Relevant bibliographies by topics / Goddesses

Academic literature on the topic 'Goddesses'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Goddesses"

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Vuong, Nguyen Hung, and Vo Thi Ngoc Giau. "The Role of Mother Goddess Worship in the Spiritual and Cultural Life of People in Lam Dong Province, Vietnam." Journal of Education, Society and Behavioural Science 36, no. 7 (May 16, 2023): 70–77. http://dx.doi.org/10.9734/jesbs/2023/v36i71237.

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The beliefs in Vietnamese Mother Goddesses Worship, commonly called Mother Goddesses, worship Mother Goddesses herself, Mother Goddess of Three Palaces and Four Palaces appear to be quite popular and have deep historical and social origins among the people of Lam Dong province, Vietnam.. Although they are all worship of feminine gods, the worship of goddesses, “Thanh Mau”, “Thanh Co”, Mother of the Three Palaces, and the Four Palaces are not completely identical. This article explores the process of formation, development and typical features of Mother Goddess worship in the cultural life of people in Lam Dong province, Vietnam. Based on the analysis of the actual situation of worshiping Mother Goddesses of the people of Lam Dong, the authors propose a number of policy implications that contribute to preserving the beauty of Mother Goddess worship and promoting the Vietnamese culture of progressive, imbued with beautiful national identity.
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Prychepii, Yevhen. "Four- and eight-membered structures with a rhombus in the center in the geometric ornaments of Podillya embroidery." Culturology Ideas, no. 22 (2'2022) (2022): 131–47. http://dx.doi.org/10.37627/2311-9489-22-2022-2.131-147.

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The subject of research is the structure of geometric ornaments, in the center of which there is a rhombus, and on the periphery there are eight or four symbols. (figure 7, 8, 14). It is stated in this article that these structures symbolise the Cosmos of the ancient people: rhombus in the centre of structure denotes the dungeon and four (eight) symbols on the periphery denote a certain sphere of life. Structures with four symbols on the periphery, which are more common in ornaments, denote the four goddesses. The principles of constitution of these goddesses are considered. Their images are formed from two rhombuses-a common rhombus, which denotes the dungeon (or vulva of the goddess), and a separate rhombus-head. The rhombus and rhombuses are connected by symbols, which are popularly called "ram horns" and "hearts". The author identifies them as the "hands" of the goddess and believes that they are used to form the "poses" of the goddesses. Three ornamental types of goddesses with different poses have been identified: the goddess in the "hands on hips" pose, the goddess in the "oranta" pose, and the goddess with hands in the shape of a "heart". The samples of ornaments, which are inherent in these poses, are considered. The heart-shaped goddess is identified as the vulva goddess, the hands-on-hips goddess as the head goddess, and the oranta goddess as the Great Goddess. It is argued that the study of the "poses" (hand shapes) of conventional figurines of goddesses can open up a new perspective in understanding the semantics of ornaments.
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Budin, Stephanie. "A Reconsideration of the Aphrodite-Ashtart Syncretism." Numen 51, no. 2 (2004): 95–145. http://dx.doi.org/10.1163/156852704323056643.

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AbstractScholars have long recognized a one-to-one correspondence, or interpretatio syncretism, between the Greek goddess Aphrodite and the Phoenician goddess Ashtart (Astarte). The origin of this syncretism is usually attributed to the eastern origins of Aphrodite herself, whereby the Greek goddess evolved out of the Phoenician, as is suggested as early as the writings of Herodotos. In contrast to this understanding, I argue here that the perceived syncretism actually emerged differently on the island of Cyprus than throughout the rest of the Mediterranean. On Cyprus, the syncretism emerged out of an identification between the two queen goddesses of Cyprus - Aphrodite and Ashtart. In Greece, by contrast, it evolved out of a slow "Orientalizing" of Aphrodite combined with a Greek tendency to equate almost all eastern goddesses. As a result, the identification between Aphrodite and Ashtart was quite general, and both goddesses were syncretized not only with each other, but with a full range of Mediterranean goddesses.
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Prychepii, Yevhen. "Eight-membered ornament structures on Trypillia bowls and pots." Interdisciplinary Cultural and Humanities Review 2, no. 2 (2023): 20–31. http://dx.doi.org/10.59214/2786-7110-2023-2-2-20-31.

