...Week 2 Notes: Cosmogonic myths pick up the action at a point just before the divine touch creates time and space. Before this critical moment, though there are often gods or a god preceding the world or the physical universe, the only thing that exists is the infinite potential of chaos. Not unlike the Genesis account of creation, most of the world’s creation myths begin with an eternal being sleeping within or hovering in contemplation above the infinite abyss of a primeval sea. These waters represent the “chaos” of a world without physical form, where no height, no depth, no breadth, no time, and no created beings exist. All is quiet; everything rests in a state of infinite potential. At the decisive moment, potential universes give way to the one in which we actually live. * Maclagan suggests, in Creation Myths: Man’s Introduction to the World, that Cosmogonic narratives are patterned after the following themes: (1)inner and outer; (2) horizontal and vertical; (3) something from nothing; (4) the conjugation of opposites; (5) world order and the order of worlds; (6) descent and ascent; (7) earth body and sacrifice; and (8) death, time, and the elements. In these various schemes, we see areas of overlap, which suggests that a finite number of motifs are at work in creation myths. * Weigle’s Creation and Procreation: Feminist Reflections on Mythologies of Cosmogony and Parturition presents the most nuanced typology of creation myths. Building upon Eliade and Long...
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...Creation Myths Across Cultures Angie Laird HUM/105 - World Mythology Class Group: BSDH16JHC0 University of Phoenix Online Instructor: Gerald Grudzen February 11, 2013 Comparing and contrasting creation myths The two creation myths chosen to compare and contrast focuses on the Norse culture of Iceland Vikings and the Genesis creation of the Hebrew origin of Christian culture. Both creation myths begin with an empty void where chaos or conflict develops. The Norse myth narrates a conflict between the fiery realm of Muspell and the dark, cold realm of Niflheim within the emptiness called ginnungagap and where nothing could grow. The Genesis conflict was between God and nothing, loneliness, and the need to create something beautiful. There are specifically nine classifications of creation myths and many employ more than one motif. Genesis cosmogonies apply both the deus faber and ex nihilo motifs. The story often considered the ex nihilo myth, meaning "out of nothing" is the account in the first book of the Old Testament, Genesis, of God's creation in six days by speaking into existence light and darkness, sun and moon, stars and earth, plants and animals, and birds and fish. God then generates Adam in His image from the dust and breathes life into him and Eve was formed from one of Adam's ribs, therefore combining deus faber (the "maker-God") with ex nihilo motifs. The Nordic creation myths tend to combine accretion/conjunction, secretion, and sacrifice motifs. It features...
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...one will discuss two myths from different cultures. The two myths chosen for this paper are the Genesis creation (Hebrew origin) of the Christian culture, and the Norse culture of Iceland (the Vikings). Both of these creation myths start with an emptiness where conflict and chaos eventually develop. The Genesis crearion is between God, nothing, blackness, emptiness, loneliness, and the need to create something. The Norse creation is between the dark cold realm of Niflheim, within the emptiness of Ginnungagap, and the fiery realm of Muspell, where nothing can grow. There are nine classifications of creation myths, which most include more than one motif. The Genesis cosmogonies applies both ex nihilo, and deus faber motifs. The story begins with the ex nihilo myth, which God creates the light, the dark, the sun, the moon, the earth, the stars, plants, animals, birds, and fish, within six days out of nothing. This account is told in Genesis, the first book of the Old Testament. Then God creates a man, Adam, in his own image from the dust of the earth and breathes life into him. When God realizes it is not good for man to be alone, he causes a deep sleep to come upon Adam. Then he takes a rib from Adams side and forms a woman. Therefore, combining deus faber (the "maker-God") with ex nihilo motifs. The Norse creation myths combines secretion, sacrifice, and accretion/conjunction motifs. It combines fire and ice in a random conjoining of elements. The myth begins with Muspells...
