Dissertations / Theses on the topic 'Goddesses'

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.

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.

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.

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

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.

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.

viii, 137 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
This thesis presents an historical study of the Kyushu shrine family known as the Munakata, beginning in the fourth century and ending with the onset of Japan's medieval age in the fourteenth century. The tutelary deities of the Munakata Shrine are held to be the progeny of the Sun Goddess, the most powerful deity in the Shinto pantheon; this fact speaks to the long-standing historical relationship the Munakata enjoyed with Japan's ruling elites. Traditional tropes of Japanese history have generally cast Kyushu as the periphery of Japanese civilization, but in light of recent scholarship, this view has become untenable. Drawing upon extensive primary source material, this thesis will provide a detailed narrative of Munakata family history while also building upon current trends in Japanese historiography that locate Kyushu within a broader East Asian cultural matrix and reveal it to be a central locus of cultural production on the Japanese archipelago.
Committee in Charge: Andrew Edmund Goble, Chair; Ina Asim; Jason P. Webb

In Chapter One we discuss the evidence for Mycenaean trade and colonisation in the Orient, and for oriental trade and colonisation in the Aegean and Greece. We begin with such subjects as archaeological artefacts, artistic motifs and styles of architecture, then consider the linguistic evidence, such as toponyms, personal names and the LA tablets. The evidence for contact is overwhelming. In Chapter Two we consider the evidence for Semitic motifs in the iconography, mythology and names of Greek goddesses connected with nature. Thus Semitic influence is clear in the case of Artemis and Rhea as lion-goddesses, Britomartis as a `Mistress of the Beasts', Leto as a goddess of the sacred palm, and Demeter as a mare-goddess. Reha seems to be partly Anatolian. Chapter Three is concerned with the goddess Athena and other avian daemons. We begin (Section A) by discussing the oriental origins of Athena's owl, snake, aegis and Gorgon, relying mainly upon the evidence of iconography. Then (Section B) we consider three epithets of Athena which seem very Semitic. Finally (Section C) we discuss the sirens, which are avian demonesses somewhat reminiscent of Athena's chthonian character. In Chapter Four we first analyse (Section A) as much of the character of the goddess Hekate as possible, in both iconography and literature. It is clear that Hekate is a very demonic goddess. Then (Section B) we discuss various theories concerning the origin of Hekate. The Anatolian theories in particular are unconvincing. The Semitic origin of Hekate is tested (Section C) with reference to the character and motifs of both E-S and W-S demons and demonesses. It is concluded that Hekate is an evolute of Lamashtu. Finally (Section D) other Greek chthonian daemons (e.g. Mormo, Empousa, Gello) are compared with both Hekate and Lamashtu. Some (e.g. Mormo, Empousa) are Greek daemons with Semitic motifs in their characters. We conclude that Lamia is another evolute of Lamashtu, and that Gello is derived from the Mesopotamian Gallu demon.

This thesis is an examination of the local goddesses and their worship in two contrasting field sites. The settlement of Khurdapur consists of five small villages situated a short distance outside Bhubaneswar in Orissa. Cholavandan, on the other hand, is a small town located near to Madurai in southern Tamilnadu. While this study seeks to provide a comprehensive view of local goddess worship in differing environments it also addresses three questions. 1) Is the goddess-centred literature, written at the beginning of the century, still applicable to contemporary goddesses? 2) Do local goddesses really warrant the negative labels ascribed to them by some scholars, such as "malevolent" or "ambivalent"? 3) Is there uniformity or divergence between the goddesses and their worship at the two field sites? In order to address these concerns the research is concerned with three general areas of investigation 1) the temples and shrines 2) the character of the goddesses 3) the ritual worship of the goddesses. These three areas are analysed thematically in terms of the opposites, sacred and profane, order and chaos and the pairs, power and purity, anger and unpredictability. Maps of Khurdapur and Cholavandan are included, as are tables, plans, and photographic evidence, supporting and clarifying the findings in each section. The temples and shrines of Khurdapur and Cholavandan are examined in relation to standard temple configuration, with the conclusion that the temple and shrine structures do not necessarily conform to the patterns given in written sources. An analysis is made of the spatial and symbolic layout of the temples and shrines, in particular as it relates to conceptions of sacred and profane in the two local settlements. An analysis of the character and nature of the goddesses of Khurdapur and Cholavandan is the pivotal section of the thesis. The pairs, anger and unpredictability, and power and purity are examined closely in relation to the character of the goddesses of Khurdapur and Cholavandan, addressing such questions as, are the most pure goddesses really the most powerful in a local setting? In many cases, it is apparent that impurity accompanies an abundance of power. The final section details the main ritual practices and festival rites in Khurdapur and Cholavandan, comparing practices at the two sites and making a distinction between the rituals that take place inside and outside the sacred precinct of the temple. In conclusion, I have provided evidence to suggest that local goddesses have been erroneously generalised as "malevolent" according to previous research. Although many goddesses have a dualistic nature, generally they more readily heal than afflict. The goddesses of Khurdapur and Cholavandan do not adhere to the characterization outlined in previous research. I have shown, by examining a wider range of goddesses than previous studies, and at sites in different parts of India, that a three or two-way categorisation is too narrow, since the majority of goddesses straddle former classifications. The evidence collected has also provided various suggestions about general trends of local worship across India.

Marketing and consumer research scholars have paid little attention to the contemporary Indian consumer landscape, with even less focus on the particular experiences of female consumers in this context. This thesis contributes to a partial redress of this parochial and Eurocentric status quo in consumer culture research by presenting the voices and critically exploring the lived experiences of consumer culture of a sample of young female Indians. A selective review of the multidisciplinary literatures on globalization, consumer culture and India is used to develop a conceptual framework for this thesis, and to situate the research aims in contemporary and relevant scholarship. The aims of the research are to understand and describe the meanings, values and lived experience of contemporary consumer culture of a sample of young female Indian consumers; to establish the extent to which, and describe how, global flows of culture serve to hinder, propagate or catalyze markers of distinction between rural and urban consumers; and to establish whether and how traditional belief systems and practices influence young consumers’ identity projects in contemporary Indian society. In addressing these aims, the thesis documents the design and execution of a two month multi-method interpretive research study of twenty three young urban and rural women living in New Delhi and at its fringes. Through coding and categorisation, a reading of the data presents three key findings. Firstly, that media is an important medium through which notions of urban and rural identity and difference are constructed. Secondly it demonstrates how the body, as site of consumption, becomes tempered through Vedic ideals of womanhood. Thirdly, it presents a context specific understanding of consumer culture in the East which previous research has masked. Additionally, a data-driven framework for understanding the consumer experience of the sample of respondents is also presented.

In Celtic religious studies, it is often difficult to find reliable textual sources if you are working with pre-Christian religion, since all text is written in a Christian context. As a result, Celtic scholars have to look outside of the pre-Christian Celtic context, to search for knowledge elsewhere. For example, one may use texts from Classical writers (such as Caesar) who wrote about Celts they encountered, or look to Christian material (in particular saints’ lives) to search for clues of pagan traditions which may have survived into Christianity. This has resulted in that certain Celtic pagan deities which we do not have a lot of information on, are compared to or even equated with other religious figures from outside of the pagan Celtic context. One such example is the pagan, Irish goddess Brigid, who is frequently equated with the Roman goddess Minerva, and also said to be the predecessor of the Christian Saint Brigid. Some also make comparisons between Minerva and the saint. This thesis aims to make an extensive textual analysis where all of these three characters are compared and discussed. Are they actually ‘the same’, and if not, how similar or different are they? Is the equating valid, or do we need to take another approach within the Celtic field? Using discourse theory and a comparative method, the research eventually shows that some of the characters’ most important traits are lost when we do equate them with each other.

