Mithology

Ci par di vedere la natura umana spinta invicincibilmente al male da cagioni indipendenti dal suo arbitrio, e come legata in un sogno perverso e affannoso, da cui non ha mezzo di riscuotersi, di cui non può nemmeno accorgersi. (A. Manzoni, Storia della colonna infame) Puis par moyens estrangement subtils, Sont faits oiseaux, tous de divers plummage. (B. Salomon, La métamorphose d'Ovide figurée)

Universidad de La Habana. 2016. Número 282. 129-137 ___________________________________________________________________________ 129 ARTÍCULO ORIGINAL Eros y memoria en La noche del Aguafiestas, de Antón Arrufat Eros and Memory in La noche del Aguafiestas, by Antón Arrufat Gustavo herrera díaz Facultad de Artes y Letras, Universidad de La Habana, Cuba.

Polazeći od fotografske izložbe pod nazivom Čarobna družba u radu se pokušavaju dati tumačenja suvremenog okretanja mitskom odnosno procesima koje će Ivan Lozica nazvati remitologizacijom i retradicionalizacijom. Autor započinje višeznačnim tumačenjima značenja mita u suverenom svijetu gdje se opredjeljuje za ono prema kojem je mit istinita priča, to dragocjenija što je više posvećena, primjerna, što označava“ (Eliade).  Takva nova semantička vrijednost učinit će mit dvoznačnim pa će kod jednog dijela ljudi predstavljati samo „fikciju“ i „iluziju“, ali će kod sve većeg broja ljudi, a pogotovo kod etnologa, sociologa i povjesničara religije, on predstavljati „posvećenu tradiciju“, „prvotno objavljenje“. Slijedom toga istraživanjem mitskih predaja otvaraju se nove mogućnosti čitanja društva i kulture jer istraživači ispod fikcije naziru stvarnost. Mitske predaje tako „postaju“ zaseban jezik koji nam često govori o skrivenim dimenzijama čovjekova svjetonazora i svakodnevice.

The Maka are an ethnic group belonging to the Mataguayo linguistic family that is native to Northern Chaco (Paraguay). Until the mid-20th century, the group lived in the heart of the Chaco, and were traditionally hunter-gatherer-fishers. However, they have since moved to the outskirts of Asunción, the country’s capital, where they now live. From 1974 onwards, but for irregular periods, ethnobiological investigations have been conducted, carefully documenting the group’s previous way of life. Their knowledge concerning plants and animals has been of particular interest. This paper discusses the presence and the role in their cultural tradition of the birds that are masters of the rain and storms. It highlights the importance the Maka attached to these birds, in a region which experiences long periods of drought. The subject is set in a context of multiple interrelationships involving various different fields, and therefore it includes a summary providing details of the cosmology, shamanism, mythology on the origin of the birds of the rains, the role of the shamans of the rains, as well as the history and the current situation of the Maka. Lastly, emphasis is placed on the need to undertake such investigations in minority societies that are in danger of disappearing. Keywords.- Ethno-ornithology, Gran Chaco Indians, shamanism, cosmology, mythology.

Alacant, com tota ciutat històrica, té elements mitològics que formen part de la decoració dels seus carrers, ja que els edificis tradicionals solien afe-gir ornaments que feien referència a la mitologia clàssica. Tots aquests elements decoratius estan carregats de significat i donaven al vianant informació referida al lloc on estaven. En aquest treball volem donar aquesta informació al vianant actual perquè puga gaudir del significat d'aquests elements mitològics que de-coren els carrers d'Alacant.

Alicante, as any historical city, has mythological elements that decorate its streets because the ancient buildings used to have ornaments that referred to classical mythology. All these decorative elements are very meaningful and give information about the place they are located. In this article, we want to give this information to the current pedestrian so that he or she can enjoy the meaning of the mythological elements that decorate the streets of Alicante.

Hundreds of years ago, sailors were terrified by the Kraken, a dreadful sea monster capable of sinking ships and with a taste for human flesh. Today we know the legends of this monster were based on sightings of giant squids. This animal belongs to the genus Architeuthis and was the subject of many scientific
studies. Despite its enormous size (up to 18m), the giant squid is astoundingly elusive and much of its biology remains unknown. Thus shrouded in mystery, Architeuthis is almost a mythological creature and has a place both in science and in myth: the very last of the legends to persist to this day.

(EN) The article deals with the analysis of two subjects. The first subject is related to the cultur- al memory of the Lithuanians or their ancestors during the pre-modern period (we refer to the collective memory of the traditional agrarian illiterate society). Upon review of the genesis of mound memory during the 15th-19th centuries and several particular legends, it was revealed that things we nowadays refer to as the past used to be experienced and “systematized” in accordance with the laws of the mythological outlook in the rural environment of the Lithua- nian-speaking people as far back as the 19th century. Similar to the cases of other pre-modern societies, this environment ignored or did not tolerate historicity (the linear flow of time and the unique nature of events): historical personalities and events used to be included in the cultural memory only to the extent that they met the mythical images.
The second subject deals with the issue of how the memory of the pre-modern society is reflected in the theories of the classical memory (works by Jan Assman, Pierre Nora, and others). Based on the insights of Mircea Eliade and the studies of legends we may draw a conclusion that the cultural memory is not necessarily only the historical one, and the his- torical consciousness is not necessarily the only assumption for the cultural memory. The mythological “matrix” can also be the subject of memory. Therefore, two types and forms of the cultural memory ought to be distinguished: the historical memory and the mythologized memory. The form of the pre-modern society’s memory should be considered as the first one, and the memory of the modern era society should be considered the second.

