki te whakanoa i te aria o te whakaora taotū, ki te te aro atu anō hoki ki tōna pānga ki te whakawhanaungatanga o te kaihaumanu me te kiritaki. Kia mutu te whakamārama pakiwaitara, mahi me aria o te kaiwhakaora taotū, ka tahuri ngā whakaaro ki ngā rangahau kitea-ā-kanohi mō te wheako kaiwhakaora taotū, ka hoki whakamuri ai ki ngā whakaoranga ake i roto i tēnei mahi me te whakatau anō ai i ētahi atu rangahautanga.

The subject of this research is modern celebratory culture in the context of impact of globalization processes upon festivities. The author explores a new phenomenon that emerged in the early XXI century – a “global holiday” within the framework of sociocultural transformations related to transition of humanity towards the Digital Age, and formation of the global information space. Special attention is given to the following aspects: creation of media and post-mythological global holidays of the Digital Age, and transformation of the traditional holiday into new metanational forms. The methodological foundation for studying the holidays that received the status of "global" in modern culture became the adaptation of “head page method” applied in sociological, cultural and futurological research and sociocultural monitoring, including overt observation. The conclusion is made that modern culture marks the formation of several types of global holidays that carry metanational character: the first group includes media-produced holidays associated with post-folklore and post-mythology of modern society, or represent celebratory events as award ceremonies in the field of politics, art and science; the second group includes ethnic traditional holidays that received the global status (Halloween, St. Patrick's Day, Mexican Day of the Dead, Holi “Festival of Spring”, etc.). The phenomenon of global holidays should be taken into account in creation of the national strategies of cultural policy, and the global holiday itself may become one of the "soft power" tools in the Digital Age.

Through its unique jazz-inspired score, creative sets and costume design, the 2019 Tony award-winning musical Hadestown tells the classic Greek mythology story of Orpheus and Eurydice, in which Orpheus ventures to the underworld to save his love from an eternity of suffering. In this rhetorical analysis of the musical’s script, cast recording, sheet music and Broadway production, I explore how Hadestown makes statements about hegemony and memory that connect with current events. Hadestown presents the underworld as an industrial wasteland that contrasts with Persephone’s green earth, placing industry and the environment at odds with one another and bringing the audience’s attention to issues including climate change, refugeeism, homelessness and poverty. Hades is presented as an industrial tycoon and a hegemon who exploits his workers, and the song ‘Why We Build the Wall’ serves to highlight the many hegemonic tactics used to maintain control over a populace. I also explore how the references to Hades’ wall provide audiences experiencing the musical after 2016 with a biting critique of Donald Trump’s 2016 campaign promise to build a wall to curb immigration at the United States’ southern border, and I suggest that the penultimate song provides audiences with a message that aligns with Hannah Arendt’s view of the purpose of memory: that we must remember the past or, in the words of Hadestown, ‘tell the sad tale’, because we hope that it might turn out differently this time. The messages in Hadestown encourage theatregoers to remember the lessons of history, including difficult memories related to hegemony, because only through remembering can we learn from the past and take the actions necessary to face our current challenges.

WITH WALTER CRANE, marginality is a question of medium. For his contemporaries, Crane's artistic practice embodied the ethos of Arts and Crafts eclecticism, apparent in this view of his studio from 1885 (Figure 15): watercolor, oil painting, tempera, sculpture, design, and illustration vie for our attention. As the painter Sir William Rothenstein recalled, “Crane could do anything he wanted, or anyone else wanted” (292). As an artist, designer, and – crucially – a socialist, Crane disregarded the traditional distinctions between high art and popular culture. With a history of art constructed along the fault lines of media, school, and style, Crane's diverse artistic practice and radical politics defy easy categorization. And this is precisely the point: his work requires the viewer to think across media, to move from the margins of wallpaper and illustration to the center of painting and back again. Or perhaps it is more fruitful to think of this process as one of inversion, placing wallpaper at the center and painting at its margins. According to Homi Bhabha, it is this “disjunctive temporality” (151) of the margins that allows cultural identity and political solidarities to emerge. The forging of political solidarities through art was the crux of Crane's project, and the disruption of established cultural hierarchies signaled the central role of art in political agitation. Visible on the right margin of photograph of Crane's studio (see Figure 15), the watercolor Pandora from 1885 (Figure 16) provides an ideal starting point for an exploration of the ways in which socialist politics move from the decorative margins to the very heart of Crane's art, a process enabled by the artist's politicized reinterpretation of classical mythology.

The genesis of the Reform Act of 1832 is still not fully understood. It has become fashionable for historians to direct their attention toward two groups of Whigs who are seen as the ultimate arbiters of policy. The first, men of high visibility such as Lords Grey and Holland, was certainly of importance. The Reform Bill prime minister was the most brilliant political tactician the Whigs had produced since Walpole. But the senior leaders of the 1830s were already becoming rather antiquated in their ideas, and men of their type and generation were generally very moderate reformers. The other group to whom historians attribute the progressive elements of Whiggism, the Edinburgh Reviewers and especially Henry Brougham, are seen as the “new men,” the radicalizers and educators of Whiggery. Yet Brougham, for example, frequently worked against the efforts of advanced Whigs to unify and strengthen the party. Indeed, he actually regretted the liberal nature of the Reform Bill. The “new men” who might have played such a role in the House of Commons, Romilly, Horner, and Whitbread, were dead by 1818, the victims of disease and madness. Mackintosh and Macaulay contributed to the party's articulation of principles but did not shape them in the 1810s and 1820s.No peaceful steps could have been taken toward actual constitutional change without the acquiescence, indeed the active cooperation, of the great Whig magnates. No Whig government could hope to survive for long or call itself Whig without support from the great families, most of them cousins by blood or marriage, whose surnames and titles were inextricably bound up with mythology anchored in the events of 1688–89.