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The origin of ornaments and their semantics is a problem that has not been sufficiently examined in modern science. The purpose of the study is to clarify the semantics of Trypillia ceramic ornaments using the structural method. The structures of bowl ornaments that are formed from eight symbols are examined. There are two types (A and B) of symbols in the structure. It is established that four characters A are interspersed with four characters B. The characteristic features of symbol A and symbol B are determined. It is hypothesised that the symbol A stands for gods, and the symbol B – goddesses. Eight-membered structures of ornaments on pots are examined. It is shown that they are also formed from four symbols of gods and four symbols of goddesses. The specifics of the formation of symbols of goddesses are traced. It is presented that in the ornament behind the symbols of the goddesses, in one case, one goddess is hidden in another – the three goddesses. It is believed that one goddess symbolises the Cosmos as a whole or the Moon, and the three goddesses embody the three main spheres of the Cosmos – the underworld, the sphere of life, and the sky or the three phases of the Moon. The study helped to establish the patterns of the formation of ornaments and form a hypothesis, according to which the symbols of ornaments hide the four gods and the four goddesses of Trypillia. Identification of the patterns of formation of Trypillian ornaments can serve as a key for delving into the semantics of ornaments of other archaic cultures and the semantics of traditional folk ornaments, in which the cult of the goddess can be traced
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Fehlmann, Meret. "Ancient Goddesses for Modern Times or New Goddesses from Ancient Times?" International Journal for the Study of New Religions 8, no. 2 (December 6, 2018): 155–81. http://dx.doi.org/10.1558/ijsnr.37402.

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This paper deals with the way the goddess(es) of ancient Crete and Greece are imagined and reappropriated in the feminist spirituality movement. It offers an overview over the different metamorphoses of these ancient goddesses in the twentieth century, and takes a closer look at the goddess-related work of Carol P. Christ.
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Yadav, Megha. "Disease, Demon, and the Deity: Case of Corona Mātā and Coronāsur in India." Religions 13, no. 11 (October 26, 2022): 1011. http://dx.doi.org/10.3390/rel13111011.

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As India faced multiple waves of the pandemic, religious responses arose to accommodate and make sense of the situation. In the face of uncertainty, disease and death, people turn not just towards the medical sciences but also religion. The emergence of a new Hindu goddess, Corona Mātā/Coronavirus Mardhinī encapsulates people’s fear, faith, and devotion. Although the goddess is new, the tradition of disease goddesses is ancient. The Indian Subcontinent has a long history of mother goddesses who have been protecting their devotees from diseases such as smallpox, fever, plague, etc. This paper attempts to examine the emergence of Corona Mātā in the historical context of these ‘protective mothers’. On one hand, historically, these goddesses have emerged as a result of interaction between Brahmanical religion and regional practices. On the other hand, these disease-centred goddesses can also be seen as the result of fear and faith. This paper will analyse the location of Corona Mātā in the ever-evolving pantheon of Hindu deities in the context of a 21st-century pandemic.
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Prychepii, Yevhen. "The Image of the “Deer Goddess” in Geometric Ornaments of Women’s Podolian Shirts." Culturology Ideas, no. 16 (2'2019) (2019): 110–27. http://dx.doi.org/10.37627/2311-9489-16-2019-2.110-127.

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The purpose of this article is to analyze the semantics of ‘deer goddess’ images in geometric ornaments (the ornaments of the female shirts of Podillya are taken as a sample). Methodology. Based on the proto-myth concept developed by the author, he distinguishes the structures of symbols in geometric ornaments identified as the image of the ‘deer goddess’. Results. The article distinguishes three subtypes of ‘deer goddess’ images based on which variants of ornaments were formed. These variants of ornaments were ‘constructed’ according to the same rules: ornaments with one goddess (fig. 2‒4, 13, 19), ornaments with two goddesses with joint thighs (fig. 6‒8, 13‒15, 20), ornaments with four goddesses (fig. 9, 10, 16, 17, 21), and ornaments formed from individual symbols of the goddess (fig. 11, 12, 18, 22). For comparison, some ornaments on the ‘theme’ of a deer in the embroidery of the Russian North were analyzed (fig. 23‒25). Novelty. For the first time in the practice of ornaments analyzing, the image of the ‘deer goddess’ was highlighted, the transformations of these images in the ornaments were traced, the relationship of these transformations with the structures formed by the goddesses on the Paleolithic and Neolithic artifacts was shown. The practical significance. The research showed that the geometric ornament has retained its semantics accessible to understanding. This allows us to more adequately assess the role of ornament in the spiritual culture of mankind.
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Bühnemann, Gudrun. "The Goddess Mahā;cīnakrama-Tārā (Ugra-Tārā) In Buddhist And Hindu Tantrism." Bulletin of the School of Oriental and African Studies 59, no. 3 (October 1996): 472–93. http://dx.doi.org/10.1017/s0041977x00030603.

