Yorubaland, Female Deities

2021 ◽  
pp. 711-712
Author(s):  
Aduke Grace Adebayo
Keyword(s):  
Female Deities

scholarly journals Cults of Female Deities at Dion*

Kernos ◽  
2010 ◽  
pp. 179-192 ◽  
Author(s):  
Semeli Pingiatoglou
Keyword(s):  
Female Deities

scholarly journals WANTON GODDESSES TO UNSPOKEN WORTHIES: GENDERED HERMENEUTICS IN THE CHU CI ZHANGJU

Early China ◽  
2018 ◽  
Vol 41 ◽  
pp. 333-374 ◽  
Author(s):  
Monica E. M. Zikpi
Keyword(s):  
Gender Bias ◽  
Essential Feature ◽  
Gender Ideology ◽  
Early China ◽  
Warring States ◽  
Female Deities ◽  
History Of ◽  
Archeological Evidence ◽  
Han Culture ◽  
Eastern Han

AbstractThe influential Chu ci zhangju 楚辭章句, the earliest received edition of the foundational poetry anthology Chuci 楚辭, performs a distinct gender bias in its exegesis of deities, and this bias accords with the Eastern Han ideology of the editor Wang Yi 王逸 (2nd c. CE) more than with immanent features of the original Warring States texts. The gender bias is an essential feature of Wang Yi’s canonization of the Chuci, and it lays the groundwork of the allegorical tradition of interpreting the Chuci. This paper analyzes the zhangju presentation of archetypal Chuci texts to elucidate the hermeneutic transformation of gender and religion in early China, comparing the Eastern Han exegeses with earlier and later interpretations, immanent textual features, and fresh perspectives on Warring States and Han culture that have emerged from archeological evidence. The analysis demonstrates that the Chuci zhangju treats the male deities more literally than the female deities, reflecting the reduction in status of goddesses in late Han discourse. The history of gender ideology is an essential critical lens for understanding the Chuci and the tradition that emerged from it.

Zur Chronologie der Götterkreise von Šamuḫa und die „alte Göttin“ in Kayalıpınar

2019 ◽  
Vol 109 (1) ◽  
pp. 101-109
Author(s):  
Oğuz Soysal
Keyword(s):  
Aged Woman ◽  
Female Deities

Abstract The local pantheon of Šamuḫa includes primarily female deities, among whom the most important is Šawuška. Before the “Goddess of the Night” from Kizzuwatna and later the “Šawuška of the Field” joined the local deities, the native goddess Apara of Šamuḫa probably held the position of the prime goddess of this city. A relief block in Kayalıpınar shows a sitting goddess. The aged-woman shape bears no stylistic similarity to any kind of Šawuška, so that one can regard Apara as a better candidate for the identification of the goddess figure from Kayalıpınar.

Native Icon to City Protectress to Royal Patroness: Ritual, Political Symbolism and the Virgin of Remedies

1996 ◽  
Vol 52 (3) ◽  
pp. 367-391 ◽  
Author(s):  
Linda A. Curcio-Nagy
Keyword(s):  
Native American ◽  
Belief System ◽  
Early Modern Period ◽  
Fifth Century ◽  
Virgin Mary ◽  
Female Deities ◽  
History Of ◽  
Popular Devotion ◽  
Mother Earth ◽  
Diverse Groups

Kind, gentle, humble, mother to all. This is the traditional Catholic image of the Virgin Mary. Beginning in the fifth century A.D., the popular devotion to the mother of Christ increased rapidly in Europe. Numerous apparitions and accompanying shrines during the late Medieval and early modern period demonstrated her new role in folk Catholicism. In Spain, as in other areas of Europe, the Virgin Mary became one of the major intercessional images, protecting believers from drought, floods, and sickness. Considering her role in the popular belief system of the Iberian peninsular, it was only logical that the sacred image of Mary would travel the Atlantic to New Spain and appear to Native American neophytes who years earlier had worshipped Tonantzin, mother earth, among other female deities. The image of the Virgin Mary could easily incorporate diverse groups under a single symbolic entity. Catholicism held that she was open to all, listened to all, aided all of pure heart. Mary was a force of integration; yet, depending upon the circumstances and the believers, such devotion could also fragment society This study analyzes the history of one such symbol; an integrating force that is best remembered as being one of the most divisive: the Virgin of Remedies of Mexico City.

scholarly journals Τhe Presence of Dance in Female Deities of the Greek Antiquity

2017 ◽  
Vol 8 (2) ◽  
pp. 161-170
Author(s):  
Georgios Lykesas ◽  
Christina Papaioannou ◽  
Aspasia Dania ◽  
Maria Koutsouba ◽  
Evgenia Nikolaki
Keyword(s):  
Dance Education ◽  
Ancient Greece ◽  
Dance Music ◽  
Ancient Greek ◽  
Creative Ability ◽  
Human Personality ◽  
Processing Data ◽  
Female Deities ◽  
Positive Perspective ◽  
Greek World

Abstract According to philosophers and paedagogists, from antiquity until today, arts and dance in particular have played a determining role in shaping the human personality, as well as in helping people gain a positive perspective of their multi-aspect development in terms of knowledge, perception, creative ability, psychomotor actions, emotional and social elevation. This holistic and anthropocentric approach in antiquity set new ways for perceiving motion -particularly dance- through the dance education. The aim of this study is to provide a well-documented review of dance in religious events of the ancient Greek world, by collecting and processing data related to female deities connected to the most important dances and music in public feasts of Ancient Greece -feasts of both religious and war character. Dance, music and poetry; the three elements that managed to influence and configure the education of the Ancient Greeks, leading to one of the most fundamental elements of Greek aesthetics: “harmony”.