Along with Ian Athfield and Roger Walker, Claude Megson emerged in the early 1970s as an idiosyncratic architectural iconoclast utterly committed to the New Zealand house. However, Megson's legacy has taken a different course to his compatriots. Unlike Athfield and Walker, Megson had no literary champion to promote his significance (it might be said he had his own voice for that). Moreover, his relatively early death in 1994 curtailed his architectural activity but there was little indication in his work by then that he would either continue to reinvent his approach to housing in the manner of Walker, or grow his scope and scale of his work like Athfield. By the mid 1970s Megson had formed a rigid approach to domestic work that underpinned – and probably limited – his activities as an architect and architectural educator. His certainty on this matter also polarised opinion on his personality. You were obliged to be either with or against Claude, and this dialectical distinction has not endeared him to researchers. In this paper I wish then to evaluate the historical significance of Megson in three interlocking parts. The first concerns his personal mythology as an architect hero in the manner of Frank Lloyd Wright (a narrative that real estate agents are quick to promote his work). The second part is found in an analysis of his actual houses from this period with particular attention given to his masters' dissertation. The final aspect I wish to weave through is his presence as a dominant personality, but a rather marginal teacher, at the Auckland School of Architecture into the 1980s. This will not be a particularly scholarly or academic appraisal. In keeping with the complexities and paradoxes that underpinned Megson's character, what I hope to do here is to provide a sketch for further scholarship on one of New Zealand's most intriguing architects.

When approached through the theoretical lenses of canonical literature and the reductionist Western science of settler colonialism, climate crisis discourse grapples with a conception of apocalypse wherein catastrophe and hopelessness engender eco-anxiety and a sense of environmental nihilism. Drawing from the works of Jessica Hernandez, Sherri Mitchell, Robin Wall Kimmerer, and others, “What Would the Mushrooms Say?”, both as a class and concept, envisions a healing-centered, interdisciplinary approach to climate discourse in learning spaces, one that centers the theoretical and practical applications of an Indigenous science and mythology to flip the dominant narratives we tell about the dystopic dead ends of climate change, extinctions, anthropocentric hierarchies, and other events predictive of end times. Instead of only reckoning with white settler colonialism’s false promises of technocratic off-planet societies, students interact with a multiplicity of apocalypses and possibilities found in Indigenous cosmologies, mythologies, epistemologies, and speculative fiction of Indigenous, Indigequeer, queer writers of color, and the natural world. Posited as an exemplar text, Amanda Strong’s animated short film Biidaaban is discussed in terms of its instructional potential and depiction of Indigenous ways of relating, as kin, to human and nonhuman alike when speculating about futurity. “What Would the Mushrooms Say?” calls for slowing down and embracing the natural world as a teacher from whom we learn and speculate alongside. It suggests as a lifelong practice ways of relating to our planet and engaging with the climate discourse that interrupt a legacy of white settler colonialist eco-theorizing and action determined to dominate and subdue the natural world. In conclusion, this project documents the emergence of students’ shifting perspectives and their explorations of newfound possibilities within learning spaces where constructive hope rather than despair dominates climate discourse.

Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness which finally leads to ambiguity. Ambiguity plays an essential role in most of his renowned poems, and he uses it to superbly connect present and past, reality and fantasy, and history and mythology. Thus, ambiguity and obscurity, respectively, often engender different interpretations among Chinese critics. These interpretations reflect the poems’ imaginative qualities, hypotheses and contradictions. Since each interpretive direction emphasizes but a single aspect of the poet’s character, it is more fitting to understand his ambiguous poems in symbolic terms. Such understanding entails that the meaning of the poem is not limited to one interpretation; rather, the poem’s poetic landscape opens itself up to various interpretations.Li Shangyin is actually most popular for his melancholic love poetry that reveals his ambiguous attitude to love. In this poetry, love is shrouded in a secret message. On the one hand, we can sense his moral disapproval of a secret but hopeless love; on the other, we can sense his passion. This leads to a paradox: the pleasing temptations of an illicit romance also exact a high price. In these love poems Li investigates various aspects of the worlds of passion which stoke in him feelings of rapture, satisfaction, joy and hope as well as feelings of doubt, frustration, despair and even thoughts of death.

Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness which finally leads to ambiguity. Ambiguity plays an essential role in most of his renowned poems, and he uses it to superbly connect present and past, reality and fantasy, and history and mythology. Thus, ambiguity and obscurity, respectively, often engender different interpretations among Chinese critics. These interpretations reflect the poems’ imaginative qualities, hypotheses and contradictions. Since each interpretive direction emphasizes but a single aspect of the poet’s character, it is more fitting to understand his ambiguous poems in symbolic terms. Such understanding entails that the meaning of the poem is not limited to one interpretation; rather, the poem’s poetic landscape opens itself up to various interpretations.Li Shangyin is actually most popular for his melancholic love poetry that reveals his ambiguous attitude to love. In this poetry, love is shrouded in a secret message. On the one hand, we can sense his moral disapproval of a secret but hopeless love; on the other, we can sense his passion. This leads to a paradox: the pleasing temptations of an illicit romance also exact a high price. In these love poems Li investigates various aspects of the worlds of passion which stoke in him feelings of rapture, satisfaction, joy and hope as well as feelings of doubt, frustration, despair and even thoughts of death.

