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Academic literature on the topic 'The Great Goddess'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "The Great Goddess"

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

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

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

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

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

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

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

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

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

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

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

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

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

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Dissertations / Theses on the topic "The Great Goddess"

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Orr, Janette. "The Great Goddess, her vestiges uncovered in three patriarchal religions." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30972.pdf.

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Winterbone, Elizabeth Wilson. "Midwife at the rebirth of the great goddess: an organic inquiry." Thesis, Wichita State University, 2012. http://hdl.handle.net/10057/5543.

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In this thesis I use organic inquiry as a method to understand the transformative process when studying the collective history of the Great Goddess. The study shines a light on the history of the ancient Great Goddess, the impact of the invention of the alphabet, and how the written word influenced women’s roles and the role of the Divine Feminine as seen through the lens of Leonard Shlain, and additionally, the artistic work of contemporary mystic Meinrad Craighead. The transformative impact of the study is explored through the use of stories as a tool for reclaiming connection to a grounding, creative source. Conclusions are that a sense of wholeness can be lost when a woman loses the tethering balance of both right and left-brained integration and this disconnect can be overcome by seeking connection through telling of personal stories.
Thesis (M.A.)--Wichita State University, Fairmount College of Liberal Arts and Sciences, Dept. of Communication

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Negrea, Irina C. ""She's a friend of my mind" manifestations of the Great Goddess archetype in Toni Morrison's fiction /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1997. http://www.kutztown.edu/library/services/remote_access.asp.

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McKenzie, Laura Elizabeth. "Great War, white goddess, and translation as catharsis : a study of Robert Graves and Ted Hughes." Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12503/.

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The First World War played a critical role in shaping the poetic consciousness of both Robert Graves and Ted Hughes. The combat trauma from which Graves suffered following his front line service confronted him with ‘baffling emotional problems’ on which the ‘pathology of poetic composition relied’, a mental conflict that–following the advice of W. H. R. Rivers–he repeatedly attempted to ‘write out’. For Hughes, whose father returned from Gallipoli profoundly shell shocked, the war was Britain’s ‘number one national ghost’, a phantom that he tried desperately to exorcise through his poetry. Yet although critics including D. N. G. Carter and Keith Sagar have utilised trauma theory to produce psychological readings of Graves’s and Hughes’s poetry that locate them as sites of catharsis, the field of modern literary studies has yet to scrutinise the theoretical relationships articulated in the poets’ interpretations of classical texts, such as Graves’s rendering of Homer’s Iliad and Hughes’s translation of Seneca’s Oedipus. Does the medium of classical translation offer, in any unique way, an opportunity for catharsis? How do the poets’ experiences of combat-related trauma affect the transmission of these classical texts? Profoundly interdisciplinary, this project attempts to answer these questions while remaining centrally cognisant of Graves’s mythopoetical influence on Hughes’s oeuvre. Throughout this thesis, I examine the extent to which the mythopoetical framework proposed by Graves in The White Goddess, a text shaped by the freight of Graves’s war experience, was embraced by Hughes, whose own formative years were dominated by the narrative of the First World War. The relationship between traumatic experience and the poets’ shamanic approach to translation is delineated and tested within this discourse: their idolatrous adherence to–and in Hughes’s case, fear of–the primacy of an archetypal matriarchal force, and their attempts to access the primitive nature of myth by stripping it of its patriarchal palimpsests of scholarship, are revealed as literary manifestations of a struggle to apprehend the meaning of their respective combat-related traumas, both direct and secondary, which remain ineluctably disrupted.

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Geary, Cynthia J. "Jane Eyre and the tradition of women's spiritual quest : echoes of the great goddess and the rhythms of nature in one woman's "private myth"." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/544126.

