Californian Indian Nights Entertainments: Stories of the Creation of the World, of Man, of Fire, of the Sun, of Thunder, etc: Of Coyote, the Land of the Dead, the Sky Land, Monsters, Animal Peole, etc.

1932 ◽  
Vol 18 (4) ◽  
pp. 580
Author(s):  
Melville J. Herskovits ◽  
Edward W. Gifford ◽  
Gwendoline Harris Block
Keyword(s):  
The Sun ◽  
1993 ◽  
Vol 50 (2) ◽  
pp. 220-228 ◽  
Author(s):  
William H. Willimon

“The Church's notion of sin, like that of Israel before it, is peculiar. It is derived, not from speculation about the universal or general state of humanity, but rather from a peculiar, quite specific account of what God is up to in the world. What God is up to is named as covenant, Torah, or, for Christians, Jesus. If we attempt to begin in Genesis, with Adam and Eve and their alleged ‘fall,’ we will be mistaken, as Niebuhr was, in thinking of sin as some innate, indelible glitch in human nature.”April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, …Winter kept us warm, covering Earth in forgetful snow, …What are the roots that clutch, what branches grow Out of this stony rubbish? Son of man, You cannot say, or guess, for you know only A heap of broken images, where the sun beats, And the dead tree gives no shelter. …T. S. Eliot, The Waste Land, I, 1922


Author(s):  
Gísli Sigurðsson

The eddas and sagas are literary works written in Iceland in the 13th and 14th centuries but incorporating memories preserved orally from preliterate times of (a) Norse myths, in prose and verse form, (b) heroic lays with common Germanic roots, (c) raiding and trading voyages of the Viking Age (800–1030 CE), and (d) the settlement of Iceland from Norway, Britain, and Ireland starting from the 870s and of life in the new country up to and beyond the conversion to Christianity in the year 1000. In their writing, these works show the influence of the learning and literature introduced to Iceland from the 11th century on through the educational system of the medieval Church. During these centuries, the Icelanders translated the lives of the principal saints, produced saga biographies of their own bishops, and recorded accounts of events and conflicts contemporary with their authors. They also produced conventional chronicles on European models of the kings of Norway and Denmark and large quantities of works, both translated and original, in the spirit of medieval chivalry. The eddas and sagas, however, reflect a unique and original departure that has no direct analogue in mainland Europe—the creation of new works and genres rooted in the secular tradition of oral learning and storytelling. This tradition encompassed the Icelanders’ worldview in the 12th, 13th and 14th centuries and their understanding of events, people, and chronology going back to the 9th century, and their experience of an environment that extended over the parts of the world known to the Norsemen of the Viking Age, both on earth and in heaven. The infrastructure that underlay this system of learning was a knowledge of the regnal years of kings who employed court poets to memorialize their lives, and stories that were told in connection with what people observed in the heavens and on earth, near and far, by linking the stories with individual journeys, dwellings, and the genealogies of the leading protagonists. In this world, people here on earth envisaged the gods as having their halls and dwellings in the sky among the stars and the sun, while beyond the ocean and beneath the furthest horizon lay the world of the giants. In Viking times, this furthest horizon shifted little by little westwards, from the seas around Norway and Britain to the Faroes, Iceland, Greenland, and eventually still farther south and west to previously unknown lands that people in Iceland retained memories of the ancestors having discovered and explored around the year 1000—Helluland, Markland, and Vínland—where they came into contact with the native inhabitants of the continent known as North America.


2021 ◽  
Vol 13 (1) ◽  
pp. 77-97
Author(s):  
Anders Kaliff

To use ethnographic analogies is not the same as picking up ready-made interpretations from one cultural context and importing them into another. On the contrary, analogies are a powerful and necessary tool for any archaeological interpretation. If we as scientists are not aware of this we will most certainly use our own time and culture as an unconscious analogy: it is not possible to make interpretations, or even to think, without references outside oneself, and such references are nothing but analogies. l will put forward the hypothesis that the Late Bronze Age society of Scandinavia had rituals resembling, and probably related to, the Vedic tradition. As in Vedic tradition, fire sacrifice seems to have been an important ritual practice in Scandinavia. The Vedic fire altars are built as a symbolic microcosmos, repeating the creation of the world, and the fire (Agni) is seen as a link between earth and the heavenly fire —the sun.


2021 ◽  
pp. 141-150
Author(s):  
Tatiana Vladykina ◽  

The research gives an overview of the Heavenly (in/inma/immu/inmu, lit: ‘heaven/heavenly earth’) area, its construction, and its gods. Udmurt narratives about the creation of the world are related to biblical subjects and images. In their folklore we find the image of a heavenly stove and heavenly table, i.e. the constellation of Ursa Major. The supreme deities include the creator God (Inmar, Kuaz’, Kyldys’in/Kylchin) and the female deities (Kaldyk-mumy/Kaltak, Shundy-mumy, “Mother-Sun / Mother of the Sun”, Invu-mumy “Mother of Heavenly Water / Heavenly Grace”, Invozho-mumy “Mother-Invozho, Goddess of Summer Feast Time, i.e. Transitional Time”, Gudyri-mumy, Thunder-Mother, Muz’’yem-mumy, Mother-Earth).