The paper is devoted to the political dimensions of John Caputo’s “weak theology”. We analyze his understanding of the weakness of God and trace the evolution of his theo-poetics as an adequate method of theological hermeneutics. We argue that in Caputo’s early works, theo-poetics is based on the Kantian reading of Derrida; this means the opposition between faith and knowledge, and emphasizing the undecidability. The political implications of a theology which is focused on the “God to come” are linked to messianic hope, and the promise of an event of justice. At the same time, justice is not interpreted as a thing that exists in the present or foreseeable future. Caputo proclaims the non-programmable future of event: justice “to come”, democracy “to come”, or hospitality “to come”. In later works, Caputo turns to Hegelian theo-poetics based on the concept of Vorstellung. It focuses on the world-life and the event of poieisis. The ontological aspects of the new mode of theological thinking are characterized through the transition from God’s existence to insistence. We analyze the concept of the Kingdom of God as “sacred anarchy”, and indicate that this Kingdom establishes the order that is opposed to hierarchical logic. The interpretation of the Kingdom of God based on the radical theology of the cross characterized as the deconstruction of the metaphysics of power, the mythology of the higher heavenly powers, and the politics of sovereignty. The ethical and political implications of the concept “Kingdom of God” are analyzed as a pragmatic and prophetic transformation of the world. We argue that the theo-poetics of the sacred anarchic Kingdom is a way of thinking on the hyper-reality of the impossible in the real world. The “politics of the cross” that is presented in the last works of Caputo can thus be characterized as a project of actualization and materialization, that is, the material embodiment of God in the world.

The trickster concept has been proposed as a useful description of paranormal phenomena in response to nine decades of inconsistent experimental results and the inability to develop sustained practical applications of psi. However, the trickster of mythology is too diverse and ambiguous for scientific research. The term ‘psi-trickster’ is used here to refer to an active factor that makes psi effects inconsistent and unsustainable but can be investigated scientifically. My transition from optimism about psi experiments to reluctantly accepting the psi-trickster is described. The primary purpose of this essay is to describe strategies and options for research given the apparent psi-trickster. Strategies for dealing with the psi-trickster include: (a) hope that continued experimental research will overcome it; (b) accept the far-reaching implications of the usual assumptions for psi experiments and develop models of unconscious conflicting psi influences by many different people; (c) investigate the possibility that reliable psi effects occur in rare conditions, such as after many years of intense meditation practice; (d) propose physics-based models; and (e) consider that factors other than the motivations of living persons may be involved. Experimental psi research has the ultimate goal of converting psi to technology. Like other technologies, the most advanced development will be for military uses and for corporate profits. Spontaneous psi experiences tend to inspire a sense of meaning in life and a belief that the person’s life is watched over, similar to mystical and near-death experiences. The psi-trickster characteristics prevent psi from being converted to technology and preserve its mysterious, mystical aspects. An in-depth investigation is needed to understand how paranormal beliefs and experiences affect a person’s life and society as a whole. This is the first step in investigating the psi-trickster characteristics and should include the distribution of beliefs in the population for the full spectrum from skeptics to proponents.

The trickster concept has been proposed as a useful description of paranormal phenomena in response to nine decades of inconsistent experimental results and the inability to develop sustained practical applications of psi. However, the trickster of mythology is too diverse and ambiguous for scientific research. The term ‘psi-trickster’ is used here to refer to an active factor that makes psi effects inconsistent and unsustainable but can be investigated scientifically. My transition from optimism about psi experiments to reluctantly accepting the psi-trickster is described. The primary purpose of this essay is to describe strategies and options for research given the apparent psi-trickster. Strategies for dealing with the psi-trickster include: (a) hope that continued experimental research will overcome it; (b) accept the far-reaching implications of the usual assumptions for psi experiments and develop models of unconscious conflicting psi influences by many different people; (c) investigate the possibility that reliable psi effects occur in rare conditions, such as after many years of intense meditation practice; (d) propose physics-based models; and (e) consider that factors other than the motivations of living persons may be involved. Experimental psi research has the ultimate goal of converting psi to technology. Like other technologies, the most advanced development will be for military uses and for corporate profits. Spontaneous psi experiences tend to inspire a sense of meaning in life and a belief that the person’s life is watched over, similar to mystical and near-death experiences. The psi-trickster characteristics prevent psi from being converted to technology and preserve its mysterious, mystical aspects. An in-depth investigation is needed to understand how paranormal beliefs and experiences affect a person’s life and society as a whole. This is the first step in investigating the psi-trickster characteristics and should include the distribution of beliefs in the population for the full spectrum from skeptics to proponents.

