The prophet, the mother, the avenger: An examination of Gaia's cult worship and the "bricolage" in her myth

<p>This thesis is a study of the cult of the Greek goddess Gaia (Gē). Gaia’s cult has long been interpreted by scholars though the lens of her mythical roles. She featured in literature as the mother of the Titans, as an oracular goddess at Delphi, and as the mythical mother of Erichthonios; she is also a force that watched over curses and oaths. Her cult has been most strongly associated with Delphi, where she was part of the Previous Owners myth, a tradition that made her the primary goddess at Delphi before Apollo took over. She is also strongly associated with Athens, where almost all of our literary evidence comes from. Early 20th century scholarship characterised Gaia as a universally-worshipped “Mother Earth” figure; more specifically, she has been identified as the Greek version of the Anatolian Mother Goddess, Kybele. Gaia’s cult worship as an oracular goddess and as a mother figure is overstated, and I argue that these associations are examples of confirmation bias. In this thesis, I examine the sources for both myth and cult to establish where the boundaries lie between the two, both through re-examination of the primary sources and through a critical appraisal of secondary discussions. To compare, I examine the positive evidence for Gaia’s cult, with a particular focus on the epigraphical evidence, including a 5th century BCE statue base and inscriptions from the 4th century BCE that describe a ἱερόν of Gaia at Delphi and Attic deme calendars that provide sacrifices to Gaia, some of which are expensive. Further evidence is offered by Pausanias and Plutarch, who attest to a sanctuary of Gaia at Delphi in the 1st and 2nd centuries CE, cults of Gē Kourotrophos and Gē Themis in Athens, and other cults of Gaia elsewhere. I also explore the significance of Gaia as the mother of Ericthonios, the autochthonous founder of Athens, in myth and Athenian literature. I conclude that Gaia was not worshipped at Delphi before the 5th century BCE. Gaia was receiving cult worship in Athens from the 5th century BCE in the form of deme sacrifices. Also in Athens, Gaia’s worship as Gē Themis appears arounds the 4th century BCE, while Pausanias attests to a temple of Gē Kourotrophos on the acropolis. Before the time of Pausanias, Kourotrophos appears to be a separate deity. Finally, I conclude that Gaia rarely receives cult worship under the epithet “Meter” and cannot be identified as the Greek version of Anatolian Kybele.</p>

The prophet, the mother, the avenger: An examination of Gaia's cult worship and the "bricolage" in her myth

<p>This thesis is a study of the cult of the Greek goddess Gaia (Gē). Gaia’s cult has long been interpreted by scholars though the lens of her mythical roles. She featured in literature as the mother of the Titans, as an oracular goddess at Delphi, and as the mythical mother of Erichthonios; she is also a force that watched over curses and oaths. Her cult has been most strongly associated with Delphi, where she was part of the Previous Owners myth, a tradition that made her the primary goddess at Delphi before Apollo took over. She is also strongly associated with Athens, where almost all of our literary evidence comes from. Early 20th century scholarship characterised Gaia as a universally-worshipped “Mother Earth” figure; more specifically, she has been identified as the Greek version of the Anatolian Mother Goddess, Kybele. Gaia’s cult worship as an oracular goddess and as a mother figure is overstated, and I argue that these associations are examples of confirmation bias. In this thesis, I examine the sources for both myth and cult to establish where the boundaries lie between the two, both through re-examination of the primary sources and through a critical appraisal of secondary discussions. To compare, I examine the positive evidence for Gaia’s cult, with a particular focus on the epigraphical evidence, including a 5th century BCE statue base and inscriptions from the 4th century BCE that describe a ἱερόν of Gaia at Delphi and Attic deme calendars that provide sacrifices to Gaia, some of which are expensive. Further evidence is offered by Pausanias and Plutarch, who attest to a sanctuary of Gaia at Delphi in the 1st and 2nd centuries CE, cults of Gē Kourotrophos and Gē Themis in Athens, and other cults of Gaia elsewhere. I also explore the significance of Gaia as the mother of Ericthonios, the autochthonous founder of Athens, in myth and Athenian literature. I conclude that Gaia was not worshipped at Delphi before the 5th century BCE. Gaia was receiving cult worship in Athens from the 5th century BCE in the form of deme sacrifices. Also in Athens, Gaia’s worship as Gē Themis appears arounds the 4th century BCE, while Pausanias attests to a temple of Gē Kourotrophos on the acropolis. Before the time of Pausanias, Kourotrophos appears to be a separate deity. Finally, I conclude that Gaia rarely receives cult worship under the epithet “Meter” and cannot be identified as the Greek version of Anatolian Kybele.</p>