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Thanks, in part, to critical studies like Sandra Gilbert & Susan Gubar's The Madwoman in the Attic and Patricia Beer's Reader, I Married Him, Jane Eyre by Charlotte Bronte has come to be regarded as the standard feminist text; that is, when someone wants to demonstrate a particular principle of feminist criticism or a traditionally feminine concern, she generally points to Jane Eyre. As critics like Gilbert and Gubar have shown us, Bronte's novel is not merely a Gothic romance; it reveals a feminine consciousness struggling to assert itself within the nineteenth-century patriarchal social and religious structures. Jane Eyre, therefore, would naturally lend itself to a critical study based on the concerns of feminist spirituality, especially the notion of women's communities and reflections of a feminine divinity. I propose a critical study of Jane Eyre, like the one Carol Christ conducted on the works of Kate Chopin, Margaret Atwood, Doris Lessing, Adrienne Rich and Ntozake Shange in Diving Deep and Surfacing: Women Writers on a Spiritual Quest, in which Christ examines spiritual awakening of a female consciousness in the writings of these five authors.Though Jane Eyre, seems at first glance to work within a standard Christian, or patriarchal, religious structure, there are elements of a feminine divinity, even an attempt to re-create (as Mary Daly would say) God so that He perhaps more closely resembles the early, androgynous Hebrew Yaweh: Iahu-Anat, or Ashtoreth (Diane Stein, The Women's Spirituality Book, Llewellyn Publications, 1987, pp. 78). Jane Eyre asks guidance from the Moon, who in turn addresses her as "daughter'; then too, she clearly rejects the Christian Church, as evidenced by her highly symbolic refusal of St. John's proposal of marriage, for instance. However, despite her intuitive recognition of the feminine power and wisdom that is hers to draw upon and her rejection of the institution of patriarchal religion, she does not ultimately, I believe, reject a masculine God, nor does she replace Him with an androgynous God. Yet the aspects of the feminine divinity she discovers and the women's community (the nurturing influence of her cousins Diana and Mary, so named for the archetypal moon and the virgin) in which she finds herself lead lead her to a subconscious acceptance of the feminine divinity within herself.I propose then to trace the development of a feminine divinity in Jane Eyre, which culminates in a rejection of the Church and follows the individuation process of Jane Eyre herself. Completion of this project will requires research into four principal areas:1) Feminist literary criticism on Jane Eyre--in order to familiarize myself with the feminine and feminist significance of such a reflection, and possibly place Jane traditions it falls into and those, like Gilbert & Gubar's, that center on it and also to determine to what extent the notion of a feminine divinity has been recognized in the novel.2) Archetypal psychology and criticism--strictly concerning the process of individuation and manifestations of the Goddess and those figures associated with Her; for example, near the end of the novel Mr. Rochester is compared to Vulcan and I would like to pursue to what extent he can be seen in light of a Hephesties/Demeter syzygy.3) Jane Eyre criticism that discusses the spiritual or religious aspects of the novel--since Jane Eyre has obvious religious implications, spiritual issues have not been ignored by the critics (I am most eager to read Elisabeth Jay's The Religion of the Heart: Anglican Evangelicalism and the Nineteenth Century Novel, for instance); however, my previous research has not unearthed a feminist spirituality critical approach to Jane Eyre.4) Issues of women's spirituality--particularly those concerning communities of women, Goddess worship and ritual behavior, and images and symbols of the Goddess. Such research will allow me to determine to what extent a sense of a feminine divinity is reflected in Jane Eyre, come to a conclusion about the meaning and Eyre into a tradition of women writers on a spiritual Research in community management of the severely mentally ill has been scarce. Two primary components of community care in particular need evaluation,residential arrangements and styles of "case management." The purpose of this study was to evaluate the interaction of two types of residential arrangements (single- and double-occupancy) and two types of case management ("assertive" and "limited") in a 2 X 2 design. Participants were individuals with a severe mental illness served by CMHS, Inc. Individuals were matched on DSM-III-R diagnoses and sex: 8 had roommates and received assertive case management, 5 had roommates and limited case management, 5 lived alone and received assertive case management, and 5 lived alone with limited case management. Data were obtained from three independent sources: (1) each client was interviewed using the Denver Community Mental Health Questionnaire (DCMHQ) and the Inventory of Socially Supportive Behaviors (ISSB) on four separate occasions over three consecutive months; (2) frequency of client contact with family members over the same time interval was tracked by case managers; and (3) concurrent attendance in day treatment sessions, diagnosis, number of previous hospitalizations, and approximate number of months of previous hospitalization were obtained from community mental health center records. DCMHQ scores for acute symptoms and interpersonal conflict were combined into an index called problems, while ISSB scores measured social support received. Monthly followups for. three consecutive months were used to obtain stable estimates of problems and support. Significant positive correlations were found between family involvement and problems, family involvement and residential arrangements, social support and problems, group attendance percentage and age, problems and social support, and a marginal relationship between residence and social support. Statistically significant negative correlations were found between case management and problems, social support and number of previous hospitalizations, group attendance percentage and problems, and residence and age. In multiple regression involving all predictors, the variables other than roommating and case management, (i.e., average family involvement, number of previous hospitalizations, program attendance, and age, considered together) predicted both problems reported and support received, while as second and third steps in the regression analysis case management and residence did not significantly predict problems or social support. In other words, once chronicity (i.e., number of previous hospitalizations), family contact, age, and group attendance were controlled, case management and residence both vanished as predictors. Future studies should consider these factors, and other aspects of the natural context, when evaluating community interventions for the mentally ill in a more controlled experimental design. With respect to developing new research for community adjustment, recommendations for more controlled studies were made and two new community intervention procedures were described.
Department of English