The paper examines the painting by K. Petrov-Vodkin “Bathing of the Red Horse”, its reflection and artistic refraction in poetic texts. The study opens with describing the artistic image of the horse in world mythology, religions, folklore, art, world and domestic literature. The horse is one of the most mythologized animals: it is the sun-horse, the fire-horse, a symbol of death and resurrection, a symbol of male power, the embodiment of a connection with the supernatural world. The cult of the horse underlies various amulets, for example, in the decoration of a Russian hut, crowned with a horse, in amulets with the image of a horse's head, in relation to a horseshoe as a symbol of happiness in home, etc. The painting “Bathing the Red Horse” was exhibited in 1912. Until now, the meaning of this canvas is not completely clear, so that the picture has many readings and interpretations. The horse`s red color specifically caused various disputes. After the revolution of 1917, this powerful red horse was perceived as a symbol of revolution, a symbol of change. In this sense, the picture is truly prophetic: very soon the whole world will turn red with the First World War, the revolution, fascism in Germany, and the Second World War. Four horsemen of the Apocalypse raced hard through the 20th century. The horse is a symbol of nature, of the huge world surrounding man, unpredictable, elemental, scary and strong in its own way. Red horse — The Sun Horse, a symbol of male strength, hybrid of a horse and a bird gives rise to the hope that he will not throw a teenage boy to the ground and crush him, but on the contrary, with all his strength, endurance, patience, will help him and carry the boy to the bright side of life. It became a kind of response to the mood of decadence and hopelessness among the Russian intelligentsia of the early twentieth century. As the paper shows, in poetic texts one may also come across a different understanding of the picture (personification of a happy childhood, modern Russia, symbol of a better time to come, etc.).

The article examines S. Yavorskyi’s work “Echo of a Voice…” in a stemmatic and emblematic context, in particular the illustrative material from seven engravings by I. Shchyrskyi, which carries a conceptual load. The panegyric, dedicated to the day of the patron saint Ivan Mazepa, contains poetic texts in which the praises of the coat of arms of the Mazepa family are praised. Yavorskyi’s wide use of intertextual references to biblical and ancient images and plots, pathetic concepts for the designation of virtues primarily related to statesmanship and military success, in a hyperbolic manner consistent with baroque traditions, was noted. The central conceptual figure of the poem “Na klucz herbowy alias Jasieńczyk” (“Na klucz herbowy alias Jasieńczyk”) is the kleinode “key”, which appears in the meaning of the key “from all gates”: to people’s hearts, exclusively to royal and tsarist offices, and even to heaven. In the third poem “On three rivers, or Korczak” (“Na trzy rzeki alias Korczak”), the symbol “three years” is interpreted as knightly courage in the fight against the enemy and three theological virtues inherited by the family: Faith, Hope, Love, which flow to of the “bottomless sea” of God’s favors. In one of the poems, Yavorsky leads the reader to the conclusion that Ivan Mazepa won the Hetman’s honors thanks to his virtues, and not by inheriting them. In addition, in justifying the heroism of Mazepa’s ancestors, the poet demonstrates his extensive knowledge of the history of the Mazepa family, using historical data from ancient chronicles. Coat of arms, described in the poems “On the heraldic moon with stars and an arrow, or Sas” (“Na herbowy z gwiazdami i z strzalą księżyc vulgo Sas”) and “On the coat of arms of half an arrow, or Odrowąż” (“Na herb Półstrzały vulgo Odrowąż”), indicated the celebrity and courage of the family, while Yavorskyi’s interpretation was based on the topos of ancient mythology and Sarmatism symbolism. On the “boat with sirens” engraving, Mazepa travels for the golden fleece under the patronage of Ivan the Baptist, which was supposed to symbolize the hetman’s political path. S. Yavorskyi often compares Mazepa with Apollo in the context of astrological symbolism, with the god of war Mars in the spirit of Sarmatian symbolism, with Icarus as a warning, and declared the sky to be Mazepa’s home, and Mazepa’s power to be chosen by God.

The subject of the research is the conceptualization of memory as a female sphere in the novel “The Museum of Abandoned Secrets” by O. Zabuzhko. The key problem of the study is the interpretation of the image of women in the novel in the context of national and generational memory. The objective of the research is to explore the female domains associated with the space of memory and to highlight the peculiarities of the image of women as keepers of memory. The descriptive, hermeneutic, and intertextual analysis methods have been employed to achieve the objective. The novelty of the research lies in the examination of female images in the novel from the perspective of the burden of representation (N. Yuval-Davis) and considering the conceptual positions of O. Zabuzhko outlined in the essay “A Woman Author in Colonial Culture, or Necessities for Ukrainian Gender Mythology”. As a result, it was established that the sphere of memory in the novel “The Museum of Abandoned Secrets” is associated with such female domains as: special female creativity (artistic transformation of destroyed household items in the works by Vladyslava Matusevych); girls’ game of “secrets”; the private space of home, which is opposed to the space of “official truth”; intimate relationships and pregnancy. Women appear as keepers of national memory and reproducers of the nation itself (through their ability to give birth), as well as bearers of mystical knowledge about the past. The study traces the anti-colonial discourse of “The Museum of Abandoned Secrets” in a distinct synthesis of gender and national issues. The woman in O. Zabuzhko’s novel is “burdened” with the burden of representation — her bodily being represents the national dignity of her country. Accordingly, the mistake in choosing a man is perceived as a tragic mistake of the heroine (Olena Dovhan), which her heiress (Daryna Hoshchynska) must atone for. The image of Olena Dovhan is seen as a variant of the iconic image of Kateryna, which embodies colonised Ukraine. In contrast, we observe in the image of Daryna Hoshchynska a distinct type of heroine whose intimate life is a space of decolonisation. In the intimate relationship between Daryna and Adrian, the reconstruction of family memory takes place, which reflect collective memory — the memories of the Holodomor and the Ukrainian Insurgent Army’s liberation struggle. The culmination of this relationship is Daryna’s pregnancy, which represents the liberation of Ukraine-woman from the rule of foreigners and gives hope for victory in the war against the coloniser. The study of the gender aspect of postcolonial memory allows for broad prospects within feminist literary studies, literary memory studies, and other fields.