Arketipe peran Ibu dalam cerita rakyat nusantara dan kontribusinya terhadap terapi lintas budaya

Saat ini, sensivitas budaya di bidang psikoterapi menjadi isu yang penting karena tumbuhnya kesadaran bahwa berbagai praktik yang dilakukan selama ini bersifat Eurosentris. Para ahli mengabaikan fakta keberagaman latar belakang budaya pasien. Padahal, banyak terapis yang menangani pasien dari berbagai latar belakang budaya menyadari adanya keunikan budaya pada setiap pasiennya. Sayangnya, belum banyak riset yang berusaha memahami dan menggali kekayaan budaya yang ada dalam cerita rakyat dan dimanfaatkan dalam bidang terapi. Penelitian ini bertujuan mendeksripsikan arketipe peran Ibu dalam cerita rakyat nusantara dan signifikansinya sebagai mental budaya masyarakat dapat berkontribusi terhadap terapi lintas budaya. Penelitian menggunakan 288 cerita rakyat Nusantara. Metode analisis yang digunakan adalah analisis isi dan studi dokumen. Hasil Penelitian menunjukkan dalam imajinasi kolektif masyarakat Nusantara, Ibu arketipe peran Ibu termanifestasi dalam bentuk peran Ibu yang baik, Ibu yang buruk, dan peran Ibu yang bertransformasi. Ibu tidak hanya menjadi sosok protagonis yang memberikan perlindungan, kehidupan, dan kesejahteraan, tetapi juga menjadi antagonis yang mampu menjadi sosok menakutkan bagi anaknya. Dalam oposisi biner ini, sosok Ibu juga mampu bertranformasi dengan mengubah peranannya sesuai dengan konteks situasi yang menyertainya, yaitu Ibu protagonis menjadi sosok antagonis yang diakibatkan oleh ketidakpatuhan anaknya atau hadirnya pihak ketiga. Ketiga arketipe peran Ibu tersebut merupakan gambaran dari imajinasi kolektif masyarakat Nusantara dalam menggambarkan peran Ibu dalam kehidupan sehari-hari. Gambaran ini dapat dimanfaatkan dalam bidang terapi, khususnya dalam proses terapi yang melibatkan pasien anak-anak atau Ibu. Arketipe peran Ibu dapat menjadi gambaran mengenai nilai-nilai yang melekat pada sosok Ibu dan menjadi mental budaya masyarakat Nusantara. Currently, cultural sensitivity in the field of psychotherapy has become an important issue due to the growing awareness that various practices carried out so far are Eurocentric. Experts ignore the fact that the patient's cultural background is diverse. In fact, many therapists who treat patients from various cultural backgrounds are aware of the cultural uniqueness of each patient. Unfortunately, not much research has tried to understand and explore the cultural richness that exists in folklore and is used in the field of therapy. This study aims to describe the archetype of the mother in the folklore of the archipelago and its significance as a community mental culture that can contrIbute to cross-cultural therapy. The study used 240 Indonesian folk tales. The analytical method used is content analysis and document study. The results of the study show that in the collective imagination of the people of the archipelago, the archetypal mother role is manifested in the form of a good mother role, a bad mother, and a transformed mother role. Mother is not only a protagonist who provides protection, life, and welfare, but also becomes an antagonist who can become a frightening figure for her child. In this binary opposition, the mother figure is also able to transform by changing her role according to the context of the accompanying situation, namely the protagonist's mother becomes an antagonist figure caused by the disobedience of her child or the presence of a third party. The three archetypes of the mother's role are an illustration of the collective imagination of the Indonesian people in describing the role of mothers in everyday life. This picture can be used in the field of therapy, especially in the therapeutic process involving children or mothers. The archetype of the mother's role can be an illustration of the values ​​attached to the mother figure and become the cultural mentality of the Indonesian people.