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It is well known that some goddesses are worshipped in both the Buddhist and Hindu Tantric traditions. A form of the Buddhist Vajrayoginī, accompanied by Vajravarṇanī and Vajravairocanī, is the prototype of the Hindu Chinnamastā accompanied by Ḍākinī and Varṅinī. Forms of Ekajaṭā and Mañjughoṣa were adopted from the Buddhist pantheon into the Hindu and worshipped by the same name. Usually it is not easy to trace how and when these adaptations took place. In the case of Mahācīnakrama-Tārā, a special form of Tārā, it has long been suspected that the goddess was imported from the Buddhist Tantric pantheon into the Hindu pantheon. In this paper I demonstrate, on the basis of clear textual evidence, how the goddess's description in a Buddhist sādhana was incorporated into the Hindu Phetkāriṅītantra, which was then quoted as an authoritative source regarding the goddess by later Hindu Tantras. I further examine representations of the goddess in art, and provide a new edition and translation of two sādhanas of Mahācīnakrama-Tārā.
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Bolshakov, Vladimir A. "About the character of deification of the Egyptian Queens of the New Kingdom." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2023): 33. http://dx.doi.org/10.31857/s086919080025052-4.

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The article analyzes the character of deification of Queens of the New Kingdom on the basis of their official representation in Egyptian pictorial and textual evidence. In order to reveal the nature of the deification of Queens and the essence of their theological role as a whole, the article discusses specific methods and features of assimilation of Queens with the goddesses. (first of all, goddesses Hathor, Isis, Maat, Mut, Nekhbet) or goddess of the solar-Eye (Hathor/Tefnut). By “deification” the author means endowing a Queen with the features of a goddess, and two aspects of this phenomenon are distinguished: the deification of living and dead Queens. The focus of the present study is only the deification of living Queens. The author puts the trend to assimilate them with goddesses in close relationship with the evolution of the ideology of royal power and the so-called “solarization” of the image of the ruling king, which reached its maximal expression under Amenhotep III and Ramses II (the period of Akhenaten’s reign which deserves a special study was deliberately omitted). The bulk of the evidence for this trend is provided by pictorial sources, and in particular, the individual iconography of Queens. The study of the selection of sources allows drawing a fundamental conclusion that there were undoubtedly various semantic parallels between the Queens and the principal goddesses of the Egyptian pantheon. Nevertheless, the assimilation of Queens with the goddesses, with some exceptions, did not reach a level of complete identification with the latter, and these parallels themselves were drawn mainly means of iconography, and not laudatory phraseology.
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Narto, Amad, Karolus Geleuk Sengadji, and Muhammad Farhan Ramadhan. "Design of the Process of Ascending and Descending of Davits on Lifeboats Automatically." RSF Conference Series: Engineering and Technology 3, no. 1 (October 5, 2023): 140–44. http://dx.doi.org/10.31098/cset.v3i1.737.

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The Davits on lifeboats is a tool for lowering a lifeboat where the lifeboat is a means of rescue when an accident occurs. A lifeboat is designed to save human lives in case of trouble at sea. A lifeboat generally refers to a vehicle carried by a larger ship for use by passengers and crew in an emergency. Researchers here use the RnD method, starting research at the time of marine practice on the MT ship. Fortune Pacific xlix, when researchers practice, researchers began to make observations of lifeboats and goddesses on board. Researchers began to make a frame of mind to design goddesses on lifeboats automatically. After that, researchers made skeleton designs of lifeboat goddesses and carried out mechanical and electronic designs. Researchers also tested mechanical and electronic devices after testing. Researchers began to find problems with goddess poles and ropes, then revised the product after revising the product. Researchers make product improvements. The process of making the design of the rise and fall of the goddesses on the lifeboat automatically through data collection methods in the form of observation, documentation, and data analysis methods begins with the design of the tool design in the form of the tool-making stage, trial stage, and evaluation stage and has been validated by Mr. Anang Budhi Nugroho M.Eng as a lecturer at the Semarang Shipping Science Polytechnic and in the process of making goddesses on the lifeboat automatically is also assisted by Nur Rokhim is a programmer who is currently carrying out education at UNNES. The suggestion for use in this design is not only to be applied to the system of rising and falling goddesses on lifeboats but can be applied to the shipping industry, which in its work intersects goddesses on lifeboats. Then the important process is to make an initial concept of the design model that will be made automatic by relying on electronics and mechanics on the tool.
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Dissertations / Theses on the topic "Goddesses"