The Son of the Widow from Nain.By Kaj ThaningThis article intends to elucidate the distinctions that Grundtvig made in his world of ideas in the course of the years from 1824 to 1834, first between spirit and letter, church and church-school (1826-1830), and then between natural life and Christian life (in 1832). In His "Literary Testament" (1827), Grundtvig himself admits that there was a "Chaos" in his writings, due to the youthful fervour that pervaded his literary works and his sermons in the years 1822-1824. But not until 1832 does he acknowledge that "when I speak or write as a citizen, or a bard, or a scholar, it is not the time nor the place to either preach or confess, so when I have done so, it was a mistake which can only be excused with the all too familiar disorder pertaining to our church, our civic life, and our scholarship...", as it says in a passage omitted from the manuscript for "Norse Mythology”, 1832. (The passage is printed in its entirety in ”A Human first...”, p. 259f.)The point of departure for Thaning’s article is a sermon on the Son of the Widow from Nain, delivered in 1834, which the editor, Christian Thodberg also found "singularly personal”, since Grundtvig keeps using the pronoun ”1”. In this sermon Grundtvig says that those who have heard him preaching on this text before, would remember that he regarded the mourning widow as ”an image of the same broken heart at all times”, and her comforter, Jesus, not only as a great prophet in Israel, but ”as the living Being who sees us and is with us always until the end of the world”. Thodberg is of the opinion that Grundtvig refers to his sermon from 1823. Thaning, however, thinks that the reference is to the sermon from 1824. But Grundtvig adds that one may now rightly ask him whether he ’’still regards the gospel for the day with the same eyes, the same hope and fear as before.” He wants to discuss this, among other things ’’because the best thing we can do when we grow old is ... to develop and explain what in the days of our youth .. sprang up before our eyes and echoes in our innermost mind.” In other words, he speaks as if he had grown old. So Thaning asks: "What happened on the way from Our Saviour’s Church to Frederick’s Church?"Thaning’s answer is that there was a change in Grundtvig’s view of life. Already in his first sermon in 1832, he says that his final and truly real hour as a pastor has now arrived. Thaning’s explanation is that Grundtvig has now passed from the time of strong emotions to that of calm reflections. Not until now does he realize "what is essential and what is not". And in 1834 he says that our Christian views, too, must go through a purgatorial fire when we grow older. This is not only true of the lofty views of human life which, naturally, go through this purgatory and most often lose themselves in it. Here Grundtvig distinguishes between natural and Christian life which is something new in a sermon. Thaning adds that this purgatorial fire pervades Grundtvig’s drafts for the Introduction to "Norse Mythology" in 1832. But then, Grundtvig’s lofty views did not lose themselves in purgatory. He got through it. His view of life changed. (Here Thaning refers to his dissertation, "A Human First...", p. 306ff).This is vaguely perceptible throughout the sermon in question. But according to Thaning Grundtvig slightly distorts the picture of his old sermon. In the latter he did not mix up natural and Christian life. It is Thaning’s view that Grundtvig is thinking of the distinct mixture of Christianity and Danish national feeling in the poem "New Year’s Morning" (1824). But he also refers to Grundtvig’s sermon on Easter Monday, 1824, printed in Helge Toldberg’s dissertation, "Grundtvig’s World of Symbols" (1950), p. 233ff, showing that he has been captured by imagery in a novel manner. He seems to want to impose himself upon his audience. In 1834 he knows he has changed. But 1832 is the dividing year. In the passage omitted from the manuscript for "Norse Mythology", Grundtvig states explicitly that faith is "a free matter": "Faith is a matter of its own, and truly each man’s own matter". Grundtvig could not say this before 1832. Thaning is of the opinion that this new insight lies behind the distinction that he makes in the sermon in 1834, where he says that he used to mix up Christian life with "the natural life of our people", which involved the risk that his Christian view might be misinterpreted and doubted. Now it has been through purgatory. And in the process it has only lost its "absurdity and obscurity, which did not come from the Lord, but from myself”.Later in the sermon he says: "The view is no more obscured by my Danish national feeling; I certainly do not by any means fail to appreciate the particularly friendly relationship that has prevailed through centuries between the Christian faith and the life of this people, and nor do I by any means renounce my hope that the rebirth of Christianity here will become apparent to the world, too, as a good deed, but yet this is only a dream, and the prophet will by no means tell us such dreams, but he bids us separate them sharply from the word of God, like the straw from the grain...". This cannot be polemically directed against his own sermons from 1824. It must necessarily reflect a reaction against the fundamental view expressed in "New Year’s Morning" and its vision of Christianity and Danishness in one. (Note that in his dissertation for the Degree of Divinity, Bent Christensen calls the poem "a dream", as Thaning adds).In his "Literary Testament" (1827) Grundtvig speaks about the "Chaos" caused by "the spirits of the Bible, of history, and of the Nordic countries, whom I serve and confuse in turn." But there is not yet any recognition of the same need for a distinction between Danishness and Christianity, which in the sermon he calls "the straw and the grain". Here he speaks of the distinction between "church and church-school, Christianity and theology, the spirit of the Bible and the letter of the Bible", as a consequence of his discovery in 1825. He still identifies the spirit of human history with the spirit of the Bible: "Here is the explanation over my chaos", Grundtvig says. But it is this chaos that resolves itself, leading to the insight and understanding in the sermon from 1834.In the year after "The Literary Testament", 1828, Grundtvig publishes the second part of his "Sunday Book", in which the only sermon on the Son of the Widow in this work appears. It is the last sermon in this volume, and it is an elaboration of the sermon from 1824. What is particularly characteristic of it is its talk about hope. "When the heart sees its hope at death’s door, where is comfort to be found for it, save in a divine voice, intoning Weep not!" Here Grundtvig quotes St. John 3:16 and says that when this "word of Life" is heard, when hope revives and rises from its bier, is it not then, and not until then, that we feel that God has visited his people...?" In the edition of this sermon in the "Sunday Book" a note of doubt has slipped in which did not occur in the original sermon from 1824. The conclusion of the sermon bears evidence that penitential Christianity has not yet been overcome: "What death would be too hard a transition to eternal life?" - "Then, in the march of time, let it stand, that great hope which is created by the Word ... like the son of the great woman from Nain."It is a strange transition to go from this sermon to the next one about the son of the widow, the sermon from 1832, where Christ is no longer called "hope". The faith has been moved to the present: "... only in the Word do we find him, the Word was the sign of life when we rose from the dead, and if we fell silent, it was the sign of death." - "Therefore, as the Lord has visited us and has opened our mouths, we shall speak about him always, in the certain knowledge that it is as necessary and as pleasurable as to breathe..." The emphasis of faith is no longer in words like longing and hope.In a sense this and other sermons in the 1830s anticipate the hymn "The Lord has visited his people" ("Hymn Book" (Sangv.rk) I, no. 23): the night has turned into morning, the sorrow has been removed. The gospel has become the present. As before the Church is compared with the widow who cried herself blind at the foot of the cross. Therefore the Saviour lay in the black earth, nights and days long. But now the Word of life has risen from the dead and shall no more taste death. The dismissal of the traditional Christianity, handed down from the past, is extended to include the destructive teaching in schools. The young man on the bier has been compared with the dead Christianity which Grundtvig now rejects. At an early stage Grundtvig was aware of its effects, such as in the Easter sermon in 1830 ("Sunday Book" III, p. 263) where Grundtvig speaks as if he had experienced a breakthrough to his new view. So, the discovery of the Apostles’ Creed in 1825 must have been an enormous feeling of liberation for him – from the worship of the letter that so pervaded his age. Grundtvig speaks about the "living, certain, oral, audible" word in contrast to the "dead, uncertain, written, mute" sign in the book. However, there is as yet no mention of the "Word from the Mouth of our Lord", which belongs to a much later time. Only then does he acquire the calm confidence that enables him to preach on the background of what has happened that the Word has risen from the dead. The question to ask then is what gave him this conviction."Personally I think that it came to him at the same time as life became a present reality for him through the journeys to England," Thaning says. By the same token, Christianity also became a present reality. The discovery of 1825 was readily at hand to grant him a means of expression to convey this present reality and the address to him "from the Lord’s own mouth", on which he was to live. It is no longer enough for him to speak about "the living, solemn evidence at baptism of the whole congregation, the faith we are all to share and confess" as much more certain than everything that is written in all the books of the world. The "Sunday Book" is far from containing the serene insight which, in spite of everything, the Easter sermon, written incidentally on Easter Day, bears witness to. But in 1830 he was not yet ready to sing "The Lord has visited his people", says Thaning.In the sermon from 1834 one meets, as so often in Grundtvig, his emphasis on the continuity in his preaching. In the mourning widow he has always seen an image of the Church, as it appears for the first time in an addition to the sermon on the text in the year 1821 ("Pr.st. Sermons", vol I, p. 296). It ends with a clue: "The Church of Christ now is the Widow of Nain". He will probably have elaborated that idea and concluded his sermon with it. Nevertheless, as it has appeared, the sermon in 1834 is polemically directed against his former view, the mixture of Christian and natural life. He recognizes that there is an element of "something fantastic" sticking to the "view of our youth".Already in a draft for a sermon from March 4,1832, Grundtvig says:"... this was truly a great error among us that we contented ourselves with an obscure and indefinite idea of the Spirit as well as the Truth, for as a consequence of that we were so doubtful and despondent, and we so often mistook the letter for the spirit, or the spirit of phantasy and delusion for that of God..." (vol. V, p. 79f).The heart-searchings which this sermon draft and the sermon on the 16th Sunday after Trinity are evidence of, provide enough argument to point to 1832 as a year of breakthrough. We, his readers, would not have been able to indicate the difference between before and now with stronger expressions than Grundtvig’s own. "He must really have turned into a different kind of person", Thaning says. At the conclusion of the article attention is drawn to the fact that the image of the Son of the Widow also appears in an entirely different context than that of the sermon, viz. in the article about Popular Life and Christianity that Grundtvig wrote in 1847. "What still remains alive of Danish national feeling is exactly like the disconsolate widow at the gate of Nain who follows her only begotten son to the grave" (US DC, p. 86f). The dead youth should not be spoken to about the way to eternal life, but a "Rise!" should be pronounced, and that apparently means: become a living person! On this occasion Grundtvig found an opportunity to clarify his ideas. His "popular life first" is an extension of his "a human being first" from 1837. He had progressed over the last ten years. But the foundation was laid with the distinction between Christian and natural life at the beginning of the 1830s.