Lucian, writing in the mid-second century AD, recorded his observations of an "exotic" local cult in the city of Hierapolis in what is today Northern Syria. The local goddess was known as Dea Syria to the Romans and Atargatis to the Greeks. Lucian's so-named De Dea Syria is an important record of life and religion in Roman Syria. De Dea Syria presents to us an Oriental cult of a fertility goddess as seen through the eyes of a Hellenized Syrian devotee and religious ethnographer. How accurate Lucian's portrayal of the cult is questionable, though his account provides for us some indication that traditional religious practices were still being observed in Hierapolis despite Greek and Roman colonization. The origins of Near Eastern fertility goddesses began in the Bronze Age with the Sumerian goddess Inanna who was later associated with the Semitic Akkadian deity Ishtar. The worship of Ishtar spread throughout the Near East as a result of both Babylonian and Assyrian conquests. In Syria some of the major sites of her worship were located in Ebla and Mari. The later Phoenician and Canaanite cultures also adopted the worship of Ishtar melding her into their religions under the names of Astarte and Asherah respectively. By the Greco-Roman era, the Nabataeans and Palmyrenes also worshipped a form of the Near Eastern fertility goddess, calling her by many names including Atargatis, Astarte, al-Uzza and Allat. The Greeks and Romans found parallels between this eastern goddess and their deities and added her to their pantheons. Through this process of adoption and adaptation, the worship of this goddess naturally changed. In her many guises, Atargatis was worshipped not only at Hierapolis in the Greco-Roman period, but also at Delos, Dura Europos, and Khirbet et-Tannur. At all of these centers of worship vestiges of traditional practices retained in the cult were apparent. It is necessary to look at the cult as a whole to understand more fully whether her cult retained its original Oriental character or was partially or fully Hellenized. Temple architecture is an important part of Atargatis' cult which is often overlooked in the analysis of her cult. This thesis examines whether Atargatis' cult remained Oriental or became Hellenized by tracing the historical development of the temple architecture, associated cult objects, and decoration from their traditional origins down to the introduction of Greco-Roman styles into the Near East.

This work consists of a comparative study of the female deities venerated by the Celts of Gaul, Ancient Britain and Ancient Ireland from the 8th c. BC to around 400 AD. The Celts had the peculiarity of transmitting their culture, religious beliefs and myths exclusively by oral means, from one generation to another. The available data relating to Celtic goddesses are thus all indirect and of a different nature and period according to the country concerned. They fall into three categories: contemporary Classical texts, which mainly pertain to Gaul and are very rare; the vernacular literature of early medieval Ireland, which was written down by Christian monks from the 7th c. AD; and archaeology from Gaul and Britain, which is very fragmentary and consists of places of devotion, dating from pre-Roman, Gallo-Roman and Romano-British times, votive epigraphy and iconography, dating from after the Roman conquest. Which goddesses did the Celts believe in? Did the Celts from Ireland, Britain and Gaul venerate similar goddesses? What were their nature and functions? How were they worshipped and by whom? Were they hierarchically organized within a pantheon? This thesis thus attempts, by gathering, comparing and analysing the various linguistic, literary, epigraphic and iconographical data from Gaul, Ancient Britain and Ireland, to establish connections and similarities, and thereby reconstruct a common pattern of Celtic beliefs as they relate to female deities. This research consists of five chapters: the mother-goddesses (Matres and Matronae); the goddesses purveying fertility and embodying the land and the natural elements (animals, trees, forests and mountains); the territorial- and war-goddesses; the river-goddesses (rivers, fountains and hot springs); and the goddesses personifying ritual intoxication
Ce travail consiste en une étude comparée des divinités féminines vénérées par les Celtes de l’Irlande ancienne, de la Grande-Bretagne et de la Gaule du 8ème siècle avant J.-C. à environ 400 après J.-C. Les Celtes avaient la particularité de transmettre leur culture, croyances et mythes par voie orale, de génération en génération. Les sources qui nous permettent d’étudier les divinités et croyances des Celtes sont donc toutes indirectes et de nature, d’origine et de période différentes. Elles se regroupent autour de trois catégories : les textes classiques contemporains, qui ne concernent que la Gaule et sont très peu nombreux ; la littérature vernaculaire de l’Irlande haut-médiévale, qui fut mise par écrit à partir du 7ème siècle après J.-C. par des moines chrétiens ; et l’archéologie gauloise et britannique, qui est très fragmentaire et étudie les lieux de cultes préromains, gallo-romains et romano-britanniques, l’épigraphie votive et l’iconographie, datant d’après l’invasion romaine. Quelles déesses les Celtes honoraient-ils ? Les Celtes d’Irlande, de Grande-Bretagne et de Gaule vénéraient-ils des déesses similaires ? Quelles étaient la nature et les fonctions de ces divinités ? Comment étaient-elles vénérées et par qui ? S’organisaient-elles hiérarchiquement dans un panthéon ? L’analyse et la comparaison des données linguistiques, littéraires, épigraphiques et iconographiques de l’Irlande, de la Grande-Bretagne et de la Gaule permettent d’établir des connexions et des similitudes, et de reconstruire ainsi une somme de croyances religieuses communes. Ce travail s’articule autour de cinq chapitres : les Déesses-Mères (Matres et Matronae) ; les déesses pourvoyeuses de richesses, personnifiant la terre et les éléments naturels (animaux, arbres, forêts, montagnes) ; les déesses du territoire et de la guerre ; les déesses des eaux (rivières, fontaines et sources d’eau chaude) ; et les déesses incarnant l’ivresse rituelle

This dissertation investigates the works of two Black female writers: Flora Nwapa(African and Nigerian) and Zora Neale Hurston (African American). Although theycome from different geographical regions, both writers use the same rchetypal patterns to create strong female protagonists. By characterizing protagonists in their novels from an African religious cultural perspective, both authors dismantle the stereotypical images of how black women are typically portrayed in fiction. Using Jung's theory of the collective unconscious and archetypal criticism the study finds that both authors create black female protagonists who are wise, resilient, decisive, courageous, independent, and risk-taking; the women who, through their self-discovery journeys, are neither defined by nor in oppositional relationships with the males in their lives. The study compares how the qualities of two archetypal goddesses, Uhamiri of the Igbo cosmology and Oya of the Yoruba cosmology, are personified through the personalities of the two female protagonists in Nwapa's Efuru and Hurston's Their Eyes Were Watching God, respectively. Using strong mythical females as templates, this research explores the ways in which the authors have defined their female characters, thus providing an alternative strategy for defining and analyzing black female characters in fiction. The study asserts that literary interpretation of Africana women should include the cultural realities associated with the African religious framework in order to capture the full essence of their humanity. In addition, African feminist thought, unlike Western feminist theory, provides a more realistic model of discourse on Africana women's selfidentity. Examining Africana women from these perspectives, as opposed to analyzing them based on European standards, is an effective method of discrediting stereotypical images that continue to plague the portrayal of black women in fiction. When black women in fiction are explored from this vantage point, the literary work sends a message of cultural authenticity and preservation that elevates Africana women, expanding their functions and positions in society beyond traditional roles.

This is a study of the development of the myth of the White Goddess in the work of Robert Graves, a subject related to the wider field of the place of myth in modern culture. It begins by looking at the conditions which promoted Graves' interest in myth, principally his experience of the Great War. The responses of other writers are examined to provide a context for understanding Graves' transition from Georgianism to myth, as reflected in his early poetry, autobiography and writings on psychology. Before looking at how Graves' myth was formed, the history of the concept of myth is examined, from primitive peoples to civilized religion. Focus is centred upon the dual tendency of myth to reinforce and to undermine authority. Some of the figures behind Graves' interest in myth and anthropology are subject to scrutiny. An account of the relations between myth, literature and psychology permits the survey of Graves' gradual transition from psychological theory to mythographic speculation. The gradual emergence in his poetry of devotion to a Love Goddess can also be traced. Detailed interpretation of The White Goddess, its arguments and procedures, brings to light Graves' theories of the single poetic theme and the primitive matriarchy, both of which can then be evaluated and set in the context of his dedication to non-rational forms of thought. This leads into a close reading of Graves' major mythological poems, followed by reflections upon the myth's application in his critical writings and cultural commentaries. Finally, consideration is given to Graves' later writings, especially his attraction to Orphism and the adoption of mythic personae in his verse. The influence of the Black Goddess of Wisdom over these later works is interpreted and assessed.