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...Cosmic Creation Myths Across Taliah Daniels Hum/105 December 19, 2012 GLORIA PUGLIESE Cosmic Creation Myths Across Regarding Creation Although there are a great number of creation myths that are propagated by people of Chinese descent, virtually all of them acknowledge Pan Gu. Those that due generally state that Pan Gu was the first being and that all existence in the universe—especially the earth and the heavens—is comprised of this being. The general story of Pan Gu begins with his conception inside of an egg. In that egg is the yin and the yang, the notion of duality which brings an eternal harmony and balance to life. The egg is a cosmic egg, one of the very first things in existence. Most tradition regarding Pan Gu contends that he matures within his egg for 18,000 years prior to bursting out of it (some traditions say he utilizes an ax for this purpose). What is key about this part of the story is that from Pan Gu’s destruction of the cosmic egg, the upper portion of it formed the heaven and the lower portion of it formed the earth. Pan Gu grew between the earth and the heavens for another 18,000 years, during which time both of these regions matured. Pan Gu was male, and is therefore akin to the universal father of all. Moreover, everything that exists in the earth is quite literally a part of his body after he dies. His eyes, for example become the sun and the moon, his breath becomes the wind, his blood forms rain and water, his hair becomes the stars...
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...scholars believe that this work was parallel to the Near Eastern myths. And that these Near Eastern myths could have been the source for Greek mythology. But there are many debate on that idea also. Modern scholars have always studied aside from the age and origin of Greek...
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...A POSITION PAPER IN PHILIPPINE LITERATURE “DO YOU BELIEVE IN PHILIPPINE MYTHOLOGY AND FOLKLORE?” IN PARTIAL FULFILLMENT OF REQUIREMENTS IN COMMUNICATION SKILLS II SUBMITTED BY: ROWEL M. MOJECA PRESENTED TO: MRS. GRACE ARANDA DR.FELIMON C. AGUILAR MEMORIAL COLLEGE OF LAS PIÑAS MARCH 2O11 TABLE OF CONTENTS Overview 1 Definition of Terms 2 Introduction 4 Point of View 5 Evidences and Proofs 9 Conclusion 12 Works Cited 13 OVERVIEW Philippine mythology and folklore include a collection of tales and superstitions about magical creatures and entities. Some Filipinos, even though heavily westernized and Christianized, still believe in such entities. The prevalence of belief in the figures of Philippines mythology is strong in the provinces. The country has many islands and is inhabited by different ethnic groups, Philippine mythology and superstitions are very diverse. However, certain similarities exist among these groups, such as the belief in Heaven (kaluwalhatian, kalangitan, kamurawayan), Hell (impiyerno, kasamaan), and the human soul (kaluluwa). Filipinos also believed in mythological creatures. The Aswang is one the most famous of these Philippine mythological creatures. The aswang is a ghoul or vampire, an eater of the dead, and the werewolf. There is also the (Agta) a black tree spirit or man. Filipinos...
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...All cultures around the world have a specific story to how the culture began. And in all of those stories are many recurring themes. Some of those symbols include water, the sun and moon, earth, and sexuality, plus many more. The cultures have that recurring theme based on what was critically important to their society. That could mean that geographically they depended on that theme, or even spiritually depended on it. For example, the cultures that are in the sam terrestrial biome are more likely to have the same theme compared to ones that are not in the same biome. Also, that gives cultures that are so far apart the opportunity to use the same motif in their stories. One important theme that shows up all across the world is the fact that...
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...art. Myths and mythological characters have enthused masterpieces of composition, literature, sculpture and architecture. By studying myths, you can study how diverse societies have answered primary questions about the world and the individuals place in it. As individuals, the study of myths shows us how urbanized a meticulous communal system is with the conduct of life. By investigative myths, people can understand the feelings and principles that combine members of society into one group. Comparing the myths of a variety of cultures to determine how they are diverse and how they remind you of one another can also, show understanding on how people behave. For at least 2,000 years, scholars have speculated about how myths began. Some consider myths began as historical events that became unclear with the line of time. Others think myths resulted from an effort to explain natural occurrences that people could not value. Scholars have also urbanized others theories of how myths began. These theories answers all the questions about myths, but each contributes to an understanding of the subject. Today, people have methodical answers theories for many such questions about the world around them, also the usual events in terms of stories about gods, goddesses, and heroes. In the early days each society urbanized its own myths, which played a significant part in the society’s religious life. Most myths are alienated into two groups’ creation myths and explanatory myths. In this...