Nora Ikstena’s “Mātes piens” (Mother’s Milk; published in English as Soviet Milk) is one of the novels in the book series “MĒS. Latvija, XX gadsimts” (We. Latvia. The 20th Century). It describes the difficulties that can arise in the mother-daughter relationship, describes the Soviet time’s environment and its impact on everyday life. The historical novel “Mātes piens” has been published in 25 countries, which means that this novel has been translated into many different cultures, which are less familiar with the mentality of the Latvian people and the USSR times in Latvia. Therefore, it is crucial how the text is translated or whether the style and the particular poetics of Nora Ikstena’s language in this novel are accurately reproduced. Therefore, the scientific research work “Quality of Translated Comparisons of Nora Ikstena’s “Soviet Milk” and “Молоко матери”” was developed. Comparisons requiring the translator to take into account both the content and the meaning of the words were analysed, as well as the aspect of language imagery and culture. The novel was translated into English by Margita Gailīts, and into Russian by Ludmila Nukņeviča. The events of the novel “Soviet Milk” take place from the end of the Second World War until the 1980s. The main character is a daughter, whose story is intertwined with the life stories of her mother and grandmother. The novel portrays the daughter’s struggle with her mother’s depression, which has deprived her of emotional intimacy with her mother since birth; the daughter continues to hope and gain her mother’s love, helping in times of crisis and ignoring several rejections. Although the translation process is very old, the question about the translation quality is still relevant. Using sources of information and gaining theoretical knowledge of the translation process, an error estimation method was developed that allows the word “quality” to be quantified. Literary translation is mostly separated from other translation types and put into a separate category, usually because the meaning of a literary work cannot be clarified in simple terms presented today. It is also difficult to analyse what the reader expects from the translation. Since there cannot be one right way of translating literature, the sense of the translator’s ethical duty to the author is the most important. However, this is very limited by how well the translator understands the author’s intentions and what is said and how much freedom the translator is given to change the text to find the most appropriate way to express the idea in the language. (Sager 1994) Four groups were divided by Juliane House’s theory (House 2014; House 2017) about overt errors. Text translation errors are divided into 2 categories – covert and overt. Covert errors are difficult to notice because, superficially, from a grammatical point of view, the sentence is correct, but its content is not logical or acceptable. The overt errors detected are obvious, constitute a systematic error. Overt errors are divided into 7 groups: 1 – not translated; 2 – a slight change in meaning; 3 – a significant change in meaning; 4 – distortion of meaning; 5 – breach of SL system; 6 – creative translation; 7 – cultural filtering. 64 comparisons in Latvian, 64 equivalents in Russian, and 55 equivalents in English were excerpted (9 comparisons were not translated). Translations of comparisons were divided into 4 groups: 1) accurately translated, 2) translations with minor changes, 3) culturally harmonized translations, 4) untranslated comparisons. Translations of comparisons that scored 5 points or more are considered qualitatively translated, given that there are no significant errors. There is no single fundamental criterion for the quality of a translation against which all translated texts can be judged. There are several definitions of quality translation, and quality is affected by many factors. The translations of comparisons in both foreign languages (English and Russian) are of high quality; they received high marks if they were analysed according to the error evaluation table because the maximum number of points that could be obtained was 6 points and no comparative translation was lower than 5 points. The Russian translation is more successful (comparative translations more often scored 6 points) than the English translation, which can be justified by the fact that the Russian language is historically and geographically a neighbor of the Latvian language, but the English language and culture are remote. Phraseological comparisons are translated literally and also more accurately into Russian; there are more of the same equivalents in the target culture. When evaluating comparisons that use the concepts of biblical story motifs or images of Greek mythology, they are mostly accurately translated into the target languages, as the target cultures are well acquainted with this religion and Greek mythology. One of the most important findings – not only literal translations are of high quality; it is much more important to express them in a way that is understandable to the target culture while maintaining the author’s writing style and the text’s main idea, paying attention to details.