(LT) Straipsnyje gvildenamos dvi temos. Pirmoji tema susijusi su lietuvių ar jų pirmtakų at- mintimi ikimoderniuoju laikotarpiu (omenyje turima tradicinės agrarinės nerašto visuomenės kolektyvinė atmintis). Apžvelgus piliakalnių atminties genezę XV–XIX a. ir kelis konkrečius padavimus atsiskleidžia, kad lietuviškai kalbančioje kaimo žmonių terpėje iki pat XIX a. tai, kas dabar įvardinama kaip praeitis, buvo patiriama ir „sistemina“ pagal mitologinės pa- saulėvokos dėsnius. Kaip ir kitų ikimodernių visuomenių atvejais, ši terpė buvo abejinga ar nepakanti istoriškumui (linijinei laiko tėkmei ir įvykių unikalumui): istorinės asmenybės ir įvykiai kultūrinėje atmintyje užsifiksuodavo tiktai tiek, kiek atitiko mitinius vaizdinius. Antroje temoje keliamas klausimas, kaip ikimodernios visuomenės atmintis yra reflektuoja- ma klasikinėse atminties teorijose (Jano Assmano, Pierro Nora ir kitų darbuose). Remiantis Mircea Eliadės įžvalgomis ir padavimų studijomis prieinama išvados, kad kultūrinė atmintis nebūtinai yra vien istorinė, o istorinė sąmonė nebūtinai yra vienintelė prielaida kultūrinei atminčiai. Atminties veiksniu gali būti ir mitologinė „matrica“. Dėl to vertėtų išskirt du kul- tūrinės atminties tipus ar formas – istorinę atmintį ir mitologizuotą atmintį. Pirmoji laikytina ikimodernios visuomenės atminties forma, antroji – modernios epochos žmonių.

Intorno al IV secolo a.C. alcune colonie greche dell'Asia Minore presentarono le condizioni ideali per lo sviluppo scientifico, tecnico, culturale, ma soprattutto filosofico. Fu proprio nell'antica città di Mileto, fiorente centro economico e culturale, che nacque la cosiddetta Scuola di Mileto, primo cuore pulsante del pensiero filosofico occidentale. Detti anche "fisici ionici", gli esponenti della suddetta Scuola, nonché fondatori e co-fondatori, sono: Talete, Anassimandro e Anassimene, i quali incarnano i primordi di quella tendenza filosofica che abbraccerà tutte le scuole "presocratiche": la cosmologia o periodo cosmologico, i cui rappresentanti si sono impegnati nella speculazione mitico-filosofica sull'origine del Cosmo, e di quale fosse il Principio ordinatore di quest'ultimo.

Tema ovog rada je izvor vode, zvan Božji studenac, u Ravnoj Gori u Gorskom kotaru. Studenac je poseban jer se smatra nepresušnim, dok se nalazi na više od 900 metara nadmorske visine. U narodu se njegova voda smatra ljekovitom za vid i lijepo lice, zrači ljekovitom energijom i oličenje je prirodne ljepote. Početci vjerovanja u magičnost Božjeg studenca se ne znaju, no zadiru duboko u ranogorsku prošlost. Na temelju oronima i Svetog trokuta povezanog uz (pra)slavenski mit u prostoru, možemo magičnost Božjeg studenca povezati sa starim Slavenima.