of the house, both practically and symbolically — a role which links women, not only with the traditional concept of hearth and home, but also indicates her authority and control in that sphere (Bonomi & Ruta Serafini 1994). Keys and women are further symbolised in religious iconography, as we will see later. Sex The depiction of love-making, on both beds and chairs, is very graphically represented in situla art (fig. 6). Boardman wrote that "love-making has iconographie conventions like any other . . . whether the intention is pleasure, display, procreation or cult" and indeed all these explanations have been offered as explanation for such scenes in situla art. I would concur with Boardman and Bonfante that these depictions are purely secular (Boardman 1971; Bonfante 1981), rather than ritual, as suggested by Kastelic and Eibner. The scene on the Castelvetro mirror (fig. 6, 1), which, as we have seen, is for Kastelic a hieros gamos, could, perhaps, be more plausibly can be read in the form of a strip cartoon, in which a rider arrives on horseback, a prostitute is procured, with price being negotiated between a man and a woman — with the women holding up two fingers the man one — and the act subsequently carried out after further arrangements between a woman and a seated man. In all probability this was a recognisable story, perhaps related to the one about the inn-keeper's daughter still celebrated in Italian popular song, or, if we take into account the link between this and Etruscan mirrors, perhaps even some myth or legend. Even though the bed is in the form of the Urnfield bird-headed sun-boat, since the latter is such a common decorative motif, it cannot be used to interpret this as a religious image. The fact that this 'tale' is depicted on a mirror, which one presumes was a female item, is rather surprising and suggests that, either it was intended as a gift for a high class prostitute, or can be seen a rather crude allusion to sex on a gift for a more respectable woman. Whatever the interpretation, there is surely some relationship between the mirror, as an object of self adornment, and the subject matter depicted on it, which again follows the tendency of situla art to relate decoration to the function of the object. This and other depictions of love-making, rich in the sensuous detail of vibrating mattresses and pubic hair, indeed are more redolent of an earthy Italic sense of enjoyment than any religious allusion to sacred marriage. Such sexually explicit designs are comparable with Eruscan tomb painting and may reflect the open sexuality held to be characteristic of Etruscan women, which was commented on by Theopompus in the 4th century BC (Bonfante 1994). We can conclude that women may be shown in mainly subservient roles on the situlae because these were used in the context of male entertainment and festivals, but on the rattle they appear in a more productive light. The mirror, certainly belonging to someone with wealth, if not respectability, carries a more uncertain message. On Greek red figure drinking cups, objects of male use, we sometime find a duality of the representation of the hetairai and the virtuous wife, sometimes on the same cup, with the latter, incidentally, often engaged in spinning or weaving (Beard 1991: 28- 9). Female deities The representation of a goddess with the keys, as well as animals, is found in situla art on five votive plaques probably found in a hoard near Montebelluna (Fogolari 1956) (fig. 7). The figure, accompanied by both plants and animals, is, according to Fogolari, probably a fertility goddess, Pothnia theron — a Venetic equivalent of Demeter — carrying the key to both the opening of the fertility of plants and help in the birth of animals and women (Fogolari 1956). Keys, however, as we have seen, are also found in female graves in the area, where they suggest the role of women as keepers of the household, a role which may also have been sanctioned in the supernatural world (Bonomi & Ruta Serafini 1994).

2016 ◽  
pp. 162-165
Keyword(s):  
Pubic Hair ◽  
Popular Song ◽  
Traditional Concept ◽  
Sexually Explicit ◽  
Female Deities ◽  
The One ◽  
Religious Iconography ◽  
And Control ◽  
Religious Image

FEMALE DEITIES IN BALINESE SOCIETY: LOCAL GENIOUS, INDIAN INFLUENCES, AND THEIR WORSHIP

2018 ◽  
Vol 1 (1) ◽  
pp. 42-61
Author(s):  
I Ketut Ardhana
Keyword(s):  
Southeast Asia ◽  
Gender Issues ◽  
The Other ◽  
Modern World ◽  
Political Aspect ◽  
Modern Times ◽  
Cultural Aspects ◽  
Female Deities ◽  
And Gender ◽  
The One

One of the main issues that has been discussed in Indonesia regarding the democracy process in a modern world is about the feminism and gender issues. On the one hand, women are considered to play limited roles, whilst on the other hand, the men have always been considered to play a significant role. This can be traced back in the long process of the Balinese history not only in terms of political aspect, but also in the context of socio cultural aspects. It is important to look at what has happened in the Balinese societies, since Bali is known as a Hindu mozaic in Southeast Asia. The Balinese society has its own culture based on local culture that is strongly influenced by the Indian or Indic culture. The Balinese society is a patrilineal system, in which a man has a higher position, but in fact it was even Bali had a woman princess, who was of mixed Javanese and Balinese heritage, a wife of King Udayana of Bali between the 10th and 11th century. Both of them were considered as the Balinese kings at the same time. In the era of these two kings they were successful in integrating between Hinduism and Buddhism. Until now, the Balinese believe the soul of Mahendradatta as Durga. The main questions that will be addressed in this paper are firstly: how do the Balinese interpret the female deities? Secondly, how do they worship them? Thirdly, what is the meaning of this worship in terms of religious and cultural aspects in the modern and postmodern time? By discussing these issues, it is expected that we will have a better understanding on how the Balinese worship the female deities in the prehistoric, classical, and modern times in the context of a global or universal culture

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