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Kicak, Elizabeth. "Goddesses and Doormats." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1680.

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The following is a collection of original poetry written over a span of two years while attending the University of South Florida. The poetry is divided into three numbered sections, marking the major thematic divisions. Preceding the poetry is a critical introduction to the work which outlines the author's developing thematic ideology.
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Miller, Aimee H. "Goddesses of Color: Interfaith Altars." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/773.

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This paper explores the intertwined history of certain goddesses of the Middle East and the Americas. This history informs the original invented contemporary deities that my project centers around. Using recycled materials and collected objects, my project displays two religious altars, one from my heritage and one from my experience living in Brazil. One altar is based on afro-Brazilian sea goddesses, and one is a contemporary imagined interpretation of a Judeo-Christian female figure. The two altars together compose an installation that seeks to unify a pagan practice and two distinct monotheistic traditions while still honoring their separate parts. These parts is built in the studio.
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Ståhle, Göran Viktor. "Det religiösa självet i praktik vid ett hinduiskt gudinnetempel : ett kulturpsykologiskt angreppssätt för religionspsykologi/." Uppsala : Uppsala universitet : Religionspsykologi, Teologiska institutionen, Uppsala universitet [distributör], 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4695.

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Kwok, Crystal Lee, and 郭錦恩. "Ghosts and goddesses: women, cinema, & the image." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31950978.

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Kwok, Crystal Lee. "Ghosts and goddesses : women, cinema, & the image /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14040220.

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Gowdy, Robert Douglas. "Redemption and the Other: The Supernatural Narrator and the Intertextual (Sub)version of the Miltonic Command." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2530/.

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In literary discourse from the Genesis creation myth through John Milton's Paradise Lost and beyond, Eve has been patriarchally considered to be the bringer of Sin and Death into the world. In Paradise Lost Eve is depicted as deceiving Adam into the Fall by way of the Serpent. Paradise Lost creates a Miltonic command that helps to further blame Woman for Sin and Death. Milton's poem is based on the Genesis creation myth written by Canaanite authors. In this myth the Canaanite authors wished to rid the world of Goddess worship and, by humanizing Eve, they successfully obliterate that form of worship. As a result of this obliteration of the Goddess, Eve, as a humanized form of the ancient Goddess Asherah, remains unredeemed for her sin and forever held to blame. Throughout what Michel Foucault calls the archive, or discourse in which power resides, Eve/Woman continues to be seen by patriarchal discourse as to blame for the Fall. There has never been a successful redemption for Eve in the archive. Although Samuel Richardson's Clarissa has been suggested as a successful redeemer of Eve, Clarissa's blatant will to death and, therefore, will to power precludes a successful redemption of Eve. The successful Redemption of Eve comes in Thomas Hardy's novel Tess of the D'Urbervilles. By way of Tess's Goddess stature and her self-sacrifice at the end of the novel she successfully effects a redemption of Eve/Woman. As Goddess, Tess enters a state of otherwise than being in the intertext and becomes the Supernatural narrator who narrates both her own story and the unsaid story of the Goddess in the mythic narrative. By way of this otherwise than being as the Supernatural narrator, Tess takes on Eve's blame and intertextually subverts the Miltonic command by narrating the Goddess's prehistorical purity. As a result, then, Eve is redeemed and the Goddess's unsaid story is reinstated in the mythic narrative.
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Randsalu, Donna. "Who were the daughters of Allah?" Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28267.