Orientador: Brunno Vinicius Gonçalves Vieira
Banca: Márcio Meirelles Gouvêa Júnior
Banca: Márcio Thamos
Resumo: Considerando as múltiplas representações que o herói Jasão recebe desde a Antiguidade, escolheu-se a epopeia de Valério Flaco, autor do século I d.C., como principal objeto de análise para refletir sobre a construção do líder dos argonautas. Oferece-se um panorama dos autores que trabalham com as narrativas relacionadas ao herói em obras literárias anteriores a Flaco, de modo a que se possa ter uma visão geral da tradição que foi construída acerca do herói e das diferenças que existem na abordagem do mito, o que poderia impactar a construção do herói. Nessa exposição, dá-se destaque à obra de Apolônio de Rodes, por ser considerada um marco no que se refere a essa construção, tendo em vista que o poeta trata da viagem dos argonautas em gênero épico, o que permitiria um maior detalhamento acerca de diversos aspectos do mito que poderiam não ser possíveis em um gênero mais curto, não predominantemente narrativo e em que a figura central não fosse o herói. Aborda-se a representação dada a Jasão por Valério Flaco, confrontando o herói, intrinsecamente, a seus companheiros de viagem e, extrinsecamente, a seus antecessores, de modo a refletir sobre essa nova inserção do herói em gênero épico em contexto latino. Assim, pretende-se analisar tanto a construção do herói isoladamente na obra em que está inserido quanto, ao mostrar as diversas possibilidades oferecidas por poetas anteriores, quais versões Valério Flaco poderia ter explorado, seja por um processo de eleição de modelo a ser... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Considering the multiple representations that the hero Jason received since Antiquity, the epic of Valerius Flaccus, a first century AD author, was chosen as the main object of analysis to reflect on the construction of the leader of the Argonauts. It is offered an overview of the authors who work with the narratives related to the hero in literary works previous to Flaccus, so that the reader can have an overview of the tradition that was constructed about the hero and the possible differences in the approach of the myth, which could affect his construction. In this exhibition, the work of Apollonius of Rhodes is emphasized as it's considered a mark in regard to this construction, given that the poet deals with the Argonauts' journey in epic genre, which would allow greater detail about various aspects of the myth that might not be possible in a shorter genre, in which the narrative was not predominant and the central figure was not the hero. The representation given to Jason by Valerius Flaccus is dealt confronting the hero intrinsically to his fellows and extrinsically to his predecessors in order to reflect on his new insertion in the epic genre in Latin context. Thus, it is intended to analyze both the construction of the hero alone in the work in which he is inserted and, by showing the various possibilities offered by previous poets, which versions Valerius Flaccus could have explored, either by a process of election of a model to be followed, affiliating to a traditio... (Complete abstract click electronic access below)
Mestre

My dissertation titled "Mambos, Priestesses, and Goddesses: Spiritual Healing Through Vodou in Black Women's Narratives of Haiti and New Orleans" reclaims the practice of Vodou as an integral African spiritual tradition through fiction by black women writers. I discuss how the examination of Vodou necessitates the revision of colonial history, serves as an impetus for reevaluating the literary representation of the black female migrant subject, and gives voice to communities silenced by systemic oppression. I parallel novels by contemporary women writers such as Erna Brodber, Jewell Parker Rhodes and Edwidge Danticat with Zora Neale Hurston's ethnographic research in the early twentieth century in order to examine how Vodou is utilized as a literary trope that challenges racist, stereotypical representations of African spirituality in American popular culture. It is also an examination of the shared socio-cultural history between Haiti and New Orleans that coincides with political and environmental changes. Although Vodou has been disparaged as primitive magic, my work demonstrates its profound social, cultural, and political significance; and its important transformations from a nineteenth-century practice to a twenty-first century strategy of survival.

Tārā is arguably the most popular goddess of the Tibetan Buddhist pantheon. She is well known in her Green, White, and Twenty-one forms. However, the numerous red aspects of the divinity have long been overlooked in both popular and academic literature on the goddess. This thesis aims to redress this balance. This thesis presents the various manifestations of Red Tārā in the form of a survey of the literary and practice lineages of this goddess throughout Tibetan Buddhist history. The intention of the thesis is to examine individual forms of Red Tārā, excluding Kurukullā (who has received previous scholarly attention), in order to prove the hypothesis that not all Red Tārās are Kurukullā. The research has identified a preliminary historical order of Red Tārā lineages from the eleventh century works on Pītheśvarī and the Sa-skya-pa Red Tārās, through to the nineteenth and twentieth century forms of the goddess authored by the dGe-lugs-pas and A-paṃ gter-ston in the A-mdo region of Tibet. The red forms of Tārā are more 'worldly' than her Green or White incarnations, and the soteriological component of her worship is not always clear. Accordingly this allows a glimpse into the subjugating/ magnetising ritual process. The thesis comprises three sections. Section One provides a general introduction to Tārā and Kurukullā, followed by a survey of the literature pertaining to Red Tārā identified in the course of this research. Section Two takes four lineages of Red Tārā literature as its focus. Each chapter refers to an individual lineage: Pītheśvarī, Sa-skya-pa, the Twenty-one Tārās, and A-paṃ gter-ton's gter-ma cycle. Section Three deals with modern-day practice of the goddess in the Chagdud Gonpa Foundation and the Flaming Jewel Sangha. The thesis relies on translation of primary sources from the Tibetan language, participant observation, and New Religious Studies methodology, and covers a wide range of areas including subjugation rituals, iconography, body-maṇḍala rituals, the adoption of Buddhism in the West, and New Religious Movements. It adds to current knowledge in a variety of fields including ritual, goddess studies, the Tibetan pantheon and its iconography, and Buddhism in the West.

This thesis presents an iconographic and archaeological analysis of figurines of Venus produced in pipeclay in the Northern Roman Provinces from the first through third centuries CE and seeks to examine what uses and significance they may have had.

Denna uppsats baseras på en fältstudie genomförd i Faridabad, Indien våren 2007. Syftet är att undersöka vilken roll hinduiska gudinnor spelar för kvinnor. För att uppfylla det syftet studeras också de intervjuade kvinnornas underliggande uppfattningar om jämställdhet.

För att kunna uppfylla syftet med uppsatsen har en kvalitativ metod använts och 19 intervjuer har genomförts. Informanterna har fått svara på frågor som handlar om att vara kvinna i det hinduiska samhället och deras åsikter om hur kvinnors situation bör ändras. När resultaten från intervjuerna analyserats har jag inspirerats av tidigare forskning om genus och Hinduism.

I den hinduiska mytologin finns både gudar och gudinnor. Att dyrka gudinnor kan ses som en källa till makt och inspiration för kvinnor. Därför har jag studerat om informanterna ser på gudinnorna som förebilder. Resultaten visar att det är svårt att avgöra om så är fallet. Ungefär hälften av informanterna sade att det ser gudinnorna som förebilder. I motsats till tidigare forskning nämnde inte informanterna de gudinnor som representerar de egenskaper som den ideala hustrun ska besitta, istället nämndes stridsgudinnan Durga. Tidigare forskning visar dock att även de självständiga gudinnorna som beskrevs av informanterna som förebilder är en del av den patriarkala strukturen. Under intervjuerna framgick att rollen att vara en bra hustru och mor värdesätts högt av informanterna. Detta kan, enligt mig, kopplas till det mest framträdande resultatet som framkom i synen på vad jämställdhetsuppfattningen baseras på. Det gäller uppfattningen om att män och kvinnor föds med olika egenskaper. I motsats till genusteori förstås inte skillnader mellan män och kvinnor som främst socialt konstruerade.