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Gonçalves, João Carlos Barbosa. "Dizeres das antigüidades: a arquitetura discursiva da literatura sânscrita purânica exemplificada pelo mito da Grande Deusa." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-03022010-141335/.

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Esta tese tem como objeto de estudo as antologias da literatura sânscrita conhecidas como Puräëa e tem como objetivo observá-las como uma unidade enunciativa, relacionado-as aos elementos históricos e sociais com os quais essas obras conviveram durante seu longo período de compilação, que se estende aproximadamente do século III d.C. até por volta do século XV d.C. Para tal fim, adotaram-se como linhas teóricas a Semiótica greimasiana, as contribuições dos escritos atribuídos a Mikhail Bakhtin e predominantemente a Análise do Discurso de linha francesa, cuja perspectiva permite investigar o universo de relações existentes entre construção lingüística e elementos sócio-culturais. Os relatos míticos detacam-se como tema privilegiado por esta pesquisa, visto que concentram, em suas narrativas, as interações e negociações culturais que participaram do processo de consolidação das práticas sociais hinduístas, das quais a recitação dos Puräëa faz parte. E, uma vez que os Puräëa consistem em antologias, a presença de determinados episódios míticos revela pressupostos culturais que possibilitam identificar o diálogo existente entre os vários estratos sociais que interagiram na formação do hinduísmo. Observa-se, ademais, o papel que essa literatura desempenhou em meio às outras literaturas de seu cenário cultural, examinando-se seu estatuto de escritura sagrada a partir do conceito de discurso constituinte, o que leva ao panorama das relações interdiscursivas dos enunciados purânicos com outras vertentes da cultura sânscrita, a saber, a tradição védica e o movimento cultural do tantrismo. Exemplifica-se, por fim, o conjunto das reflexões expostas na tese com o hino conhecido como Devé-mähätmya, composto antes do século VII d.C. e transmitido junto à antologia chamada Märkaëòeya. A mitologia da Grande Deusa é vista como um expoente das relações históricas vivenciadas durante o período em que ocorreram a compilação das antologias purânicas e a consolidação do hinduísmo.
The object of research of this thesis is the collection of anthologies known as Puräëa in Sanskrit Literature and its purpose is to survey them as an enunciative unity. This is done by relating the individual works to historical and social elements with which they coexisted during the long period of their compilation, which spreads approximately from III B.C.E to XV C.E. With this purpose in mind we assume as theoretical bases Greimasian Semiotics, the works attributed to Mikhail Bakhtin and mainly French Discourse Analysis, whose perspective allows one to investigate the whole of relations existing between verbal constructions and socio-cultural elements. The mythical narratives stand out as a significant subject of this research inasmuch as they condense in speech form the cultural interactions and negotiations that were in act in the process of consolidation of Hindu social practices, among which the recitation of the Puräëa took part. And since the Puräëa works are anthologies, the occurrence of some mythical accounts can disclose cultural presuppositions that allow us to recognize the existing dialogue between several social strata intervening in the shaping of Hinduism. Furthermore, we observe the role performed by Puräëa literature in the midst of other literatures sharing the same cultural environment by the examination of its status of sacred scripture through the concept of Self-Constituting discourse. That approach leads us to an overview of the interdiscoursive relations of Puräëa enunciates with other trends of Sanskrit culture, namely, the Vedic tradition and Tantrism as a cultural movement. At last, our ideas are exemplified by the analysis of the hymn known as Devémähätmya, composed before VII B.C.E and handed down along with the anthology called Märkaëòeya. The mythology of the Great Goddess it presents is seen as an exponent of the historical relations that took place during the time the Puräëa anthologies were compiled and Hinduism was consolidated.