Byzantine culture and aesthetics had a significant impact on the imagery of early Rus’—and not unidirectionally, but rather in the form of cross-cultural dialogue. Both traditional visual arts and monumental temple architecture often present symbolic diversity as a consequence of cultural hybridism. So, through the Biblical imagery and the Byzantine canon of aesthetics, one can clearly see the subjects and symbols of regional pre-Christian traditions. The motive to write this essay іs based on the study of Professor Nadiia Nikitenko on the frescoes of St. Sophia Cathedral of Kyiv, represented in this issue. Observing the missing South Tower image recorded by F. Solntsev in 1871, the researcher interprets the wolf-like two-headed monster and the hero with the weapon as if sprouting from it, as a Last Battle confrontation between Fenrir and Odin (emphasizing his bird-like helmet) (Fig. 1b). These parallels have brought about a number of remarks that we develop in our research. The confrontation scene between the hero and the monster (often two mirrored ones) is a popular subject of art of the early Middle Ages (Fig. 2, Fig. 3), which originated within the civilizations of the East in 4–3rd millennia BC, inspiring the imagery of the biblical origin. The scene “Daniel in the Lions’ Den” spread among the population of the Middle Dnieper, the British Isles, and Northern Europe especially in the 6–7th centuries, and then in the 11-12th. In the Vendel-Scandinavian context, similar compositions are often interpreted as a depiction of Ragnarök: the confrontation between Fenrir vs Odin, or Fenrir vs Tyr (and we insist that the very two were initially to fight in the Last Battle, while Odin / Wotan as the leader of Valhalla should have struggled with the mistress of Hel before the “classic” Eddic model was spread). In our opinion, it is not a coincidence that these scenes were massive in the middle of the 6th century: the probability of Climate disaster of 536 AD and Justinian Plague connection with the European and near East eschatological mood is claimed, as well as Nordic soteriology formation at that time. Therefore, even images of clearly Christian (Byzantine) origin had to be perceived in the context of the native worldview in the East and Northern Europe. Next time eschatological ideas erupted in 1000 AD and existed for some time after. The “Confrontation Scene” of the St. Sophia South Tower also has both Hellenic (Byzantine) and Scandinavian reading: Hercules defeats the hellish dog Cerberus as Infernal forces and, at the same time, it is Víðarr, the son of Odin, who defeats Fenrir-wolf. In the Ragnarök-related mythology, he was one of the only few who survived the end of the Universe. Víðarr brings hope and begins a new kingdom on a renewed earth. Therefore, we assume that the circumstance of the South Tower decoration was the death of Volodymyr and the war of his son Yaroslav with his brothers for the throne of Kyiv. Among the Varyags elite, Yaroslav’s triumph could have been seen as such a renewal.