Pola Asuh Ibu dalam Pendidikan Religius Anak

The family has a very important role, because the family as the first place the creation of personality and family is the best field in seeding values the value of religious education for children. The role of a mother is so vital in the religious education of children, for a mother to be a figure close to the child in terms of both social and emotional. This study aims to describe how the role of a mother figure in a multi-faith religious education of rural children. This study uses qualitative-phenomenological method. Subject of research are three families. Data was collected by purposive sampling. The results showed the role of a mother multi Religion in the religious education of children in the village Umbulsari there are four stages, namely: a) Educate with etiquette habituation and Training (Parenting), b) Educate the ketauladanan, c) Educate with advice, and d) Educate with supervision

Madre y destino en la tragedia griega

A partir de dos tragedias de Eurípides, revisamos la figura de madre mítica en función de paradigma cultural en orden a establecer relaciones históricas. Vinculamos la perspectiva del helenismo del siglo IV y los fenómenos contemporáneos sobre tres claves: el distanciamiento de lo divino y su intento de resignificación a través de una ética horizontal, la generalización de la violencia como estadio de convivencia normalizado, la necesidad de referentes a nivel individual y social. En los textos elegidos, el motivo del destino enfocado desde las consecuencias de la guerra desarrolla tipos contrastantes de heroicidad; entre ellos, Hécuba, la reina madre convertida en viuda y testigo del fin de su descendencia, hace la propuesta distintiva, por medio de la renovación de la idea de justicia y de la revalorización del sufrimiento con sentido trascendente. Eurípides ofrece una alternativa, que cuestiona la idea de civilización ante la crisis de su mundo tradicional -abandono de los dioses, arbitrariedad de los hombres, sojuzgamiento de los inocentes. Si la tragedia propone una actualización del mito de Troya en sede clásica –Atenas de la democracia- su relectura ofrece herramientas de análisis para una contemporaneidad debilitada en su fe trascendente y vulnerada en sus relaciones interpersonales. Abstract Based on two tragedies by Euripides, we review the mythical mother figure as a cultural paradigm in order to establish historical relationships. We link the perspective of 4th century Hellenism and contemporary phenomena on three keys: the distancing from the divine and its attempt of resignification through a horizontal ethics, the generalization of violence as a normalized stage of coexistence, the need of referents at individual and social level. In the chosen texts, the motif of destiny focused from the consequences of war develops contrasting types of heroism; among them, Hecuba, the queen mother turned widow and witness of the end of her offspring, makes the distinctive proposal, through the renewal of the idea of justice and the revaluation of suffering with a transcendent sense. Euripides offers an alternative, which questions the idea of civilization in the face of the crisis of its traditional world -abandonment of the gods, arbitrariness of men, subjugation of the innocent. If the tragedy proposes an update of the myth of Troy in a classical setting -Athens of democracy- its re-reading offers analytical tools for a contemporaneity weakened in its transcendent faith and violated in its interpersonal relationships. Keywords: tragedy, Euripides, Hellenism, Hecuba, heroism.

CITRA PEREMPUAN PADA CERPEN SEPASANG MATA YANG TERPENJARA DAN PEREMPUAN ITU PERNAH CANTIK

Penelitian ini berusaha membandingkan dua cerpen yang berjudul Sepasang Mata Dinaya yang Terpenjara (SMDYT) karya Ni Komang Ariani dan Perempuan Itu Pernah Cantik (PIPC) karya Mashdar Zainal. Pendekatan yang digunakan dalam penelitian ini adalah sastra bandingan dan kritik sastra feminis. Penelitian ini dilakukan dengan tahapan-tahapan yaitu (1) penetapan objek penelitian, (2) pengumpulan data yang akan dianalisis, (3) analisis data, (4) penyajian hasil analisis data. Setelah dibandingkan kedua cerpen ini memiliki kesamaan dalam hal bentuk ketidakadilan gender yang dialami oleh masing-masing tokoh utama dari dua cerpen tersebut. Bentuk-bentuk ketidakadilan gender tersebut adalah marginalisasi, stereotip, dan beban kerja ganda. Adapun perbedaan dua cerpen tersebut adalah kehadiran tokoh ibu dalam SMDYT dan tidak hadirnya sosok ibu dalam PIPC, perbedaan penggambaran watak tokoh suami, dan perbedaan sikap dalam menerima peran sebagai seorang istri dalam konteks tradisional. Kata Kunci: sastra bandingan, citra perempuan, cerpen This research attempts to compare two short stories entitled Sepasang Mata Dinaya Yang Terpenjara (SMDYT) by Ni Komang Ariani and Perempuan Itu Pernah Cantik (PIPC) by Mashdar Zainal. The approach used is the comparative literature and feminist literary criticism. This research is conducted in several stages, namely (1) determining the object of research, (2) collecting data to be analyzed, (3) analyzing the data, (4) presenting the results of the data analysis. After comparing the two short stories, they have similarities in terms of the form of gender injustice experienced by each of the main characters of the two short stories. The forms of gender injustice are marginalization, stereotypes, and double workloads. The differences between the two short stories are the presence of a mother figure in SMDYT and the absence of a mother figure in PIPC, the differences in the representation of the husband's character, and differences of attitudes in accepting the role of a wife in a traditional context. Keywords: comparative literature, image of woman, short story