This report is based on a field study that was carried out in Faridabad, India in the spring of 2007. The aim is to study what role the Hindu goddesses play for Hindu women. To fulfil this purpose I am also studying the interviewed women’s underlying understanding regarding gender equality.

To fulfil the aim a qualitative method was chosen and 19 interviews were completed. The informants answered questions about being a woman in the Hindu society and their opinions on how to change women’s situation. While analysing the results I was inspired by previous research on gender and Hinduism.

In the Hindu mythology there are both gods and goddesses. Worshipping goddesses can be seen as a source of power and inspiration for women. Therefore I wanted to study if the informants look at the goddesses as role models. The results show that it is difficult to determine whether or not that is the case. Approximately half of the informants said that they looked at the goddesses as role models. In contrast to previous research the informants did not mention the goddesses that are represented with qualities that the ideal wife should posses, instead Durga, the fight goddess, was mentioned. However, previous research also shows that the independent goddesses that were described as role models by the informants are a part of a patriarchal structure. During the interviews the role of being a good wife and a mother is described as the most important thing for the informants. This can, according to me, be related to the most significant result on what the understanding of gender equality is based on. This is the opinion that men and women are born with different qualities. In contrast to the gender theory, the differences between men and women are not understood as primarily socially constructed.

Thesis (Ph.D.)--University of Western Sydney, 2008.
A thesis presented to the University of Western Sydney, College of Arts, Centre for Cultural Research, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies.

Thesis (MPhil)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: In studying ancient Egypt researchers have a great advantage, in that there is a multitude of recorded material to draw from. Unfortunately for anyone interested in studying ancient Egyptian women, the recorded material was most often recorded by, commissioned by, and concerned with, men; royal or high-ranking men to be precise (Robins, 1993: 11-12). Thus, we must look into non-textual artefacts and offerings which may have a symbolic meaning. Though, the textual sources should not be neglected, since these may hold clues to the position and perception of women in society: perceptions held by men. This thesis has drawn largely on art and artefacts to investigate the relationship between women in ancient Egypt and the goddess Hathor. Women are traditionally the mothers, caretakers and homemakers of society. But they are not only that. Women are also individuals, capable of individual thought, feelings, anxieties, hopes and dreams; and like their male counterparts, women also experience religion. But, as was clearly displayed in the thesis, Egyptian women not only experienced religion, they lived religion. In the ancient Egyptian context there was no escaping religion. It must also be understood that the ancient Egyptians thought that the man was the seat of creation and that semen was the essence of creation (according to the cosmogony of Heliopolis, cf. Cooney, 2008: 2). A failure to conceive would be placed directly upon the shoulders of the woman, and could be grounds enough for divorce (Robins, 1993: 63). Women in ancient societies served the main function of child-rearing. This may seem backward, but it was an essential function, without which society would cease to function. When a woman failed to conceive, she in essence failed her function as a woman; many women (and men) in this situation turned to religion. This is where this thesis topic comes into play, since Hathor was a goddess of sexuality and fertility, but also had aspects of safeguarding and caretaking. Women were naturally drawn to her and she developed a large cult following, with cult centres scattered throughout Egypt. Not only were many of her followers female, but her priests were also female (Gillam, 1995: 211-212). Hathor might have been the most relatable of the goddesses because of her dual-nature; she is a caretaker and sexual being, but she can also become fierce and even bloodthirsty. Devotion to Hathor was widespread, with cult centres at Deir el-Bahari, Faras, Mirgissa, Serabit el-Khadim, Timna, Gebel Zeit and elsewhere, each with its own large deposit of votive offerings (Pinch, 1993). Hathor is also referenced in letters between females in a family, as one daughter writes to her mother: “May Hathor gladden you for my sake” (Wente, 1990: 63). It is because of this that this thesis investigated to what an extent ancient Egyptian women had a relationship with her.
AFRIKAANSE OPSOMMING: In die ondersoek van ou Egipte, het navorsers `n groot voordeel, deurdat daar `n groot verskeidenheid bronne beskikbaar is om mee te werk. Ongelukkig, vir enigeen wat daarin geïnteresseerd is om die antieke Egiptiese vrou na te vors, is die meerderheid van die bronne deur mans opgeteken, of in opdrag van hulle, en het ook betrekking op mans; koninklike of hooggeplaaste mans, om meer spesifiek te wees (Robins, 1993: 11-12). Daarom, moet ons ook ongeskrewe artefakte en offerandes bestudeer, wat moontlik simboliese betekenisse kan inhou. Dit beteken egter nie dat ons wel geskrewe bronne moet ignoreer nie, aangesien dit tog leidrade oor die posisie van vroue in die samelewing en hoe hulle deur mans beskou is, kan verskaf. Hierdie tesis het grootliks gebruik maak van kuns en artefakte om die verhouding tussen die vroue van antieke Egipte en die godin Hathor na te vors. Volgens tradisie, is vrouens die moeders, oppassers en tuisteskeppers van `n gemeenskap, maar hulle is nie net dit nie. Vroue is ook individue, in staat tot hul eie gedagtes, gevoelens, vrese, hoop en drome; en nes hul manlike eweknieë, kan vroue ook geloof ervaar. Maar, soos duidelik in die tesis uiteengesit is, het Egiptiese vroue nie net geloof ervaar nie, maar geloof geleef. In die antieke Egiptiese konteks was geloof onontkombaar. Die leser moet ook verstaan dat die antieke Egiptenare geglo het dat die man die skeppingsbron was and dat semen die kern van die skepping was (volgens die Heliopolis Kosmogonie, vgl. Cooney, 2008: 2). Indien „n egpaar probleme ondervind het om swanger te raak, het die blaam direk op die vrou se skouers gerus en was ook `n aanvaarde rede vir egskeiding (Robins, 1993: 63). Vroue in antieke gemeenskappe het hoofsaaklik gedien om kinders groot te maak. Dit mag dalk “agterlik” voorkom, maar dit was `n essensiële rol, waarsonder die gemeenskap nie sou kon funksioneer nie. Indien `n vrou nie kon swanger word nie, het sy in essensie in haar doel as `n vrou misluk; daarom het baie vroue (en mans) in hierdie situasie hulle na godsdiens gekeer. Dit is hier waar hierdie tesis aansluit, aangesien Hathor `n godin van seksualiteit en vrugbaarheid was, maar ook aspekte van beskerming en versorging gehad het. Vroue was natuurlik tot haar aangetrokke, `n groot gevolg het om haar kultus versamel en kultus-sentrums het deur Egipte versprei. Nie net was haar navolgers vroulik nie, maar ook haar priesters was vroulik (Gillam, 1995: 211-212). Hathor was moontlik die godin waarmee die mense die maklikste kon identifiseer, omdat sy `n tweeledige natuur gehad het; sy was `n versorger en `n seksuele wese, maar sy kon ook kwaai en bloeddorstig raak. Die aanbidding van Hathor was wydverspreid, met kultus-sentrums by Deir el-Bahari, Faras, Mirgissa, Serabit el-Khadim, Timna, Gebel Zeit en elders, elk met sy eie groot versameling artefakte (Pinch, 1993). Hathor word ook benoem in briewe tussen vroulike familielede, soos een dogter aan haar moeder skryf: “Mag Hathor jou bly maak vir my onthalwe” (Wente, 1990: 63). Dit is hoekom hierdie tesis nagevors het tot wat `n mate daar `n verhouding tussen antieke Egiptiese vroue en Hathor bestaan het.