Boris Nad, Η επιστροφή του Μύθου " Βίαιες επιδρομές, που πολλές φορές μετατρέπουν ιστορικά τοπία σε κρανίου τόπο, κρύβουν λεπτές αλλαγές αλλά περισσότερο επιθετικού είδους ". Έρνστ Γιούνγκερ, Στον Τοίχο του Χρόνου Οι αντιθετικές διαδικασίες της απομυθοποίησης και επαναμυθοποίησης δεν ήταν άγνωστες στους αρχαίους πολιτισμούς, όπου οι παλιοί μύθοι συχνά καταστρέφονται (απομυθοποίηση) και αντικαθίστανται από νέους (επαναμυθοποίηση).Με άλλα λόγια, εδώ έχουμε τις διαδικασίες της απομυθοποίησης και επαναμυθοποίησης, που είναι αλληλοπροκαλούμενες και αλληλοεξαρτώμενες.Δεν αμφισβητούν τον πυρήνα της παραδοσιακής μυθικής κοινότητας, αντίθετα τον διατηρούν σύγχρονο και ζωντανό. Ο μύθος – με εξαίρεση τις περιπτώσεις της παντελούς κατάπτωσης και εκκοσμίκευσης της παράδοσης και του πολιτισμού – αποτελεί για μας όχι μία πρωτόγονη φαντασία, μία πρόληψη ή παρεξήγηση, αλλά μία πολύ συνοπτική έκφραση των υψηλότερων ιερών αρχών, που " μεταφράζονται " σε μία συγκεκριμένη γλώσσα της επίγειας πραγματικότητας, σε όποιο βαθμό αυτό είναι εφικτό. Ο μύθος είναι η ιερή αλήθεια περιγραφόμενη από τη λαϊκή γλώσσα.Όπου οι προϋποθέσεις για την κατανόησή της εξαφανίζονται, το μυθικό στοιχείο πρέπει να απορριφθεί για να το αντικαταστήσει κάποιο άλλο. Τα επικίνδυνα ένστικτα Ο μύθος, στις παραδοσιακές κουλτούρες, είναι επίσης μία μεγάλη αντίθεση, όπου, όπως φαίνεται στο σπουδαίο έργο του J.J. Bachofen: " Μητρικό Δίκαιο: Μια Έρευνα του Θρησκευτικού και Δικαστικού Χαρακτήρα της Μητριαρχίας στον Αρχαίο Κόσμο " , οι δύο κύριες και ασυμβίβαστες αρχές συγκρούονται: Η ουράνια και η χθόνια, η πατριαρχική και η μητριαρχική. Αυτό προβάλλεται σε όλες τις δευτερεύουσες λειτουργίες του κράτους και της κοινωνίας, μέσω της τέχνης και της κουλτούρας.Με την είσοδο των Ινδοευρωπαίων πατριαρχικών εισβολέων στα εδάφη της παλαιάς, μητριαρχικής, Ευρώπης άρχισε ο αγώνας των δύο αντίθετων αρχών, όπως τονίζεται στο έργο του Bachofen. Σ' αυτή την περίπτωση, οι παλαιοί μητριαρχικοί μύθοι και δοξασίες μετατράπηκαν σε πατριαρχικούς, μέσω των παράλληλων και εναλλασσόμενων

A Festa da Moça Nova é o ritual mais importante para dos índios Ticuna. Esta Festa marca a transição da menina, que acabou de menstruar pela primeira vez, da infância para um estado em que a moça pode se casar. Durante o ritual várias provações físicas e o aconselhamento farão com que a moça deixe de ser criança. Segundo os especialistas no ritual, para que isso aconteça, a chamada “moça nova” deve sofrer.  Pretendo mostrar, nesta comunicação, à luz das principais teorias sobre rituais de iniciação, como o sofrimento ritual da menina púbere faz com que ela encerre sua infância.

Характерным явлением для современной городской культуры стал поиск брендов и соответствующее целенаправленное конструирование локальных знаков с опорой на фольклорную
культуру. Как «возрождение архаики» и «местный феномен» последние десять лет артикулируется внимание к одному из персонажей белорусской мифологии – цмоку. Цмоку (дракону)
возведен памятник, проводился ежегодный фестиваль «В гостях у Лепельского цмока», обсуждалась и инициатива по закреплению за цмоком права быть туристическим и даже национальным
брендом Беларуси. В статье анализируются символические средства и дискурсивные стратегии, которые использовались для создания бренда, изучаются механизмы изобретения новых традиций, стратегии их легитимации, рассматривается роль медиа в этом процессе.
Отдельное внимание уделяется вопросам христианского и дохристианского в многослойной семантике образа цмока, проводится соотнесение архетипа змея с его более поздними интерпретациями. Фольклорный материал свидетельствует о приоритетах, связанных со змееборческими мифами и так называемой практической мифологией, воплощенной в сюжете о духе-обогатителе. Постулируемая организаторами фестиваля апелляция к произведению В. Короткевича на деле свидетельствует о незнании и непонимании литературных образов. Пример с «поисками цмока» показал, как обращение к глубоким реконструкциям вплоть до воспроизведения архетипа и вообще архаизация фольклорного факта в современных общественно-
культурницких проектах направляется не на исследование прошлого, а на объяснение и, особенно в случае лепельского фестиваля, оправдание настоящего. Подобным проектам присуща
субъективная интерпретация и переосмысление выбранного элемента, что, в свою очередь, приводит к присвоению новых значений, не присущих ранее. Не прошлое определяет масштаб
сегодняшних новых фестивалей, оно лишь переписывается в соответствии с новыми социальными обстоятельствами и требованиями.