Childhood is “not a story to pass on”: Trauma and Memory Paradox in Toni Morrison’s God Help the Child

This paper examines how Toni Morrison’s God Help the Child is structured around the paradox of memory; that is, the need to remember and to disremember the past. On the one hand, Bride has to relive her memory in order to confess her lies and in order to find her authentic self. On the other hand, Booker has to forget the past in order to conduct an active life. Memory centralizes Booker as the African voice when he relates the story of his brother’s abuse, that is to say, the abuse of the African culture. But, at the same time, it decentralizes him from the future projects he desires to achieve since he spends most of his time lamenting the loss of his brother. Bride, at first, believes that memory is the worst thing about healing, but, then, she realizes the reverse. By remembering the past, Bride reaches recovery. She becomes the mother figure of her Black community who wears the earrings of wisdom, spirituality and culture. Keywords: Toni Morrison, God Help the Child, the paradox of memory, childhood and trauma

The Construction of an Ideal Mother amid the Covid 19 Pandemic: Gender Injustice Experienced by Career Women while Working From Home

<p><em><span lang="EN-ID">During the COVID-19 pandemic, all activities must be carried out at home, whether working, studying, or worshiping. Working from home is currently known as WFH (Work From Home). WFH seems to be something they want and expects for workers who are still active outside the home. But what about the WFH actors themselves? The media, through their articles, have written a lot about the story of working mothers who are doing WFH. This discussion becomes intriguing when the construction of the ideal mother remains on patriarchal ideology, causing gender inequality. This paper uses a critical discourse analysis method by collecting articles about women who continue to carry out their roles as career women during the WFH period. Seventy-two articles appear in the google search engine when looking for WFH mothers during the covid 19 pandemics. However, from 72 articles, there are only 19 articles that talk about the stories of women who are doing WFH, tips and tricks on being a mother during WFH. In the article, the media constructs the ideal mother figure during the covid 19 pandemics. The ideal mother figure described by the media is a mother as a husband's servant, financial regulator, educator, child caretaker, and career woman. The construction of an ideal mother during this pandemic must carry out the four identities that are attached to her at once. The form of this identity is influenced by the ideology that coexists in society. These ideologies are patriarchal culture, ibuism, and capitalism.</span></em></p><p><em><span lang="EN-ID"><br /></span></em></p><p>Masa pandemi covid 19 menyebabkan semua kegiatan harus dilakukan di dalam rumah, baik bekerja, belajar maupun beribadah. Bekerja di dalam rumah saat ini dikenal dengan istilah WFH <em>(Work From Home). </em>Bagi para pekerja yang masih terus beraktivitas di luar rumah, WFH seolah menjadi suatu hal yang diinginkan dan diharapkan. Namun bagaimana bagi pelaku WFH itu sendiri? Media melalui artikelnya banyak menulis tentang kisah ibu pekerja yang sedang melakukan WFH. Pembahasan ini menjadi menarik ketika ranah public dipaksa untuk dijalankan di ruang domestik. Tulisan ini menggunakan metode analisis wacana kritis dengan mengumpulkan artikel tentang ibu rumah tangga yang tetap menjalankan peran sebagai wanita karier selama masa WFH. Ada 72 artikel yang muncul dalam mesin pencari google ketika mencari ibu WFH masa pandemi covid 19. Namun dari 72 artikel hanya terdapat 19 artikel yang berbicara tentang curhatan para ibu rumah tangga yang sedang melakukan WFH, tips dan trik menjadi ibu selama WFH. Dalam artikel tersebut, media membentuk identitas mengenai sosok ibu ideal di tengah pandemi covid 19. Sosok <em>motherhood </em> tersebut adalah ibu sebagai pelayan suami, pengatur keuangan, pendidik dan pengasuh anak, dan sebagai wanita karier. Seorang ibu ideal di tengah pandemi ini harus bisa menjalankan empat identitas yang telah melekat pada dirinya sekaligus. Pembentukan identitas tersebut dipengaruhi oleh ideologi yang ada pada masyarakat. Ideologi tersebut adalah budaya patriarkhi, ibuisme dan kapitalisme.</p><p> </p>