The thesis concerns representations of Roman women of the imperial period depicted in the guise of a divinity. Portraits of women of all social levels have been included as have representations in any media excluding numismatic evidence. The latter, with its specific contextual characteristics, is only included and discussed as comparanda for the main body of material. The juxtaposition of a recognisable reality and a heightened reality in these representations raises a variety of interpretative questions: whether it is possible to establish a correlation between the mythological interpretation of a goddess and the socio-personal interpretation of an image of a mortal woman; the nature of the message being communicated through the choice of a particular deity; and whether the choice of deity for association in some way may be seen to conform to established ideals or topoi for women. The work examines Roman portraiture as a vehicle for self-expression and the transmission of ideals. Various aspects of the 'mechanics' for achieving this (idealisation, imitation, etc.) are investigated. Though, of particular importance to the argument is the relationship between image and spectator: the perception of portraits and the various factors contributing to forming an interpretation. Thus portraiture is established as a medium which within its contextual framework also includes the spectator - and the spectator's cultural reference points. The main body of the thesis centres on a dual examination of the range of deities with which Roman women were associated and the women presented in the divine guises, respectively proposing avenues of interpretations for the divine allusions and offering suggestions for methods of interpreting their use. The examination of the various deities in whose guises Roman women appear is also juxtaposed with the distinctions and attributes used to characterise women in literary and epigraphic sources. The correlation between these helps to elucidate the values represented in the images of women under discussion, and how they fit within a framework of ideals and virtues, and with the social personae of Roman women. Similarly, affinities between social status and mythological depiction are juxtaposed with a discussion of the role of the mythological representations themselves - exploring especially the relationship between mythological narrative and the tradition of exempla in Roman literature. It is further argued that interpretation is influenced also by viewer response - encouraged through empathetic identification and social emulation - and that the images of women in divine guises therefore may be perceived both as revealing intrinsic personal characteristics and as a costume symbolically articulating aspirational values. The inherent duality in these representations does in other words not so much concern degrees of reality as interacting realities: the individual"as a social participant, the public persona evidencing personal virtues. The images of Roman women presented therefore contain equally a reconfiguring response to the world and a socialising affirmation of identity.

Orientador: Joaquim Brasil Fontes Junior
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: O objetivo deste estudo, as deusas gregas virgens, Ártemis, Atena e Héstia, é demarcar a existência e a significação especial dessas deusas no mundo arcaico grego frente à posição ocupada por Afrodite, como representação do desejo. O sistema mítico prevê a questão do desejo articulada ao 'poder', conforme evidenciam as reflexões feitas a partir do corpus selecionado: as obras de Homero, de Hesíodo e os Hinos Homéricos referentes às deusas virgens e a Afrodite. A metodologia que orienta esta pesquisa segue uma linha antropológica comparativa, incluindo autores como Geertz e Detienne, com enfoque no uso e na significação da linguagem da produção escrita dos rapsodos gregos. O conceito de virgindade é direcionado pelo conceito de desejo e parece necessário que se considerem as propriedades e os atributos de Afrodite para definir as deusas gregas virgens, que fruem "de um outro modo de desejo e de poder". Esse aspecto nos faz refletir sobre uma sociedade patriarcal e as formas de independência feminina como instância de compromisso sócio-político, bem como sobre a manutenção de uma tradição herdada da grande mãe (Magna Mater) e das Amazonas. Uma possível indicação, a partir desses dados, é que o Cristianismo procurou dar continuidade a esse aspecto de gênero que promove a civilização e a organização da sociedade, através da figura da 'madre', como elemento de significação cultural.
Abstract: The aim of this study which focuses on the Virgin Greek goddesses, Artemis, Athene and Hestia, is to stress the existence and the special meaning of those goddesses in the archaic Greek world, compared with Aphrodite's position as a representative of 'desire'. The mythical system comprises the matter of desire linked to the meaning of "power", according to the evidence of reflections made from the corpus selected, Homer's and Hesiod's works and the Homeric Hymns referring to the virgin goddesses and Aphrodite. The methodology that orients this paper follows authors such as Geertz and Detienne, focusing on the use and meaning of the language in the written production of the Greek rapsodes. The concept of virginity is directed by the concept of desire, and it is necessary to consider Aphrodite's properties and attributes to define the virgin Greek goddesses who have another form of desire and power. That aspect brings up considerations on a patriarchal society and ways of feminine independence as a means of socialpolitical commitment, as well as on the maintenance of a tradition inherited from the Great Mother and the Amazons. One possible direction arising from the above facts is that Christianity tried to give sequence to this aspect of gender which promotes civilization and the organization of society, by way of the 'mater figure', as an element of cultural significance.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação