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Who were the Daughters of Allah, the three Arabian goddesses mentioned in the Qur'an and venerated by the pagan Arabs prior to the rise of Islam, and who since have vanished into obscurity? Can we reconstruct information about these goddesses by reference to earlier goddesses of the Near East? It is our intention to explore this possibility through an examination of their predecessors in view of the links between the Fertile Crescent and the Arabian Peninsula. Moving back in time from the seventh century A.D. (Arabia) through the Hellenistic Period (Syro/Phoenicia 300 B.C.-A.D. 300 ) to the end of the second millennium, we shall examine those goddesses whose attributes most closely resemble the Arabian goddesses. By necessity, we will confine ourselves primarily to the goddesses of ancient Canaan¹ (Astarte) and Syria (Atargatis), compelling resemblances of these goddesses to the Arabian goddesses of the seventh century being the basis for their selection. This exploration, then, takes place in the Fertile Crescent, that region of the Near East "forming an arc between the head of the Persian Gulf and the south-east corner of the Mediterranean Sea"². These lands are a natural physical extension of the Arabian Peninsula and its inhabitants naturally migrated into these regions. As well, there is the linguistic, and, therefore, cultural, affinity of the Semitic peoples of the Fertile Crescent with those of the Arabian Peninsula, so that a search for the heritage of the Arabian goddesses would be likely to begin here. ¹Canaan (Syria, Phoenicia, Palestine) in early times extended from Hamath in the north to Gaza (Gen.10.19), and included lands east and west of the Jordan (Josh.11.3). ²Philip K. Hitti, History of the Arabs; From the Earliest Times to the Present, 10th ed. (New York: St. Martin's Press, 1979),11.
Arts, Faculty of
Classical, Near Eastern and Religious Studies, Department of
Graduate
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Johnson, Lauren Marie. "Fashioning the Goddesses: Idealizing and Celebrating the Female Form." Miami University Honors Theses / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1178301027.

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Matos, Gwenael. "Re-fashioning goddesses| Exploring women's archetypal fashion in the classroom." Thesis, Pacifica Graduate Institute, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3599362.

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Mythological studies deepens and layers the significance of fashion and dress through an archetypal exploration of Greek goddess fashion archetypes--Aphrodite, Athena, Artemis, and Hestia. The research reveals how these archetypes and their shadows influence the fashion industry from the creation of a garment to when it is worn on the body. The production component of the dissertation entails archetypal fashion design curriculum that contains an instructor's guide for an archetypal women's fashion design course at the collegiate level. The study is tailored to expand fashion design students' understanding of fashion silhouettes and design elements that fit certain fashion archetypes and how the fashion archetypes manifest within target markets, consumers' styles, and consumption choices. The theoretical portion of the research examines fashion theory as a multidisciplinary approach through which to investigate why the body is covered. Within fashion theory, mythological studies offers a new perspective through which to study fashion archetypally by canvassing Greek and Roman myths tied to the four goddesses and by exploring depth psychological and Jungian concepts, such as archetypes, shadow, psyche, and the collective unconscious as they relate to fashion.

The research concludes: a woman's fashion identity and personal style convey one or more goddess fashion archetypes; to express identity and style, garments on the body communicate a visual story about oneself to others that relates to one or more of the goddesses' stories (or myths) archetypally; goddess fashion archetypes categorize fashion silhouettes, such as dresses, pants, and gowns, as well as archetypal goddess fashion silhouette themes, such as masculine/structured, feminine/sensual, functional/comfortable, or conservative/playful; and clothing the body is due to an instinctual drive that is informed by Greek goddess archetypes in Western fashion. Further implications for this research include creating a guide for consumers to understand their preferred archetypal style, employing fashion archetypes to retail when merchandising clothing stores and purchasing inventory for consumers, and developing god fashion archetypes, such as Zeus, Hermes, Ares, Dionysus, and Hephaistos for men's fashion.

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Dedes, Eleni. "Oracular priestesses and goddesses of ancient Krete, Delphi, and Dodona." Thesis, California Institute of Integral Studies, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3712244.

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This dissertation discusses the roles of oracular priestesses and Goddesses in Krete and Greece. The appointment of oracular priestesses to the service of a particular Goddess such as Gaia or Athena is reviewed. In addition, this study demonstrates the extent to which the worship of Goddesses, led by oracular priestesses, was a pre-eminent aspect of religion in ancient Krete and Greece. Various types of conduits and methods used to receive oracular messages are also considered, including trees, baetyls, the inhalation of gaseous vapors, the chewing of laurel leaves, and the possible use of bees and snakes.