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Bianchini, Flávia. "O estudo da Religião da Grande Deusa nas escrituras indianas e o Canto I do Devi Gita." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/4203.

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The subject of this dissertation is the religion of the Great Goddess in Indian scriptures, especially in the first canto of Devi Gita. This religion, belonging to Hinduism, presents itself as a devotional movement called Saktism. Its roots lie in the ancient Indian Vedic tradition, but it only became an independent movement, with its own original concepts, in the Medieval period of India. This study presents a vast outlook of the development of Saktism, from the Vedic age to the medieval Tantric Indian period, presenting information on the female deities and about other fundamental topics for the understanding of the religion of the Great Goddess. This dissertation culminates with a translation and commentary of canto I of the Devi Gita, a work belonging to the Devi Bhagavata Puraa. This scripture is recognized as an important source leading to the recognition of Saktism as an independent cult, and it is the oldest extant work where the Indian Goddess is presented as the supreme deity, as the Ultimate Reality and as the source of all creation.
Esta dissertação tem como objeto de estudo a religião da Grande Deusa nas escrituras indianas e, especialmente, no Canto I do Devi Gita. Tal religião, que faz parte do Hinduísmo, se manifesta por meio do movimento devocional denominado Saktismo, cujas raízes se encontram na antiga tradição do Veda, mas que só se constituiu como um movimento independente, embasado em concepções próprias, no período medieval indiano. Este estudo apresenta um vasto panorama do desenvolvimento do Saktismo, desde o período vêdico até o período medieval tântrico indiano, apresentando informações sobre as divindades femininas e sobre outros temas fundamentais para a compreensão da religião da Grande Deusa. A dissertação culmina com a tradução e comentário do Canto I do Devi Gita, obra que pertence ao Devi Bhagavata Puraa. Esta escritura é reconhecida como uma fonte importante no reconhecimento do Saktismo enquanto culto independente e como a obra mais antiga conhecida na qual a Deusa indiana é apresentada como divindade suprema, como Realidade Última e fonte de toda a criação.

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January, LaTricia M. "Beyond the Threshold: Allusions to the Òrìsà in Ana Mendieta's Silueta Series." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1391.

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The Cuban-born artist Ana Mendieta (1948-1985) created the Silueta Series during the 1970s and 80s. It consists of earth-body works in situ featuring the silhouette of the artist's body fashioned from mud, plants, rocks, gunpowder and other materials. Underlying the creation of the Silueta Series is Mendieta's belief that the elements are sentient and powerful beings. This perception is particularly strong in the Afro-Cuban religion Santeria, a creolized form of the Òrìsà tradition of the Yoruba of West Africa introduced to the Americas during the trans-Atlantic slave trade. While scholars have noted Mendieta's incorporation of Santeria in her art, a thorough analysis of the iconographical references to the deities have yet to be explored. This thesis aims to provide such an analysis of Mendieta's works; thus enriching the current discourse on the Silueta Series.

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Belmar, Shagulian Jasmin. "El mito de la Quintrala : Estructuras simbólicas en dos novelas de Gustavo Frías." Doctoral thesis, Stockholms universitet, Romanska och klassiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-142124.