PMLA ◽  
1927 ◽  
Vol 42 (2) ◽  
pp. 314-330
Author(s):  
Rudolph Willard

Homily VIII of the Vercelli Codex CXVII, is a brief dramatic sermon on penance and the Last Judgment, intended for the first Sunday after Epiphany. It opens with an admonition to the faithful to remember the Lord's warning of the tribulation attending the end of this world. Let us never think our sins too grievous or too shameful for confession: for it is better to confess our sins here before one man, than to confess them at the Day of Judgment, before God and the whole host of Heaven, when all our deeds shall be revealed. The homilist briefly outlines the advent of the Judgment: the coming of the Son of Man in power and great glory, God's mercy to the righteous, the angels blowing their trumpets to the four ends of the world, the resurrection of the dead, and the raging fire. All this, however, is introductory to the central feature of the homily—the address of the Judge to the guilty souls. From His throne of Judgment, God the Son reviews His dealings with man: the Creation, the establishment of man in the joys of Paradise, the Fall, God's mercy to fallen man in His Incarnation, Passion, and Death. The Savior dramatically calls the sinner to behold the wounds in His hands and feet and side; then, charging man with indifference and ingratitude, He sentences him to dwell forever with Satan and his host in Hell. After a brief description of the torments of Hell, the homilist closes with an exhortation to be worthy of the Lord's welcome to the righteous, and of the bliss of Heaven.


2016 ◽  
Vol 2 (3) ◽  
pp. 3
Author(s):  
Agozie Ugwu

<table border="1" cellspacing="0" cellpadding="0"><tbody><tr><td colspan="3" width="618"><p align="center"> </p></td></tr><tr><td width="168"><p align="center"> </p></td><td width="265"><p align="center"> </p></td><td width="186"><p align="center"> </p></td></tr><tr><td colspan="3" valign="top" width="618"><p>African myths or mythological reality of African extractions is one major source of raw materials the Nigerian movie industry popularly called Nollyword explores as an avenue for generating content for their films. Mythological realities like the appearance of the dead, re-incarnation, potency of the gods, life after death, the communion between the living and the dead and many more often times are represented in the Nigerian movies. Art evidently is a representation of the people’s culture. It is also a vehicle through which the people’s culture is driven. Myths are part of African culture and their efficacy in the preservation and sustenance of Nigerian culture appears to be the reason why the representation of mythological reality in Nigerian films has become a recurring decimal. It appears that the representation of mythological reality in Nigeria movies is yet to attain a level where the audience will be submerged into the world of the myths. This is because the potential audience has a consciousness and a preconceived idea of how these characters should be represented due to the archetypal nature of mythical characters. The audience should not through these representations have doubts over the potency of the African and Nigerian myths. To achieve this level of reality in the depiction of mythological reality, this chapter advocates for a pragmatic utilisation of the film sentence and language. The Mirror Boy  released in 2011 a film by Obi Emelonye is used as case study to establish the roles of film language and sentence in the representation of mythological reality.</p></td></tr></tbody></table>


Author(s):  
Roberto D. Hernández

This article addresses the meaning and significance of the “world revolution of 1968,” as well as the historiography of 1968. I critically interrogate how the production of a narrative about 1968 and the creation of ethnic studies, despite its world-historic significance, has tended to perpetuate a limiting, essentialized and static notion of “the student” as the primary actor and an inherent agent of change. Although students did play an enormous role in the events leading up to, through, and after 1968 in various parts of the world—and I in no way wish to diminish this fact—this article nonetheless argues that the now hegemonic narrative of a student-led revolt has also had a number of negative consequences, two of which will be the focus here. One problem is that the generation-driven models that situate 1968 as a revolt of the young students versus a presumably older generation, embodied by both their parents and the dominant institutions of the time, are in effect a sociosymbolic reproduction of modernity/coloniality’s logic or driving impulse and obsession with newness. Hence an a priori valuation is assigned to the new, embodied in this case by the student, at the expense of the presumably outmoded old. Secondly, this apparent essentializing of “the student” has entrapped ethnic studies scholars, and many of the period’s activists (some of whom had been students themselves), into said logic, thereby risking the foreclosure of a politics beyond (re)enchantment or even obsession with newness yet again.


2013 ◽  
Vol 42 (4) ◽  
pp. 15-22
Author(s):  
Lars Rømer

This article investigates how experiences of ghosts can be seen as a series of broken narratives. By using cases from contemporary as well 19th century Denmark I will argue that ghosts enter the world of the living as sensations that question both common sense understanding and problematize the unfinished death. Although ghosts have been in opposition to both science and religion in Denmark at least since the reformation I will exemplify how people deal with the broken narrative of ghosts in ways that incorporate and mimic techniques of both the scientist and the priest. Ghosts, thus, initiate a dialogue between the dead and the living concerning the art of dying that will enable both to move on.


Sign in / Sign up

Export Citation Format

Share Document