[ES] «Diosas Primigenias, sus mitos, estética e influencia en el arte y las sociedades hipermodernas líquidas», tiene sus fuentes en distintas áreas del conocimiento como la arqueología, la antropología, la sociología, el arte, los feminismos, la teología, etc., con el fin de facilitar la comprensión de la compleja sociedad actual. Para sustentar las hipótesis y objetivos del trabajo, en una primera parte, hemos elaborado un marco teórico con antecedentes en los mitos primigenios, a partir las teorías de Carl Jung o Mircea Eliade entre otros. En el segundo capítulo revisamos los datos arqueológicos alejados de la visión patriarcal, basándonos en datos científicos de Marija Gimbutas entre otras arqueólogas, proponiendo una visión diferente de la forma de organización social y del rol femenino, de acuerdo con la She Story. El mito aquí tratado, fijado en el subconsciente colectivo, forma parte de la estética de nuestras sociedades líquidas por lo que en el tercer capítulo analizaremos la evolución del pensamiento occidental desde Descartes a Lipovetzky, tocando brevemente a Kant, Hegel, Nietzsche, Fromm, y posteriormente las teorías de Marc Augé y Zygmunt Bauman. La segunda parte, cuarto capítulo dedicado a Zygmunt Bauman, y cómo sus teorías sociales han descrito minuciosamente la sociedad en que actualmente vivimos. Todo en esta generación líquida está entrelazado, arte, sociedad, tecnología, comunicaciones globales, mass media, comercio, política, mitos, esta liquidez abarca todos los aspectos de nuestras vidas y se refleja en el cuerpo femenino. Analizamos la presencia y manipulación por parte de los medios de comunicación masiva y las tecnologías, de lo que Zygmunt Bauman denomina la Generación Líquida. Generación que ha nacido con las tecnologías y que no entendería su realidad sin estar «conectada». Entregando su libertad a los nuevos líderes de opinión que son los trenders o los bloggers. Traspasando su lealtad incondicional a las empresas tecnológicas tipo Facebook, Instagram, Amazon, etc Se revisa con perspectiva de género el cuerpo femenino en estos tiempos líquidos, a partir de las teorías fundamentales de Judith Butler, Paul B. Preciado y Griselda Pollock. Dando paso al estudio de las teorías de Bauman con el cambio de perspectiva que los mass media, el marketing, y el consumo voraz de información en red han provocado en los mitos estudiados y de forma específica en el mito de la Diosa Primigenia alterando su significado en pos de la comer- cialización por cantantes como Rosalía, la familia Kardashian o la Mujer Maravilla. En el quinto capítulo serán las teorías de la doctora Griselda Pollock sobre la visión de cuerpo femenino a través de las artes, la creación del canon feminista y su posición frente al cuerpo femenino líquido las que sean hilo conductor del trabajo. Finalmente en el sexto y último capítulo se presentan ejemplos del abuso que las comunicaciones masivas, y la tecnología descontrolada desvirtúan los mitos aquí tratados. Se analiza cómo los mass media, los big brothers, los mitos Marvel, la música pop o el rap, representados por ejemplo en la rapera Minaj, o en Cuban doll, los han utilizado para convertirse en Diosas Primigenias mutantes y desvirtuadas. Se cierra el estudio con ejemplos de las artistas visuales y escultoras, desligadas del fenómeno del comercio rampante; productoras plásticas que advierten de estos peligros y nos conciencian de que el verdadero mito primigenio de esta Diosa sigue vivo y sano, en un mundo donde aún existe la conciencia y la salud mental, como Ana Mendieta, Rebecca Horn, Nalini Malani entre otras. Sirva como colofón mi producción llevada a cabo en relación con el presente proyecto de investigación; materializado en tres exposiciones personales a lo largo de este período bajo los títulos de: «Mujeres Celestes, Mitos Primigenios», «Mitos en tiempos líquidos» y «Mito poemas
[CA] Aquesta investigació «Deesses Primigènies, els seus mites, estètica i influència en l'art i les societats hipermodernes líquides», té les seues fonts en diferents àrees del coneixement com l'arqueologia, l'antropologia, la sociologia, l'art, els feminismes, la teologia, etc., amb la finalitat de facilitar la comprensió de la complexa societat actual, l'estructura líquida que la defineix i la seua influència en l'estètica del cos femení. Per a sustentar les hipòtesis i objectius del treball, en una primera part, hem elaborat un marc teòric amb antecedents en els mites primigenis, a partir les teories de Carl Jung o Mircea Eliade. En el segon capítol revisem les dades arqueològiques allunyades de la visió patriarcal, i basant-nos en dades científiques de Marija Gimbutas entre altres arqueòlogues, analitzem la història des d'un punt de d'acord amb la She Story. El mite ací tractat, fixat en el subconscient col·lectiu, forma part de l'estètica de les nostres societats líquides pel que en el tercer capítol analitzarem brevíssimament l'evolució del pensament occidental des de Descartes a Lipovetzky, recorrent les diferents teories fonamentals per a comprendre on ens trobem en l'actualitat. Kant, Hegel, Nietzsche i Fromm, i posteriorment a les teories de Marc Auge i els «no llocs» i Zygmunt Bauman i la societat líquida. La segona part s'inicia amb el quart capítol dedicat a Zygmunt Bauman, i com les seues teories socials han descrit minuciosament la societat en la que actualment vivim. Tot en aquesta generació líquida està entrellaçat, art, societat, tecnologia, comunicacions globals, mass media, comerç, política, mites, i aquesta liquiditat abasta tots els aspec- tes de les nostres vides i es re ecteix en el cos femení. Analitzem també la presència i manipulació per part dels mitjans de comunicació massiva i les tecnologies, del que Zygmunt Bauman denomina com la «Generació líquida», la societat líquida en l'estètica femenina. Generació que ha nascut amb les tecnologies i que no entendria la seua realitat sense estar «connectada». Entregant la seua llibertat als nous líders d'opinió que són els trenders, els bloguers, les momagers, a les empreses tecnològiques tipus Facebook, Instagram, Amazon, etc., totes elles dedicades als mitjans de comunicació massiva i al control de dades que faciliten als sistemes suprapanòptics per a manipular aquesta llibertat voluntàriament entregada. En el cinquè capítol es resumeixen les xarrades i seminaris haguts amb Griselda Pollock en els seus estudis sobre la visió de cos femení a través de les arts, la creació del cànon feminista i la seua posició enfront del cos femení líquid. Finalment en el sisè i últim capítol es presenten exemples de com l'abús absurd que les comunicacions massives, i la tecnologia descontrolada desvirtuen els mites ací tractats. S'analitza com els mass media, els big brothers, els mites Marvel, la música pop o el rap, representats per exemple en les Kardashians, o en la rapera Minaj, o en Rosalía els han utilitzats per a convertir-se en Deesses Primigènies mutants i desvirtuades. Es tanca l'estudi amb exemples de les artistes visuals i escultores, deslligades del fenomen del comerç rampant; productores plàstiques que adverteixen d'aquests perills i ens consciencien que el vertader mite primigeni d'aquesta Deessa continua viu i sa, en un món on encara existeix la consciència i la salut mental, com Ana Mendieta, Louise Burgeoise, Rebecca Horn, Nalini Malani entre altres. Servisca com a colofó la producció duta a terme en relació amb el present projecte d'investigació; materialitzat en tres exposicions personals al llarg d'aquest període sota els títols de: «Dones Celestes, Mites Primigenis», «Mites en temps líquids» i «Mite poemes femenins».
[EN] This investigation «Primeogenial Goddesses, their myths, aesthetic and inuflence in art and in the hyper-modern liquid societies» is supported by several areas of knowledge, such as archaeology, anthropology, theology, sociology, art, feminisms and psychology, etc., in order to grasp the complexity of the society in which we live. To sustain the hypothesis and objectives of this paper, in the first part we elaborate a theoretical framework, with the background of the primeogenial myths and the female body, based on the theories of Carl Jung or Mircea Eliade among other theorist. In the second chapter archaeological data is revised, based on scientific data of Marija Gimbutas among other archaeologists giving a different point of view, the She Story. The Inherited in the collective subconscious, the myth of the Primogenial Goddess forms part of the aesthetics of our liquid societies, for that reason, in the third chapter, very briefly we analyze the evolution of western thought, from Descartes to Lipovetzky, journey through fundamental theories to understand where we stand now a days: Kant, Hegel, Nietzsche and Fromm arriving to the «no place» theory of Mark Augé and finally the liquid society theory of Zygmunt Bauman. On the second part of this work, chapter four, dedicated to Zygmunt Bauman, how its social theories have meticulously analyse the society we live in. How everything is intertwined; art, society, technology, global communications (mass media), commerce, politics, myths in this liquid generation, which cover all aspects of our lives and how it reflects in the feminine body. A generation that has been born into the technologies, and would never understand its own reality if «not connected». They blindly trust it and their new leaders of opinion the trenders, bloggers, momagers, the new loyalty is devoted to technological corporations like Facebook, Instagram, Amazon, handing the private information to the supra panoptic systems, information voluntarily given by the individuals of this generation. A perspective of gender is revised, the female body in liquid times, through the essential theories of Judith Butler, Paul. B. Preciado and Griselda Pollock. How all converge with the theories of Bauman, changing the perspective that mass media, marketing and the insatiable commerce of information on the net. On the fifth chapter Griselda Pollock through its lectures of the feminine body in the arts, the feminine body and the canon, the creation of this feminist canon and the position of the feminine body of the primeogenial myth in modernity, lightens us in such aspects. The sixth and last chapter, examples are given of the absurd abuse of the massive communications, uncontrolled technology and how they undermine and distort the myths we study. This bricoleur mentioned by Levi-Strauss leads to a nonsense power of the voracious commerce that mass media impose on us, like the big brothers, represented by the Kardashians, the Marvel myths. The phenomenon like rappers Minaj, or Rosalía among other mutant Primeogenial Goddesses, twisted and distorted. To close this thesis with samples of art, visual artists and sculptress, detached from the phenomenon of the voracious commerce, plastic producers in which mental health and consciousness still exist among others, Ana Mendieta, Louise Burgeoise, Rebeca Horn, Nalini Malani, or Sahara Sitkin. I conclude this research with my own artistic production which has been presented in three personal exhibits through the duration of the investigations: «Celestial women, Primeogenial myths», «Myths in liquid times» and «Feminine myth-poetics».
Leiva Del Valle, A. (2020). Diosas primigenias, sus mitos, estática e influencia en las sociedades hiper-modernas líquidas [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/156046
TESIS