Los charros son tipos populares que han tenido su propia trayectoria, tanto en España, vinculados a la provincia de Salamanca, como en México, donde han llegado a ser considerados un símbolo nacional. Los estereotipos relacionados con ellos comenzaron a forjarse en el siglo XIX, en el contexto de las guerras de independencia y en pleno auge de los nacionalismos liberales. No obstante, estos jinetes heroicos no surgen de la nada: son herederos de una tradición histórica y mítica que el poder político ha utilizado a lo largo de los siglos para justificarse en términos ideológicos, refiriéndose frecuentemente a la confrontación entre la civilización y lo salvaje, entre lo autóctono y la alteridad. Una de las principales virtudes de dichos relatos consiste en que consiguen generar figuras emblemáticas y heroicas que vinculan, a quienes se identifican con ellos, a una tierra y a un pasado idílico. En este libro, el análisis histórico y etnográfico se complementa con el estudio de los relatos fundacionales que preceden al origen de los Estados nacionales; mostrándonos la manera en la que el mito ha reproducido y establecido criterios de verdad, transformándose y adquiriendo nuevas formas en el presente; evidenciando las rupturas y los nuevos derroteros que han tomado dichos relatos en los actuales contextos políticos y sociales; así como, exponiendo la manera en que las sociedades amerindias contemporáneas los han adaptado a sus propias lógicas culturales. El caso de los charros es propicio para pensar en términos comparativos; para contemplar que es posible derrumbar los muros que hemos levantado entre la historia y el mito; para revelar la habitual convivencia entre las diversas maneras de generar memoria, que se manifiestan en la oralidad, la escritura y la actividad ritual, entre otras. El libro describe, a partir de dichas narrativas, los múltiples rostros de los vaqueros charros, los cuales han adquirido dimensiones míticas, a la vez que ocupan un espacio importante en las historiografías nacionales. Héctor Medina Miranda es profesor e investigador del Centro de Investigaciones y Estudios Superiores en Antropología Social (CIESAS), Unidad Occidente. Es un antropólogo que ha realizado investigaciones históricas y antropológicas en la Península Ibérica y se ha especializado en el estudio de las sociedades indígenas del occidente mexicano. Entre sus diversas publicaciones se encuentra el libro Relatos de los caminos ancestrales. Mitología wixarika del sur de Durango. Héctor Medina Miranda Vaqueros míticos Antropología comparada de los charros en España y en México

In the second half of the 1740s, Almorò Barbaro commissioned for the palace at San Vidal in Venice at least three works from Giambattista Tiepolo and a large canvas from Giambattista Piazzetta. This article proposes to reconsider the iconography of these paintings based on the study of the public offices and family context of the Barbaro household.
The subject of Tiepolo’s oval canvas now in the National Gallery of Washington has long remained unidentified. The author suggests that the painting illustrates the tragic story of the Greek heroine Electra, which was well known at the time in Venice, thanks to the increasing theatrical interest.
By undertaking a detailed analysis of the documents relating to the offices held by Almorò Barbaro during his long political and administrative career, the author also reconsiders the iconography of the canvas now at the Metropolitan Museum in New York. Traditionally interpreted as an allusion to the virtues of the family, in this context it can be more specifically intended as a celebration of the political and military achievements of his patron, prior to his appointment as Procurator of San Marco in 1750. In the final part of this article, the author analyzes the large canvas by Giambattista Piazzetta for the camaron, depicting the story of Gaius Mucius Scaevola with unusual iconographical details, which can be interpreted as a commemoration of Almoro’s favorite son Alvise Giuseppe, who died at a young age in 1747.

As narrativas míticas, entendidas aqui como  um  conjunto  de  discursos  que emprestavam inteligibilidade, coerência e  muitas  vezes  coesão  às  culturas  antigas, estão absolutamente presentes nos currículos do  6º  ano  do ensino  fundamental. O presente trabalho  tem como principal  intuito  unir  a  noção  de  consciência histórica e  as  narrativas  míticas em uma pesquisa empírica com os alunos do 6º ano do ensino público do município de Duque de Caxias (RJ). Dessa maneira, este  paper  vislumbra apresentar  um  conjunto  de  resultados de  uma experiência  pedagógica,  ao  criar  um universo de alteridades, mas também de possibilidades de identificação e novas leituras  de  mundo  por  parte dos  alunos ao entrarem em contato com sociedades pretéritas.

¿Qué tienen en común cinco de las más importantes épicas del mundo, separadas entre sí por miles de kilómetros y de años? Tras guiar al lector en el Poema de Gilgamesh mesopotámico, la Ilíada, la Odisea, el Mahābhārata indio y los Nibelungos, el autor responde a esta pregunta abarcando también la respuesta a otra no menos importante: ¿el lugar de los estudios sobre género en estos campos debe ser el de una sub-especialidad más, o de gueto académico, o les corresponde una posición central? Para Fernando Wulff todas estas obras tienen en los encuentros sexuales o matrimoniales entre diosas o mujeres poderosas y varones humanos las claves esenciales que enmarcan personajes, conflictos y estructuras narrativas. Se incluye un glosario final de nombres propios para facilitar la lectura y un apéndice sobre el Táin Bó Cúailnge irlandés como invitación al lector a aplicar las perspectivas propuestas a otras épicas y textos de la literatura universal.