This dissertation also considers the implications that feminist archaeology brings to the interpretation of evidence regarding oracular priestess and Goddess traditions in Krete at the Temple-Palace of Knossos, and in mainland Greece at the oracular sites of Delphi and Dodona. An interdisciplinary methodology is employed, drawing on archaeology, mythology, archaeomythology, and feminist spiritual hermeneutics in the academic field of women’s spirituality.

To facilitate this study, a set of characteristics is specified for determining which figurines can plausibly be considered oracular priestesses and/or Goddesses. The set of characteristics which distinguish a Goddess from an ordinary woman or girl include (1) ritual or sacred “find contexts”; (2) the presence of worshippers or adorants; (3) symbolic attributes of divinity, especially those which are representative of the female in local cultural context and perhaps also in cross-cultural contexts; (4) gestures of divinity, in local and/or cross-cultural contexts; and (5) larger relative size. Priestesses are distinguished by (1) typical gestures of adoration or offering of votives; (2) typical attributes in cultural context and/or cross-cultural contexts; (3) the study of epigraphy (where possible); and/or (4) prosopography. The characteristics which distinguish oracular priestesses from other kinds of priestesses include the priestess’ interactions with trees, baetyls, bees, birds, and snakes, or inhaling gaseous vapors.

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Books on the topic "Goddesses"

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1920-, Subramaniam Venkateswarier, Social Sciences and Humanities Research Council of Canada., Carleton University. Dept. of Religion., and Conference on the Mother Goddess (1987 : Carleton University), eds. Mother goddess and other goddesses. Delhi: Ajanta Publications, 1993.

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1952-, Matthews Caitlin, ed. Voices of the goddess: A chorus of sibyls. Wellingborough, Northamptonshire: Aquarian, 1990.

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Oda, Mayumi. Goddesses. Volcano, Calif: Volcano Press/Kazan Books, 1988.

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Burleigh, Mutén, ed. Return of the great goddess. Dublin: Gill & Macmillan, 1994.

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Bedi, Anjula. Gods & goddesses. Mumbai: Eeshwar, 1998.

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Moellering, Michael. Hollywood goddesses. London: Brompton, 1989.

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Ching, Linda. Hawaiian goddesses. Honolulu, Hawaii (P.O. Box 25824, Honolulu 96825): Hawaiian Goddesses Pub. Co., 1987.

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Moruo, Guo. The goddesses. Shanghai: Foreign Languages Press, 2000.

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Blair, Nancy. Goddesses for every season. Rockport, Mass: Element, 1995.

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Nikolova, Neška. Kultot na golemata majka: (aspekti na ženskiot kreativen princip). Skopje: Makedonika litera, 2011.

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Book chapters on the topic "Goddesses"

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Wind, Tonia Leigh. "Goddesses." In Black Women's Literature of the Americas, 117–44. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003203537-6.

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Mahanta, Namrata Rathore. "Goddesses: Overview." In Hinduism and Tribal Religions, 1–7. Dordrecht: Springer Netherlands, 2018. http://dx.doi.org/10.1007/978-94-024-1036-5_656-1.

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Feldhaus, Anne. "Traveling Goddesses." In Connected Places, 89–126. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403981349_4.

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Carens, Timothy L. "New Goddesses." In Strange Gods, 150–80. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003058236-6.

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Mahanta, Namrata Rathore. "Goddesses: Overview." In Hinduism and Tribal Religions, 527–33. Dordrecht: Springer Netherlands, 2022. http://dx.doi.org/10.1007/978-94-024-1188-1_656.

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Goodison, Lucy, and Christine Morris. "Goddesses in Prehistory." In A Companion to Gender Prehistory, 265–87. Hoboken, NJ, USA: John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118294291.ch13.

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Cardullo, R. J. "Stars and Goddesses." In André Bazin, the Critic as Thinker, 59–77. Rotterdam: SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6300-878-5_3.

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Ackerman, Susan. "Goddesses." In Near Eastern Archaeology, 391–97. Penn State University Press, 2003. http://dx.doi.org/10.5325/j.ctv1bxh52q.57.

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Ackerman, Susan. "Goddesses." In Near Eastern Archaeology, 391–97. Penn State University Press, 2003. http://dx.doi.org/10.1515/9781575065472-055.

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Sengupta, Saswati. "Invoking the Goddesses." In Mutating Goddesses, 1–25. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190124106.003.0001.