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The purpose of this comparative study is to analyse La Quintrala’s myth as a symbolic discourse, thereby filling a gap in the previous studies about La Quintrala. The theoretical and methodological framework of this analysis consists of a hermeneutical approach based on the method of figurative structuralism: mythocriticism. This is a dual classification method of symbols: Diurnal and Nocturnal Orders that expose the symbolic structures formed by symbols and archetypes found in mythemes in a compilation of corpora. The first one is Gustavo Frías’ novels Tres Nombres para Catalina: Catrala (2008) and Tres nombres para Catalina: la doña de Campofrío (2008); the second is a historic essay (hypotext), Benjamín Vicuña Mackenna’s Los Lisperguer y la Quintrala (1944), and four novels: Magdalena Petit’s (2009) La Quintrala, Mercedes Valdivieso’s (1991) Maldita yo entre las Mujeres, Virginia Vidal’s (2002) Oro, veneno y puñal, and Gustavo Frías’ El Inquisidor (2008). Mythocriticism is employed in the analysis to show what the mythical structure of the hero’s journey (Separation, Initiation, Return) reveal. Such journey is combined structurally with the Mother archetype (White, Red and Black Goddess), the intrinsic archetype of La Quintrala’s myth. The heroic structure unveils its own mythemes, La Quintrala’s and the first corpus’s mytheme through the diachronic and synchronic flow of the hero’s journey. This method permits to identify and compare the progression of the symbolic structures. The analysis demonstrates a transformation of the symbolic structures between both corpora. This survey reveals that Vicuña Mackenna and Petit, and partially Vidal and El Inquisidor, exhibit an inclination to the diurnal symbols that strengthen, through a heterodiegetic narrator, the representations of the witch-femme fatale, counteractive attributes of the Red and Black Goddesses in the myth. Valdivieso, on the other hand, shows a propensity to the nocturnal symbols of inversion and intimacy that emphasize the Red Goddess’ features, though the novel also exposes La Quintrala as a witch-femme fatale. This exposure occurs through the use of both an autodiegetic narrator –La Quintrala– and a heterodiegetic one –the hypotext embodied in the popular voice– that appear to contrast each other. Finally, in Tres Nombres para Catalina, La Quintrala as the autodiegetic narrator dominates the whole story. She personifies the Great Goddess archetype who bestows her new positive attributes during the adventure. This novel assumes primordially the nocturnal symbolism incarnated by both the mystical and the synthetical structures and relegates the diurnal discourse of the hypotext to a secondary position in the narrative. Nonetheless, Tres Nombres para Catalina’s narrative still relies on the hypotext to reproduce and reconstruct all the mythemes in the myth of La Quintrala. Conclusively, the results of this analysis indicate that the identification of all the mythemes supports the hypothesis of a transformation in the symbolic structures which characterize La Quintrala in both corpora. This reveals the embodiment of Tres Nombres para Catalina’s own mytheme, consisting of a vindication and a recognition to her indigenous heritage, and the acceptance of her mestizaje. As a consequence, Tres nombres para Catalina, in comparison to the second corpus, diverges and expands the symbolic structures, but still shows a continuity of the myth.

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Barber-Kersovan, Alenka. "Songs for the Goddess. Das popmusikalische Neo-Matriarchat zwischen Ethno-Beat, erfundenen Traditionen und kommerzieller Vermarktung." 2020. https://slub.qucosa.de/id/qucosa%3A72557.

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The musical neo-matriarchy is linked to the growing popularity of Neo-Paganism. This pseudo-religious scene is based on romantic heritage, real or invented folk traditions and more or less serious historical, theological and anthropological studies of neo-matriarchy. In the focus of the scene stands the veneration of the Great Goddess and its worshipers are exclusively women. The main ideas of this eco-feminist movement are being conveyed also through (popular) music. My contribution encompasses the origins of the musical neo-matriarchy, the mythology it is based on, the message of the songs for the Great Goddess, the musical characteristics of the material collected, the use of typical instruments, and the dissemination of (musical) knowledge as the rather ‘modern’ way of distribution and consumption of the allegedly ‘archaic’ issues.

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Books on the topic "The Great Goddess"

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Goddess Durgā, the great Mother. Calcutta: Mrimol Publishers, 1985.