در این مقاله تلاش شده تا با معرفی دو نقش‌مایه در دو قطعه کاشی نصب ‌شده در خانه- موزه مقدم، به تحلیل تصویری آثار یاد شده پرداخته شود. با توجه به وجود نداشتن هیچ یادداشتی مبنی بر این که کاشی‌های یاد شده از کجا به دست آمده‌اند، و مشخص نبودن این موضوع که در گذشته، نصب کاشی‌ها در کنار یکدیگر بوده است یا نه و آیا ارتباطی با هم داشته‌اند یا خیر؟ و همچنین با توجه به نقش هر دو قطعه کاشی، می‌توان تفسیرهای متعددی ارایه داد. دو قطعه کاشی مورد اشاره، حامل ارزش‌ها و پیام‌هایی هستند؛ درک معنایی این نقوش، نیاز به شناخت عناصر نمادینی دارد که روزگاری زبان کلامی و معنایی مشخصی در فرهنگ جامعه داشته‌اند. در این راستا به روش آیکونوگرافی (iconography) می‌توان به جنبه‌هایی از باورهای اسطوره‌ای و عناصر نمادین پی برد و بر اساس مطالعه تاریخی بر روی چندین فرهنگ گوناگون، ضمن بازنمایی نشانه‌های موجود در نقوش، نسبت به تحلیل و دریافت مفهوم آنها اقدام کرد. این کاشی‌ها بوسیله هنرمندی ناشناس طراحی شده‌اند و به احتمال قریب به یقین، مربوط به عصر قاجار هستند و جدا از محل اصلی خود، به عنوان تزیینات، توسط مرحوم محسن مقدم، در خانه موزه مقدم نصب شده‌اند.
در این مقاله، با استفاده از روش آیکونوگرافی، در ابتدا به درک معنایی نقش نمادین کاشی‌ها (کلاغ با بدن انسانی سوار بر اژدهای خشمگین و قطعه دوم، نقش یک مبارز یا پهلوان اسب‌سوار و شکست اژدها) پرداخته می‌شود.

Academician Ivane Javakhishvili has made assumption about the name of famous character of Georgian folklore – Amiran that possibly it contained sound H and the name was pronounced as “Amihran” and this, in turn, is the same as “Mihran” (“Mitra”).
This report contains the opinion, according to which, genesis of the above name was indeed associated with the Iranian world and that it sounded as āhur ī mihrān (“Spirit of Suns”; “God of Suns”) or as mihr ī mihrān (“Sun of Suns”). If this is so, it would be easy to explain the origin of the form “Amiran” – it is not excluded that in people there was spread the form “Imihran” and further it transformed into “Amihran” (Amiran).
We suppose, that to “Amiran” were associated the names of heathen characters: “Persian kings Khuara and Khuan Khuara”; in our opinion, it is also necessary to study the private name of Pahlavi-Georgian genesis: “Khvaramze” in the context associated with Amiran.
The report does not share the view that the mentioned character, Amiran has been once identified with Mitra. Supposedly, these are two absolutely different characters. It is well known that the scientists frequently consider Amiran in relation with Prometheus, Mher, Abrskil and other characters.
According to the report, the main common thing related to these characters is that they have brought something good to the humans at early stage or attempt to become equal to the god. In our opinion, it is not impossible that this character is of Georgian or Kartvelian genesis; if name Amiran originates from āhur ī mihrān, it is not excluded that the name of this character was similar to such names as “Sultamze” (Sun of the Spirits), “Sulkalmakhi” (exact meaning is not determined; Georgian word “Sul” /სულ, სული/ means “Spirit”).

Mythologies produced by societies can be the source of theories of
philosophy and psychology and become the material of popular culture. In this study, the use of Turkish culture and mythology in films will be examined. In these films, which incorporate elements of Turkish culture and mythology, we investigate that incorporation in terms of which scenes and for what possible purpose. Thus, the approaches of these films to Turkish culture and mythology will be analyzed to reveal perceptions of Turkish culture and mythology. This study draws attention to the lack of such studies on Turkish culture and provides the basis for further research. The importance of the study should be evaluated in this respect. The study consists of three parts. First, “The Epics Period: The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.” In this section, the elements of mythology and the common lifestyle of the Turks from Central Asia to Anatolia will be examined. In the second part of the study, the expansionist policies of the Turks during the Ottoman Empire period and evaluations of the Janissary military system in the film Dracula Untold will be interpreted under the title of "Against the Turks: Dracula Untold." In the third part of the study, the film Water Diviner, showing Turkey’s struggle from the 1915 Gallipoli campaign to the War of Independence in 1919, will be evaluated under the title "Last
Hope: Mustafa Kemal."

Un breve testo sulla valenza simbolica del monosandalismo nel rito di iniziazione massonico. Il contributo è stato pubblicato in appendice al volume del prof. Marco Rocchi "Rinato nella pietra, Psicologia e antropologia della iniziazione massonica", edito da Tipheret nel 2014.