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Mutating Goddesses begins by examining the paradox of goddess worship in patriarchal societies. Hindu goddesses have been dominantly understood from a śāstrik perspective—deriving from Sanskrit scriptures authorized by the male Brahman—that exiles women. But there are religious practices under Hinduism that are governed by neither the Brahman nor Sanskrit. These laukika practices are held in a hierarchical relation to the śāstrik. Chapter 1 focuses from within that vibrant realm, the kathās/narratives appended to the propitiation of the goddesses known as bratas which allow direct participation of the women and the Dalit castes unlike the Brahmanical rituals. Briefly the Brahmannization of Bengal is traced and the Bengal caste system is sketched, since caste and gender are held together in the dominant construction and reception of goddesses. This Chapter concludes by showing how caste and gender define genres to categorize the construction and reception of goddesses and votives.
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Conference papers on the topic "Goddesses"

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Савостина, Е. А., and Т. С. Тихонова. "Koroplast workshop in the context of urban life and craft production in Gorgippia." In Древности Боспора. Crossref, 2023. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-339-8.309-331.

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In 2020, during archaeological exploration on the territory of ancient Gorgippia, the Archaeological team of “Diluch” Kubanarcheologiya” uncovered a small dilapidated furnace containing terracotta figurines fired in it: two identical hollow protoma-busts and a one-sided protoma-mask representing images of Kora-Persephone and the goddess Demeter. It is interesting that the products from this workshop were known to researchers before. A half-figure of Kora- Persephone, among other offerings, was discovered in the necropolis of Gorgippia (1954). In the same area of the ancient city, not far from the now found furnace and the necropolis, during construction work (1965), an accumulation of black-gloss vessels and terracotta was recorded, interpreted by researchers as a ‘temple dump’ associated with the sanctuary of the Eleusinian goddesses. Several figurines from this group are similar to the one-sided protoma extracted from the furnace in 2020. In ancient coroplastics, a number of problems often arise concerning the identification of the image, dating, determining the place of production, manufacturing technology and use of figurines. Thanks to the new open complex associated with the koroplast workshop, many issues, including the problem of the circulation of individual elements and the transformation of the image of the female deity, can be clarified.
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Carlos Dikker C, Adelantar, Biagtan Seth Floreven E, Del Mundo Carl Andre Y, Ualat Owen N, Alix Abigail, Besa Melba S, Ortega John Heland Jasper, and Yu Wilson L. "Mitolohiya: An Interactive Hybrid Animation & Promotional Website Inspired by Tagalog Gods & Goddesses." In 2022 IEEE 14th International Conference on Humanoid, Nanotechnology, Information Technology, Communication and Control, Environment, and Management (HNICEM). IEEE, 2022. http://dx.doi.org/10.1109/hnicem57413.2022.10109431.

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Asqarova, Shahnoza. "THE PROBLEM OF ANALYSIS OF ONOMASTIC UNITS IN "ALPOMISH" AND "BOBURNOMA"." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/bdes5345.

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Onomastics (Greek onomastics - the art of naming) is a branch of linguistics that studies various nouns, the history of their appearance and change, as well as a collection of all nouns. In some studies, the term "Onomastics" is also used in the meaning of anthroponymy. Onomastics is aimed at identifying and studying non-existent onomastic systems. Onomastics consists of the following sections according to the categories of the objects that received the names: anthroponymics - names of people; toponymy - popular names of geographical objects; theonymics - the names of gods, goddesses, religious-mythical figures and beings according to various religious ideas; zoonymics - (conditional) nouns given to animals; phytonymics - names related to the world of plants, cosmonymics - the names of space regions, galaxies, constellations and others that are spread in scientific communication and internationally; astronomy - studies the names of individual astronomical bodies (planets and stars). Apart from the above, onomastics has several branches. Onomastics includes real names (names of previously existing objects) and phonemes (names of imaginary objects).
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Furlan Štante, Nadja. "The revival of Goddess religions." In International conference Religious Conversions and Atheization in 20th Century Central and Eastern Europe. Znanstveno-raziskovalno središče Koper, Annales ZRS, 2024. http://dx.doi.org/10.35469/978-961-7195-39-2_06.