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...A Perspective on Traditional Literature • Traditional literature can provide a window on cultural beliefs and on the spiritual and psychological qualities that are part of our human nature. The Origin of Folk Literature • Children sometimes identify these stories as “make-believe,” as contrasted with “true” or “stories that could really happen.” • The origin of the myths has fascinated and puzzled folklorists, anthropologists, and psychologists. • Folktales are also of special interest to scholars of narrative theory because of the way the tales are honed by many generations of telling; only the most important elements of the story survive. The Value of Folk Literature for Children • When Jacob and Wilhelm Grimm published the first volume of their Household Stories in 1812, they did not intend it for children. • Originally folklore was the literature of the people; stories were told to young and old alike. • Traditional literature is a rightful part of a child’s literature heritage and lays the groundwork for understanding all literature. Folktales • Folktales have been defined as “all forms of narrative, written or oral, which have come to be handed down through the years.” • Questions often arise about which of the available print versions of a tale is the “correct” or authentic text. Types of Folktales • There will be features of these stories that are unique to each culture...
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...Myth and Scripture resources for Biblical Study Susan ackerman, Old testament/hebrew Bible editor number 78 Myth and Scripture conteMporary perSpectiveS on religion, language, and iMagination Edited by dexter e. callender Jr. SBl press atlanta copyright © 2014 by SBl press all rights reserved. no part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by means of any information storage or retrieval system, except as may be expressly permitted by the 1976 copyright act or in writing from the publisher. requests for permission should be addressed in writing to the rights and permissions office, Society of Biblical literature, 825 houston Mill road, atlanta, ga 30329 uSa. library of congress cataloging-in-publication data Myth and scripture : contemporary perspectives on religion, language, and imagination / Dexter E. Callender, Jr., editor. p. cm. — (Society of Biblical literature resources for biblical study ; number 78) includes bibliographical references and index. iSBn 978-1-58983-961-8 (paper binding : alk. paper) — iSBn 978-1-58983-962-5 (electronic format) — iSBn 978-1-58983-963-2 (hardcover binding : alk. paper) 1. Myth in the Bible. 2. Bible. old testament—criticism, interpretation, etc. i. callender, dexter e., 1962– editor of compilation. ii. callender, dexter e., 1962– author. Myth and Scripture : dissonance and convergence.. BS520.5.M98 2014 220.6'8—dc23 2014002897...
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...The European dragon has bat-like wings growing from its back. A dragon-like creature with wings but only a single pair of legs is known as a wyvern. Comparative mythology Further information: Chaoskampf, Sea serpent, Proto-Indo-European religion § Dragon or Serpent and Serpent (Bible) The association of the serpent with a monstrous opponent overcome by a heroic deity has its roots in the mythology of the Ancient Near East, including Canaanite (Hebrew, Ugaritic), Hittite and Mesopotamian. Humbaba, the fire-breathing dragon-fanged beast first described in the Epic of Gilgamesh is sometimes described as a dragon with Gilgamesh playing the part of dragon-slayer. The legless serpent (Chaoskampf) motif entered Greek mythology and ultimately Christian mythology, although the serpent motif may already be part of prehistoric Indo-European mythology as well, based on comparative evidence of Indic and Germanic material. Saint George Killing the Dragon, 1434/35, by Martorell Although dragons occur in many legends around the world, different...
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...SYMBOLS, ARCHETYPES & MOTIFS Symbols Three categories: Archetypal – The first symbols of humankind that have replicated themselves in stories throughout the ages across all cultures. They appear in the stories of groups from cavemen to 21st century authors. The term “archetype” was coined by Karl Jung who used them as the basis of “collective unconscious” theory. Cultural – As cultural groups use archetypal symbols to represent their values, fears, beliefs, and expectations, these objects take on meaning specific to that group. For example, the cross is an ancient archetypal symbol. When cultural groups adopt it, the meanings become both universal and specific. For most cultures the cross holds spiritual significance; hence its archetypal meaning. For Christians the cross takes on specific representation of Christ’s crucifixion. Nuance – These objects take on symbolic meaning in the work in which they appear. Modern writers often create their own symbols by repeatedly using the object in meaningful ways. For example, Golding used the conch shell to represent order and governmental control. NOTABLE ARCHETYPAL SYMBOLS, CHARACTERS, AND STORY PATERNS Characters: Hero (Epic, Classical, Romantic, Realistic, Anti-Hero) Outcast, Scapegoat, Trickster, Platonic Ideal, Monster, Temptress, Star-crossed lovers, Clown/jester, Prophet Story Patterns: Rite of Passage/Initiation, Creation, Fall, Expulsion, Death & Rebirth, Journey, Quest Symbols: (Archetypal symbols have...