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Habitations of the great goddess. Manchester, Conn: Knowledge, Ideas & Trends, 1994.

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Freyja, the great goddess of the North. Lund, Sweden: Dept. of History of Religions, University of Lund, 1995.

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Vycinas, Vincent. The great goddess and the Aistian world. New York: P. Lang, 1990.

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The Celtic goddess: Great queen or demon witch? Edinburgh: Floris Books, 2001.

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Laura, Judith. She lives! the return of our great mother: Myths, rituals, and meditations. Princeton, NJ: Xlibris Corporation, 1999.

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In praise of Tārā: Songs to the Saviouress : source texts from India and Tibet on Buddhism's great Goddess. Boston, Mass: Wisdom Publications, 1996.

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In praise of Tārā: Songs to the Saviouress : source texts from India and Tibet on Buddhism's great Goddess. London: Wisdom Publications, 1986.

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Starhawk. The spiral dance: A rebirth of the ancient religion of the great goddess. 2nd ed. [San Francisco]: HarperSanFrancisco, 1999.

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Starhawk. The spiral dance: A rebirth of the ancient religion of the great goddess. San Francisco: Harper & Row, 1989.

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Book chapters on the topic "The Great Goddess"

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Preparata, Guido Giacomo. "The Great Goddess and Dionysus." In The Ideology of Tyranny, 11–21. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230341418_2.

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Sen, Moumita. "From the great goddess to everywoman." In Religion and Technology in India, 75–94. New York : Routledge, 2018. | Series: Routledge South Asian religion series ; 11: Routledge, 2019. http://dx.doi.org/10.4324/9781351204798-5.

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Näsström, Britt-Mari. "Freyja and Frigg – two aspects of the Great Goddess." In Shamanism and Northern Ecology, 81–96. Berlin, New York: DE GRUYTER, 1996. http://dx.doi.org/10.1515/9783110811674.81.

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Davis, Judson. "The Earth Goddess: Great Mother of the Natural World." In Encyclopedia of Psychology and Religion, 1–4. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-642-27771-9_200204-1.

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Urban, Hugh B. "The Goddess and the Great Rite: Hindu Tantra and the Complex Origins of Modern Wicca." In Magic and Witchery in the Modern West, 21–43. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15549-0_2.

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"The Great Mother and Montanism." In The Virgin Goddess, 137–69. BRILL, 2004. http://dx.doi.org/10.1163/9789047412588_005.

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"Chapter Eight. Great Eloquence Deity." In Sarasvatī: Riverine Goddess of Knowledge, 158–61. BRILL, 2007. http://dx.doi.org/10.1163/ej.9789004158146.i-390.47.

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"Chapter Nine. THE PRIMORDIAL GODDESS." In The Great Mother: An Analysis of the Archetype, 94–119. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400866106-015.

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"6. The Goddess and the Great Rite." In Magia Sexualis, 162–90. University of California Press, 2019. http://dx.doi.org/10.1525/9780520932883-009.

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"VII. The Great Goddess of Samos and Paestum." In Archetypal Images in Greek Religion: 5. Zeus and Hera: Archetypal Image of Father, Husband, and Wife, 148–81. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400869763-009.

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Conference papers on the topic "The Great Goddess"

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Barber-Kersovan, Alenka. "Songs for the Goddess. Das popmusikalische Neo-Matriarchat zwischen Ethno-Beat, erfundenen Traditionen und kommerzieller Vermarktung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.47.

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Abstract:

The musical neo-matriarchy is linked to the growing popularity of Neo-Paganism. This pseudo-religious scene is based on romantic heritage, real or invented folk traditions and more or less serious historical, theological and anthropological studies of neo-matriarchy. In the focus of the scene stands the veneration of the Great Goddess and its worshipers are exclusively women. The main ideas of this eco-feminist movement are being conveyed also through (popular) music. My contribution encompasses the origins of the musical neo-matriarchy, the mythology it is based on, the message of the songs for the Great Goddess, the musical characteristics of the material collected, the use of typical instruments, and the dissemination of (musical) knowledge as the rather ‘modern’ way of distribution and consumption of the allegedly ‘archaic’ issues.

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