La thèse sur le sujet suivant : le culte des divinités féminines en Gaule Belgique et dans les Germanies sous le haut empire romain consiste en une analyse la plus exhaustive possible des divinités féminines rencontrées dans les trois provinces de l'empire romain que sont la Gaule Belgique et les Germanies. Tout d'abord, il s'agit de faire une recherche approfondie concernant des caractères des divinités féminines, qu'elles soient indigènes, importées de Rome ou importées de la partie orientale de l'empire romain. Cette thèse a aussi pour but d'analyser les formes de cultes et les rites consacrés à ces divinités - cela passe par une étude des cérémonies, des rites, des formes de dédicaces, des sanctuaires et des temples consacrés aux déesses. Ce sujet a ensuite pour ambition d'examiner l'importance des marques de la romanité dans ces cultes. Enfin, cette recherche doit envisager le rôle que peuvent avoir la romanisation et les différents groupes sociaux dans l'implantation et la propagation des cultes des divinités féminines en Gaule Belgique et dans les Germanies sous le haut empire romain pour ainsi comprendre pourquoi il existe de tels différentiels selon les provinces en fonction des divinités
This thesis is on the following subject: the cult of the goddesses in Gallia Belgica and in the Germanies under the Early Roman Empire consists in the most possible exhaustive analysis about the goddesses met in the three provinces of the Roman Empire: Gallia Belgica, Germania Inferior and Germania Superior. First, the thesis consists in a deep research on the goddesses’ characteristics, even if the goddesses were “indigenous”, imported from Rome or imported from the eastern part of the Roman Empire. This work also has as a goal to analyse the various forms of cults and rites dedicated to those deities – it consists in a study of the ceremonial, the rites, the form of dedications, the sanctuaries and temples dedicated to these goddesses. This subject then has as an ambition to examine the importance of the impact of the Romanity of these cults. Finally, this study has to think about the role played byt “Romanisation” and the different social groups in the implantation and broadcast of these cults in Gallia Belgica and in the Germanies to understand why there were such differences between the provinces because of the goddesses

African American Studies
Ph.D.
This is an Afrocentric examination of women's use of agency in Ancient Egypt and Igboland. Most histories written on Kemetic women not only disconnect them from Africa but also fail to fully address the significance of their position within the political spiritual structure of the state. Additionally, the presence of matriarchy in Ancient Egypt is dismissed on the basis that patriarchy is the most visible and seemingly the most dominant form of governance. Diop contended that matriarchy was one of the key factors that connected Ancient Egypt with other parts of Africa which is best understood as the Africa cultural continuity theory. My research analyzes the validity of his theory by comparing how Kemetic women exercised agency in their political structure to how Igbo women exercised political agency. I identified Igbo women as a cultural group to be compared to Kemet because of their historical political resistance in their state during the colonial period. However, it is their traditional roles prior to British invasion that is most relevant to my study. I define matriarchy as the central role of the mother in the social and political function of societal structures, the political positions occupied by women that inform the decisions of the state and the inclusion of female principles within the religious-political order of the nation. Matriarchy as a critical framework was used to identify how Kemetic women and Igbo women accessed political power by means of motherhood, political leadership, and spiritual authority. The findings of this study show that Igbo women and Ancient Egyptian women were integral to the political operation of their states. Furthermore, the results indicate that Ancient Egypt and Igboland shared cultural commonalities as it relates to the roles that women occupied as spiritual specialists, political leaders and mothers.
Temple University--Theses

Thesis (M.A.)--Georgia State University, 2006.
Timothy Renick, committee chair; Kathryn McClymond, Jonathan Herman, committee members. Electronic text (p. 54 p.) : digital, PDF file. Description based on contents viewed Apr. 30, 2007; title from title screen. Includes bibliographical references (p. 51-54).

La principale question à laquelle cette thèse tente de répondre, c’est la façon dont est abordée et révélée la question de la maternité et, plus largement, de la parentalité dans la mythologie grecque et comment, par le biais de cette approche, nous pouvons déceler et expliquer la situation sociale des femmes et leur statut maternel dans le système de valeurs que véhicule la mythologie. En utilisant la catégorie du genre dans le traitement de cette thématique, cette thèse s’efforce de proposer de nouvelles possibilités pour interpréter et expliquer l'abolition de la maternité et plus largement de la parentalité, l'infanticide, mais aussi la survivance du système pré-patriarcal dans le système religieux androcentré du panthéon grec. On examine les mythes en prenant en compte leur contexte social, culturel et historique afin d’en tirer des conclusions sur la position de chaque sexe dans la sphère publique et privée, sur le rôle respectif des hommes et des femmes dans leur vie privée, sur les relations de pouvoir et de subordination entre les sexes, ainsi que sur le système des valeurs et des perceptions qui dominent, mais – surtout – sur la représentation qui est donnée de ce système dans les mythes grecs. En sens, cette thèse se veut une contribution à la tentative plus large qui est universellement en cours pour réintégrer les femmes dans le contexte non seulement de l'histoire, mais aussi de la mythologie
The main question that this thesis tries to answer is how the subject of maternity and, in general, parenthood is discussed and revealed through the Greek mythology and how we can, through this approach, pinpoint and explain the social status of women and maternity in the mythological value system. By using the category of “sex” in this subject’s approach, analysis and conclusions, the purpose of this thesis is to offer new possibilities to interpret and explain, regarding the abolishment of maternity and, generally, parenthood, the act of infanticide, but also the survival of the prοpatriachal system in the male-dominated religious belief of the Greek pantheon. The myths are being examined by taking into consideration their social, cultural and historical context in order to come to conclusions about each sex’s position in the public and private sector, about the roles of men and women in their private lives, about the relationships of power and submission between them, as well as the dominant value and perception system and, above all, about the representation of this system in the Greek mythology. In this sense, this thesis aims to be a contribution to the ongoing wider global effort to reintegrate women not only in a historical context but also in mythology

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This exegetical study aims to demonstrate the maternal face of Yahweh revealed in the writings of Deutero-Isaiah, having as main source the oracle of salvation Is 43.1-7. To this end, we start from the analysis of the literary context, historical and religious Deutero-Isaiah, so that make the exegetical analysis of the text proposed by which we will focus, among various contents, the characteristic maternal presented in the passage. Understanding a text arises within a social environment, will highlight, based on the writings Deutero-Isaiah, the exiled community to which they are addressed prophets and prophetesses. Finally, combining the attributes of maternal goddesses Asherah and Ishtar with the fledgling maternal conception of Yahweh made by Hosea, we propose the maternal face of God based on texts of Deutero-Isaiah, in particular Is 43.1 to 7.
O presente estudo exegético tem por objetivo demonstrar a face materna de Javé revelada nos textos de Dêutero-Isaías, tendo como fonte principal o oráculo de salvação de Is 43,1-7. Para tal, partimos da análise do contexto literário, histórico e religioso de Dêutero-Isaías, paraentão fazer a análise exegética do texto proposto, através da qual enfocaremos, dentre os diversos conteúdos, a característica materna apresentada na perícope. Compreendendo que um texto surge dentro de um ambiente social, evidenciaremos, com base nos escritos de Dêutero-Isaías, a comunidade exilada à qual se dirigem profetas e profetisas. Por fim, combinando os atributos maternos das deusas Asherah e Ishtar com a incipiente concepção materna de Javé apresentado por Oséias, propomos a face materna de Deus com base nos textos dêuteroisaiânicos, em especial, Is 43,1-7.

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This dissertation considers that Pr 31,10-31 possess helenistc traces and can be interpreted in the perspective of the greek goddesses Aphrodite, Athene, Artemis, Demeter and Hestia that are present in the space between lines of this acrostic. Therefore, the research continues to enter in the questions of the myth, of the imaginary, gender and feminist hermeneutics; finishing through the bridge with today; in an analysis of popular proverbs on the brazilian woman, through the woman of the mouth of the people and its relation with the woman-goddess of Pr 31,10-31.
Esta dissertação propõe que Pr 31,10-31 possui traços helenistas e pode ser interpretada na perspectiva das deusas gregas Afrodite, Palas Atena, Ártemis, Deméter e Héstia que estão presentes nas entrelinhas desse acróstico. Por conseguinte, a pesquisa continua a adentrar nas questões do mito, do imaginário, estudos de gênero e hermenêutica feminista; finalizando ao realizar a ponte com o hoje, numa análise dos provérbios populares sobre a mulher brasileira, através da mulher da boca do povo e a sua relação com a mulher-deusa de Pr 31,10-31.