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...The Dominance of Fate Fate was of great concern to the Greeks, and its workings resonate through many of their myths and texts. We see countless characters who go to great lengths in attempts to alter fate, even if they know such an aim to be futile. The inability of any mortal or immortal to change prescribed outcomes stems from the three Fates: sisters Clotho, who spins the thread of life; Lachesis, who assigns each person’s destiny; and Atropos, who carries the scissors to snip the thread of life at its end. These three divinities pervade all the stories of Greek myth, whether they be stories of gods, goddesses, demigods, heroes, or mortals and regardless of the exploits recounted. Nothing can be done to alter or prolong the destiny of one’s life, regardless of the number of preparations or precautions taken. This inflexibility applies just as much to Zeus as to the lowliest mortal, as we see in Zeus’s hounding of Prometheus to divulge the name of the woman who will bear the offspring that one day will kill him. Though this lesson is somewhat consoling—the way of the world cannot be bent to match the whims of those in authority—it is also very disturbing. The prospect of free will seems rather remote, and even acts of great valor and bravery seem completely useless. The myths provide an interesting counterpoint to this uselessness, however. In virtually all the stories in which a character does everything in his power to block a negative fate, and yet falls prey to it,...
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...Promethean Motif Humankind’s pursuit of knowledge is represented in the Prometheus myth. The punishment of Prometheus is a reflection of the double nature of knowledge: it can be used for the benefit or the destruction of humanity. The influence and legacy of the Promethean myth can be traced through history. It has been reused and recycled until it holds a distinctly familiar, yet strangely obscure grip on the imagination. There is no doubt that the Promethean tradition has become an everyday aspect of literary and artistic society: Shakespearean lines such as “Women’s eyes are the source of true Promethean fire” to “And faster bound to Aaron’s charming eyes, than is Prometheus tied to the Caucaus” illustrate this. The great Romantic Poets offered their interpretations of the myth in Byron’s “Prometheus” and Shelley’s sequel “Prometheus Unbound”. Milton used the Promethean myth to shape his characterisation of Satan in Paradise Lost; indeed The Book of Genesis can be seen as an example of the complete Promethean myth: Adam’s temptation with forbidden knowledge and subsequent fall from grace completely encapsulates the Prometheus myth. In this case it is an example of a Greek myth being appropriated and assimilated into Christian, Jewish and Islamic dogma. A more contemporary example is Hitler’s description of Napoleon : “He is the Prometheus of Mankind.” The myth also poses the motif of one man toiling against the odds, the example of a defiant hero or rebel risking all...
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...Symmetry and balance are dominant design elements, as the entire artwork is vertically subdivided by a thin strip of symbols. A spheral motif is used for Buddha's halo to the effect of glorification, but also—more importantly—in a circle surrounding his body, signifying simultaneously a detachment from the chaos of modern life, and—where the circle is broken—a connection to it. Like its classical influences (see appendix B), this artwork correlates to the topic of spiritual connections, portraying the moment where Siddhartha Gautama, despite material temptation from the demon Mara, attained enlightenment by touching the earth, becoming known as 'Buddha' (O'Brien, 2016). Gyatso's contemporary portrayal of Buddha's spiritual connection to the earth—despite appealing modern distractions—successfully reflects the artist's concerns towards the relevance of prayer in the twenty-first century (Behrendt, 2014). Furthermore, this scene perfectly encapsulates Drury and Voigt's idea that "a deep sense of Oneness ... underlies ephemeral physical appearances," as is evident in the effects of Buddha's meditation. The artwork is also applicable to the remainder of Drury and Voigt's quote: the artwork's theme is "sacred" to those of the faith, and the sacred paradox "of being and becoming" at the "very heart of Creation" is showcased in...
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