Özet
Su kültü, Türk kültüründe çok eski dönemlerde var olup temeli “yer-su” inanışına dayanır. Kültlerle ilgili inanış ve uygulamalara, sözlü anlatım ürünlerinde temel motifler olarak rastlanır. Modern Türk anlatılarında da “su”yun, motif/izlek olarak metnin kurgusunda işlevsel olarak kullanıldığı görülür. Mustafa Kutlu’nun Beyhude Ömrüm hikâyesinde su motifi, hikâyenin kurgusunda oldukça işlevseldir. Hikâyede kahraman/Yadigâr “Islak Kaya”nın varlığından yıllardır haberdar olmakla birlikte, kayanın içinde suyu barındırdığını fark edince, hedef belirler. Masal kahramanları gibi hedefine ulaşmak için plan yapar. Onun Islak Kaya’yı yarıp içindeki suyu çıkarması masal kahramanlarının yolculuğunu andırır. O da masal kahramanları gibi bazı engellerle karşılaşır, aklını kullanarak ve yönlendiricilerinin de destekleriyle hedefine ulaşır. Islak Kaya’nın öneminin fark edilmesiyle kaderine terk edilen kıraç topraklar aslına uygun olarak kullanılıp yeniden doğar. Mustafa Kutlu hakkında daha önce yapılan çalışmalarda Beyhude Ömrüm hikâyesindeki folklorik unsurlara değinilmemiştir. Beyhude Ömrüm hikâyesi hakkında özgün bir çalışma yapan Hatice Altunkaya, hikâyeyi sadece Greimas’ın “Eyleyenler” modeline göre incelemiştir. Bu yazıda ise Beyhude Ömrüm hikâyesindeki kahramanın suyun ardındaki mücadelesinin masal kahramanlarıyla benzerlik ve farklılıkları üzerinde durulduktan sonra, hikâye, arketipler ekseninde değerlendirilmiştir. Su kültü etrafında oluşan folklorik unsurların, metnin dokusuna nasıl yerleştirildiği tespit edilip yorumlanmaya çalışılmıştır.
Anahtar Kelimeler: su kültü, arketip, yeniden doğuş, masal, modern anlatı

The travel of the protagonasit in search of water
in story Beyhude Ömrüm/[My Futile Life]
Abstract
Water cult has been existed since ancient time periods and it based on “ground-water” belief. As the basic motif, beliefs and practices associated with cult have been found in oral expression. In modern Turkish narratives, the using of “water”, as a functional motif/theme in fiction of text, is seen as well. Water motif in Beyhude Ömrüm, Mustafa Kutlu’s story, is fairly functional in the fiction of the text. In the story, the protagonist Yadigâr, along with being aware of the existence of “Islak Kaya” [The Wet Rock] for years, takes it as aim when he realized that the rock contains water within it. He makes plans in order to reach his aim such as heroes in tales. His act to cleave The Wet Rock and take out the water inside reminds travels of tale heroes. He, such as tale heroes, encounters some obstacles, but he reaches his aim by the support of his helpers and using his brain. By realizing the importance of The Wet Rock, the waste lands, which were left to their fate, are started to be used compatible with their original aim, and the lands begin to run dry regenerate. Folkloric elements in the story Beyhude Ömrüm were not mentioned in previous works on Mustafa Kutlu. Hatice Altunkaya, who has an original work on the story Beyhude Ömrüm, has examined the story only acording to the actant model of Greimas. In this paper, after stressing similarities and differences between the acts of the protagonist of Beyhude Ömrüm in search of water, and of tale heroes, the story has been examined in terms of narration and archetypes. It has been determined how the folkloric elements, which are formed around the water cult, were located in texture of the text, and it has been analyzed.
Key Words: water cult, archetype, rebirth, tale, modern narrative

Hécate es una diosa griega ajena al nutrido grupo de divinidades del Olimpo. Señora de la magia, reina de brujas y hechiceros, ama de las encrucijadas y de los caminos, vagabunda nocturna, compañera de los muertos y protectora de jóvenes. Fuera de los canales de la religión oficial, su culto adquirió una enorme popularidad. Cuentan las fuentes que en la racional y mesurada Atenas de época clásica, cada hogar tenía su propio altar consagrado a la diosa triforme. Los arqueólogos han recuperado de las entrañas de la tierra desta-cados vestigios en forma de estatuillas, ofrendas votivas e inscrip-ciones, que han iluminado con su sabor milenario la oscura figura de esta diosa. Soberana de los umbrales y los límites, adquirió un importante protagonismo como divinidad tutelar de ritos de paso. Entra así en relación con la esfera de los misterios, ese torrente de religiosidad que sacudió profundamente la antigua religión griega. En este libro nos adentraremos en su origen, la expansión de su culto, su relación con la magia y con el mundo de los muertos, su papel en sistemas de creencias más complejos y su eclipse definitivo bajo el empuje del cristianismo.

Questo articolo osserva come il mito di Cian Bolpìn (tratto dalle "Dolomitensagen" di K. F. Wolff) riprende lo stesso schema narrativo di "Amore e Psiche" di Apuleio ribaltandone però la relazione Dio/inizianda in Dea/iniziando. Viene rilevato inoltre che dalle Dolomiti ai Grigioni, esistono diverse varianti della storia di Cian Bolpin e che tutte però narrano di una Dea che inizia un ragazzo e non viceversa, come nella versione mediterranea. Se ne analizzano le ragioni, evidenziandone la struttura narrativa (uguale per entrambe le versioni) e trovando corrispondenze persino col ciclo bretone.