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The presentation examines the return of the religion of the Goddess (in Western cultures) as one of the most unexpected developments of the late twentieth century. Contemporary awareness and attention to gender difference theory have opened up new dimensions for spiritual expressions and spiritual practises, encouraging the development of new forms of female spirituality and the formation of new religious representations from a feminine perspective. Traditional forms of spirituality are clearly dualistic at their core, with the material world, physicality, and femininity on one side and transcendence, spirituality, and masculinity on the other. However, the tendency of modern forms of spirituality is to seek the sacred through and in solidarity, interdependence and holistic integrity. From this perspective, the Goddess movement, the revival of lost women’s folk religiosity and female pagan cults, thealogy and various other movements of women’s spirituality are analysed as a tool for reconstructing the past from a feminist perspective and in the process of transforming collective memory and current religious conceptualization. For the symbols and rituals of the Goddess religions bring the paradigm of the deep interconnectedness of all people and all beings in the web of life.
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KRINSKAYA, Z. A. "THE SHRINE OF YANZHIMA IN THE BARGUZIN VALLEY: DEVELOPMENT OF THE GODDESS’S CULT." In Scientific conference, devoted to the 95th anniversary of the Republic of Buryatia. Publishing House of the Buryat Scientific Center of the Siberian Branch of the Russian Academy of Science, 2018. http://dx.doi.org/10.30792/978-5-7925-0521-6-2018-323-324.

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Gunarathne, M. K. S. S. "Bitch-Goddess: The Revolutionary Power against Tyrannical Patriarchy." In World Conference on Women s Studies. The International Institute of Knowledge Management - TIIKM, 2020. http://dx.doi.org/10.17501/24246743.2020.5102.

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Dmitrieva, Oksana. "RITUALS AND SPELLS DEDICATED TO THE GODDESS AIYYSYT." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s28.089.

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Chelariu, Ana R. "The Romanian Goddess Ileana Simziana the Sun’s sister." In the 39th American Romanian Academy of Arts and Sciences Congress. ARA Publisher, 2015. http://dx.doi.org/10.14510/39ara2015.3933.

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Walstrom, Bob. "Chasing the Green Goddess: Dioptase in New Mexico." In 27th Annual New Mexico Mineral Symposium. Socorro, NM: New Mexico Bureau of Geology and Mineral Resources, 2006. http://dx.doi.org/10.58799/nmms-2006.299.

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Barber-Kersovan, Alenka. "Songs for the Goddess. Das popmusikalische Neo-Matriarchat zwischen Ethno-Beat, erfundenen Traditionen und kommerzieller Vermarktung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.47.

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The musical neo-matriarchy is linked to the growing popularity of Neo-Paganism. This pseudo-religious scene is based on romantic heritage, real or invented folk traditions and more or less serious historical, theological and anthropological studies of neo-matriarchy. In the focus of the scene stands the veneration of the Great Goddess and its worshipers are exclusively women. The main ideas of this eco-feminist movement are being conveyed also through (popular) music. My contribution encompasses the origins of the musical neo-matriarchy, the mythology it is based on, the message of the songs for the Great Goddess, the musical characteristics of the material collected, the use of typical instruments, and the dissemination of (musical) knowledge as the rather ‘modern’ way of distribution and consumption of the allegedly ‘archaic’ issues.
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Reports on the topic "Goddesses"

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O'Brien, K. Xena and Hercules and all those gods and goddesses. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2000. http://dx.doi.org/10.4095/298644.

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Olsen, Elisa, Josefa Gonzales, and Chelsea Wilkinson. Applications and testing of a modified cross-cultural product design model: The case of the Althea Goddess Headdress. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-907.

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Бережна, Маргарита Василівна. Maleficent: from the Matriarch to the Scorned Woman (Psycholinguistic Image). Baltija Publishing, 2021. http://dx.doi.org/10.31812/123456789/5766.

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The aim of the research is to identify the elements of the psycholinguistic image of the leading character in the dark fantasy adventure film Maleficent directed by Robert Stromberg (2014). The task consists of two stages, at the first of which I identify the psychological characteristics of the character to determine to which of the archetypes Maleficent belongs. As the basis, I take the classification of film archetypes by V. Schmidt. At the second stage, I distinguish the speech peculiarities of the character that reflex her psychological image. This paper explores 98 Maleficent’s turns of dialogues in the film. According to V. Schmidt’s classification, Maleficent belongs first to the Matriarch archetype and later in the plot to the Scorned Woman archetype. These archetypes are representations of the powerful goddess of marriage and fertility Hera, being respectively her heroic and villainous embodiments. There are several crucial characteristics revealed by speech elements.
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