The aim of this paper is a scientific reflection on the issue of Donbas identity, Donbas mythology and historical memory, and to examine how these categories works in contemporary Ukrainian literature. The analysed literary works, on the one hand, show the economic and mental breakdown of the region (Serhiy Zhadan), and on the other hand, they allow us to hope that thanks to the process of self-reflection, it is possible to construct an identity of the inhabitants of Donbas correlated with the Ukrainian national identity (Oleksiy Chupa). Contemporary Ukrainian literature also indicates efforts to create their own Donbas mythology, independent of Russian patterns, which may become part of the Ukrainian nation-building mythology (Lubov Yakymchuk).

One of the oldest and most famous epics of Hindu mythology ever written is the Mahabharata. It centers on the complex feelings and familial ties that led to the conflict between the Kauravas and Pandavas over who would rule Hastinapur. It is the world's longest epic poem, with 100,000 lines, and it was written in the 4th century BCE or earlier, which is astounding and says a lot about this epic. The epic is also rich in moral and ethical lessons that may encourage and instruct today's kids to pursue their goals in a morally upright manner. Numerous occurrences in the epic have the potential to improve and enrich how individuals and organisations operate. We hope to share some strategic stories and happenings with you through this post so you can go up the success and prosperity ladder in your own life.

Lakon Wahyu, which is a kind of Lakon Carangan, has been increasingly requested in the last two decades by penanggap wayang (those who summon wayang) in Sangiran region. The high request is predicted because of those who summon this Lakon hope for blessing. There is a belief for generations among Sangiran people that summoning Lakon Wahyu will make their life peaceful and prosperous. LakonWahyu Eka Bawana which tells about the trip of Puntadewa in ge!ing the divine revelation through meditation becomes the main choice of the Sangiran society. They believe that after summoning the Lakon, they will get good impact in their life. Keywords: mythology, lakon Carangan, belief, value, Wahyu Eka Bawana

A major form of folk theatre, Nautanki, still holds an important place in the collective consciousness of the rural mass of the north India. The storyline of this musical folk theatre, exceptional in preserving the written texts, is derived from multiple sources ranging from mythology, history, romances, and folklores to contemporary icons. With its emphasis on music, both vocal and instrumental, accompanied by its most important companion Nakkara or Nagara, the highly intensified operative theatre can hold the nerves of thousands of people for the whole night. Due to the pressure of Bollywood and new sources of entertainment, Nautanki started losing its distinctive character, yet its survival has kept the hope alive. The present paper will not only introduce the form in detail, but will also shed light on some of the important issues and challenges in Nautanki today.

This paper examines the concluding scene (chapter 113) of the Harivamsa’s Krsna biography, in which Krsna tries to steal some cows, but then chooses not to. I argue that the episode should be understood first in connection with the Mahabharata’s amsavatarana frame of partial incarnations. Secondly, I bring to bear on Harivamsa 113 the multiple meanings of the cow in epic mythology, according to which the animal stands in for both the earth and the brahmin as paradigmatic objects of ksatriya protection. In so doing, I hope to provide a reading of Harivamsa 113 which illustrates its participation in a recurring epic theme of ksatriya transgression against the brahmin and subsequent retreat to a properly deferential position. I then historicize these bovine-encoded anxieties attending brahmin–ksatriya relations in their post-Mauryan context. Recognizing such themes at work in Harivamsa 113 can help us to see that, however much popular traditions may favour the playful and transgressive Krsna, his posture in the latter part of the Harivamsa is characterized by a complex conservatism informed by both historic and epic-mythological concerns.

Having been colonized by Britain, Ireland was in a very deprived condition for a very long period, especially for poor Catholic Irish. Britain had destroyed Irish civil rights by forcing them in a massive potato plantation merely to fulfill British people’s need for food, which caused the Irish in a great famine and poverty. Written by an Irish playwright in 1980, which is set in agricultural land, northern side of Ireland, Brian Friel’s Translations illustrates clearly the suffering of Irish villagers in 19th century. By applying Homi K. Bhabha’s post-colonialism theory, the dialogues from the play are analyzed to explain Irish cultural identity conflict. This play is analyzed by using a descriptive qualitative method. The result of analysis reflects the mimicry concept from Bhabha, in which it shows an ambition that Irish tradition must be vanished and replaced by British tradition. The dialogues in Brian Friel’s Translation describe that Irish language and tradition which tells a lot of Greek mythology must be replaced with the culture of Standard English language. The translations on Irish local place names into English language are forced for the sake of British imperialism importance in the Ordnance survey.