Ovo su bilješke iz serije o religiji stare Mezopotamije, koje sam na osnovu knjiga i Interneta radio oko 2000.-2003. godine. Danas ima puno novih izvora na Internetu, a neke ovdje naedene poveznice vjerojatno više ne rade, ali ne da mi se sve provjeravati i dopunjavati. Kako je malo vjerojatno da ću ikada to obraditi u pravi završeni tekst, ostavljam ovako uz minimalno sređivanje i ovu uvodnu napomenu.

- Uvodni dio
- Inanna preotme hram E-ana od Ana
- Inana opije i opljačka En-Kia
- Razaranje planine Ebih
- Vapaj svećenice Enheduanne
. Poema Nin-Me-Sara
- Inanna u podzemnom svijetu
- Zavedena i zadovoljena, donosi plodnost
- Damuzi (Tammuz)

Seiðr y Völvas
Nel Riott, 2020 - Hermandad Vanasatru Argentina
[email protected]

Introducción
En este archivo traeré una recopilación de las entradas relacionadas con Seiðr y las Völvas que se han publicado en el blog de la Hermandad Vanasatru Argentina.
Hace tiempo que estoy en el estudio de Seiðr, y creo que debí haber hecho esta investigación hace tiempo ya que me proporcionó mucha satisfacción, nuevos saberes, y un poco más de entendimiento.
Me tomé el tiempo de investigar, seleccionar y traducir fuentes para la recopilación de información sobre völvas, para que las chicas de mi grupo de Seiðr tenga una base solida donde empezar y entender un poco más el camino que están tomando. Espero que séa de su agrado la información que seleccioné. Estarán adjuntados los contactos, y fuentes de donde saqué la información a final de éste pdf.
Aclaración: En este archivo puede llamarse “Seiðr” tanto a la práctica mágica como a la diosa de la magía nórdica, Heiðr.

A rkeolojik verilere ve tarihi kaynaklara göre Hunlar (Hiung-nu/M.Ö.3.yüzyıl-M.S.6. yüzyıl) ve Kök Türkler (Kök Türük /Tuküe/ M.S.552-744), Ki-lin (Qi-lin/ ) denilen efsanevi bir yaratığa inanırdı. Göçebelerin bu yaratığa inandıkları hakkında eski metinlerde bilgi bulunmasıyla birlikte sanat eserlerinde de bu mi-tolojik yaratığın görülmesi, göçebelerde bu yaratığın son derece saygın bir yeri olduğunu göstermektedir. Ki-lin efsanesinin asıl kaynağı eski Çin metinlerine dayanmakta ve çok eskilere gitmektedir. Çin klasikleri arasında yer alan ve Zhou devrinden (M.Ö.1046-256) tarih ile ilgili Shu-jing ve Chun-qiu, şiir ile ilgili Shi-jing, ritüellerle ilgili Li-ji/Li-ki ve bir sözlük çalışması olan Er-ya, Batı/Erken Han devrinden (M.Ö. 206-M.S.25) tarih ile ilgili Shi-ji/Shi-ki (M.Ö. 91), Doğu/Geç Han devrinden (M.S.25-220) bilim, felsefe, edebiyat ve mitolojiyle ilgili Lun-heng (M.S. 80), bir sözlük çalışması olan Shuo-wen-jie-zi (M.S. 100) ile mitoloji ve tarihle ilgili Shi Yi Ji (M.S. 4. yüzyılda derlenmiş) isimli eserlerde Ki-lin hakkında önemli bilgiler bulunmaktadır. 1 Ki-lin yaratığının eski Çin'de son derece prestijli bir yeri vardı ve özellikle imparatorluk sarayına yakın uğurlu ve koruyucu göksel kutsal bir yaratıktı. Eski Çin inanışına göre uğurlu ve koruyucu Ejderha, Feniks (Feng-huang), Kaplumbağa ile birlikte Ki-lin dört kutsal ve göksel akıllı hayvandan biri olup yaratıkların lideriydi. Eski metinlere göre Ki-lin, efsanevi bir hükümdar olan Huang-di (Sarı İmparator/ M.Ö. 2698-2598) zamanından itibaren bilinmekteydi. Ki-lin daha çok imparatoru, soylu sınıfı, bilge kişileri, ileri gelenleri, iktidarı ve imparatorluğu temsil ediyordu ve onlarla ilişkiliydi. Evreni meydana getiren karşıtlıkların uyumlu döngüsünü ifade eden Yin-Yang ile bağlantılı erkek ve dişi ikilisinden meydana gelmiş Ki-lin, erkek için Ki ve dişi için Lin isimlerini almıştır. Bahsettiğimiz erken devir eski metinlere göre tek boynuzlu ve dört ayaklı bu yaratığın vücudu önceleri Zhou devrinde kemikten tek boynuzlu antilop veya geyik, sonrasında ise antiloba benzetilmesi yanında Geç Han devrinde etten tek boynuzlu ata da benzetilmiştir. Tek boynuzlu bu yaratıkta, öküz kuyruğu da bulunuyordu. Tüylü ve beyaz renkte olup yüksek ve büyük olan bu yaratığın kemikleri olağanüstü idi. Bu yaratık genellikle saray bahçelerinde veya şehrin dışında ormanlık alanlarında dolaşırken görülürdü. Güneşin hızıyla tek boynuzlu yaratığın hızı arasında benzerlik görülüyordu. İyi yürekli ve bilge olan bu efsanevi yaratık, iyiliğin ve yardımseverliğin simgesiydi. Bu yaratığın sağlıklı bir şekilde görülmesi iyi şansa; sakat olarak görülmesi, yakalanması, ölmesi veya HUNLARIN BİR KOLU OLUP SONRADAN ONLARDAN AYRILAN VE EFSANEVİ Kİ-LİN YARATIĞINA İNANAN KÖK TÜRKLER, MEZARLARINDA HUNLAR GİBİ Kİ-LİN FİGÜRLERİNİ UYGULUYORLARDI. KÖK TÜRKLER, ÖLDÜKTEN SONRA RUHLARININ BİR KUŞ GİBİ GÖĞE YÜKSELECEĞİNE VE ORADA ESKİ YAŞAMLARINA DEVAM EDECEKLERİNE İNANIYORLARDI.

It developed in what is now Iran after about 1500 B. C. Zoroastrianism emerged in the region about a thousand years later. It held on to many of the earlier beliefs but added new themes, deities, and myths. The result was a mythology based on a dualistic vision: a cosmic clash between good and evil.The earliest information about Persian mythology comes from Avesta.

The driving forces of that mythology were two powerful gods, Ahura Mazda the creator, a god of light, truth, and goodness, and his enemy Ahriman, the spirit of darkness, and evil, created only destructive things such as vermin, disease, and demons.

Muitos pensam que a pesquisa científica é uma atividade puramente racional, na qual o objetivismo lógico é o único mecanismo capaz de gerar conhecimento. Como resultado, os cientistas são vistos como insensíveis e limitados, um grupo de pessoas que corrompe a beleza da Natureza ao analisá-la matematicamente. Essa generalização, é profundamente injusta, já que ela não incorpora a motivação mais importante do cientista, o seu fascínio pela Natureza e seus mistérios. **Que outro motivo justificaria a dedicação de toda uma vida ao estudo dos fenômenos naturais, senão uma profunda veneração pela sua beleza? A ciência vai muito além da mera prática por trás disso, encontra-se uma pessoa tentando transcender as barreiras imediatas da vida diária, guiada por um insaciável desejo de adquirir um nível mais profundo de conhecimento e de realização própria. Sob esse prisma, o processo criativo científico não é assim tão diferente do processo criativo nas artes, isto é, um veículo de autodescoberta que se manifesta ao tentarmos capturar a nossa essência e lugar no Universo" (Gleiser, MARCELO. A danç do universo, mitos de criação. P 17)

10.00.08 – Фольклористика. ФИЛОЛОГИЯ ФАНЛАРИ БЎЙИЧА ФАЛСАФА ДОКТОРИ (PhD) ДИССЕРТАЦИЯСИ. АВТОРЕФЕРАТИDISSERTATION ABSTRACT FOR DOCTOR OF PHILOSOPHY (PhD) ON PHILOLOGICAL SCIENCES. АВТОРЕФЕРАТ ДИССЕРТАЦИИ ДОКТОРА ФИЛОЛОСОФИИ (PHD) ПО ФИЛОЛОГИЧЕСКИМ НАУКАМ

The paper is based on field researches made in 1998-2000 in Roscani and Mihaesti villages (Hunedoara District).
Starting from several personal narratives and ethnographic descriptions recorded in these villages,  we try to outline some characteristics of funeral rites based on mythic structures and representations. We draw a parallel between the informers' testimonies and the ethnological comments that Ion H. Ciubotaru express in his book, The Great Passage.
We analyze the rites that are intended to ensure the community's protection against the unexpected return of dead as malefic spirit and the reflection of believes in ceremonial practices and also in the stories.
Although people attend to accomplish all these rites, 'the restless dead' is an strange but not upsetting presence either as a dream vision or as a ghost haunting in their household, on the cornfield or on the narrow streets of the village. Sometimes these spirits seem to keep important protective features defining themselves as guardians of family or of the community itself.

Hamilton Sérgio Nery de Medeiros é natural de João Pessoa, Paraíba. Possui Licenciatura em Letras Clássicas (Grego e Latim), pela Universidade Federal da Paraíba, e mestrando na mesma área, pela linha de pesquisa em Estudos Clássicos do PPGL-UFPB. Nesta obra, Deucalião e Pirra e o Dilúvio, o autor apresenta suas composições baseadas nos mitos homônimos, tratados por Ovídio em sua obra Metamorfoses. Medeiros direciona sua obra ao público infanto-juvenil, através de uma linguagem simples, metrificada, que facilita a compreensão e a fixação dessas narrativas, tão importantes para a cultura dos povos da Antiguidade.