La présente étude s'intéresse aux popula-tions installées en Irlande avant l'arrivée du christianisme (aux environs du Ve siècle de notre ère), et plus précisément aux bâtisseurs des tombes à couloirs du Néolithique ainsi qu'aux Celtes. L'omniprésence d'une com-posante féminine symbolique dans les pay-sages pré-chrétiens (qu'ils soient naturels, mégalithiques ou littéraires) est au centre de cette analyse, qui prend en considération le caractère matrifocal des sociétés archaïques et en évalue l'impact sociétal et rituel chez les Celtes. La thèse examine la spécificité de la perception des reliefs et l'expression sym-bolique de la représentation. Cette dernière se traduit chez les populations du Néolithique par une féminisation du paysage au travers des modifications délibérées de lieux naturels ou la création de sites clefs (tels que Brú na Bóinne ou Loughcrew). Nous montrons aussi que cette perception de l'espace comme fé-minin fut relayée chez les Celtes par la créa-tion de mythes mettant en scène des figures féminines divines ou évhémérisées transfonc-tionnelles. Le rapprochement proposé entre les créa-tions de ces deux groupes humains distants de plusieurs millénaires (de - 3500 à 700) vise à montrer qu'il existe dans les deux cas conception similaire de la terre d'Irlande comme féminine. Pour ce faire, la thèse met en relation plusieurs disciplines. La confron-tation des documents archéo-mythologiques révèle une continuité chronologique dans les représentations qui est liée à l'assimilation de l'héritage culturel indigène par les Celtes venus du continent. Nous avançons l'idée que l'osmose entre ces deux cultures a donné naissance à une identité celte insulaire unique, fortement ancrée dans la terre d'Irlande.

Detta är en kartläggande uppsats som har i uppgift att beskriva en ”ny” religiös tradition. Det är även en jämförande uppsats mellan Glastonburys tempel och templet i Söderhamn. År 2002 grundades templet i Glastonbury, som var det första templet som grundades inom denna gren av gudinnetron. År 2006 grundades templet i Söderhamn, det är det enda templet i Sverige med denna inriktning. Genom att jämföra dessa tempel, och studera deras tro, vill jag komma fram till likheter och olikheter mellan dessa tempel och studera svårigheter denna religiösa gren har stött på. På grund av ett ökat intresse inom kvinnoforskning så har troligen gudinnetraditionerna fått en skjuts framåt. Idag kan man se olika former av dessa rörelser sprida sig runt om i världen och i Sverige. Trots de starkt ifrågasatta teorierna om ett matrilinjärt samhälle, så vidmakthåller gudinnetroende att de har existerat. I dessa samhällen hade, enligt de gudinnetroende, kvinnan en stark ställning och makt. Dessa teorier grundar de på arkeologiska fynd, men dessa fynd ger de flesta forskare en annan tolkning. Genom att studera historien och granska de olika teorierna om matrilinjära samhällen så vill jag visa på vikten av att vara källkritisk och att källor ofta är tolkningsbara. Och att många, oavsett religiös tillhörighet, tolkar dem till sin fördel.

The thesis mainly studies social-historical co(n)texts to understand the polemic in Revelation against the so-called ‘Jews’ and a self-professed prophetess named ‘Jezebel’ (Rev 2-3). The enquiry centres on two areas: (1) the underlying issues to the polemic against the abovenamed contenders, and (2) a reading of a polemical technique in the text against prophetess ‘Jezebel’ through a specific web of associations involving two ‘Jezebels’ and a great harlot. Preliminary studies provide the framework for the main enquiry. ‘Historical anchorage’ is attained in the echoes/allusions of the beast from the sea-abyss to emperor Titus (Ch. 2) and the ‘Satanic trio’ and their cult (Rev 13) to the Flavian dynasty and cult (Ch. 3). A real crisis for Christians is seen late in Domitian’s time involving pressure from the Flavian provincial temple, widespread false accusations of άθεότηζ άσέβεια or maiestas and pressures from Domitian’s rigorous exaction of the Jewish tax. These matters are seen to implicate both Jewish and Gentile Christians (Ch. 4). The figure of the beasts, the social pressure from the imperial cult, and the vulnerability of Christians reflected in these preliminary studies contribute to a fuller understanding of the anti-Judaistic polemic. There are reasons to think that the anti-Judaistic polemic in Rev 2:9-10 and 3:9 is not aimed at the Jewish community per se, but acts to discourage Christians from feigning affiliation with the synagogue to escape social pressure from the imperial cult. There is a growing importance of the imperial cult towards the end of the first century C.E. in Asia Minor, and a judaizing tendency among some Christians there late first century and beyond. Importantly, Rev 14:9- 11 reflects the author’s major concern about (1) participation in the imperial cult and (2) Christian ‘judaizing’ behaviour (the mark of beast as tefillin worn by outsiders to Rabbinic Judaism). Under the author’s creative hand, the beast from the land/false prophet becomes the ‘Satanic’ source of pressure to these two aspects (cf. 13:11-17; Ch. 5). The second major part demonstrates a polemical technique in the text that binds the prophetess ‘Jezebel’ with an OT Queen and the Great Harlot (Rev 17-18). Social meals with drinking parties in guilds/associations and the imperial cult could have been a common context for allurements to sexual immorality and eating idol-food that ‘Jezebel’ advocates. I construct a picture of the prophetess ‘Jezebel’, who perhaps doubles as a patroness of a trade guild incorporating members from the Thyatiran church. Pagan ‘mysteries’ could have been a part of her activities (Ch. 6). I also examine the Great Harlot within the Graeco-Roman context giving attention to her depiction as tyrannical and sexually immoral queens and assimilated goddesses, such as Isis, Cybele, Aphrodite and Roma (Ch. 7). The OT Queen Jezebel is also studied within her social-historical context. She is seen to take on the image of the ‘woman at the window’ (2 Kgs 9:30), reflective of goddess Astarte or her temple servant. Her role as the ‘הבׂבג’ (great lady; 2 Kgs 10:13) and queen mother also fits that of another goddess, Asherah, whose prophets she hosts (Ch. 8). The destruction of Queen Jezebel and that of the Great Harlot contain a polemic against pagan deities they both embody. The prophetess veering into pagan grounds of idolatry is bound tightly with them and is indirectly castigated for her syncretistic practices (Ch. 9). Overall, the author’s polemic in Revelation acts to deter Christians from veering into the grounds of ‘Satan’—the imperial cult and the synagogue (as the author puts it)—and against behaviours, such as sexual license and eating food offered to idols, that would allow Christians to easily enter contexts involving pagan worship.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2014.
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Personagens mitológicas são referências recorrentes na escrita de Margaret Atwood e aparecem, frequentemente, de maneira revisitada, questionando o cânone, a própria mitologia clássica e atuando como metáforas complexas da sociedade atual. Este estudo analisa a recorrência de três dessas figuras mitológicas sob o prisma da crítica literária feminista numa seleção de poemas de Margaret Atwood intitulado Morning in the Burned House (1995). A análise busca verificar se e como elas podem ser entendidas como uma paródia auto-reflexiva sobre a condição paradoxical da mulher na sociedade ocidental contemporânea.

Iris, l’arc-en-ciel, la rapide messagère « aux ailes d’or », est une divinité de rang B dont les représentations sur la céramique attique des VIe et Ve siècle avant notre ère ont été peu étudiées. Cet état de fait est dû aux très nombreuses représentations de déesses ailées dans la céramique attique, lesquelles entraînent nécessairement confusions et problèmes d’identification : avec Niké en premier lieu, avec Éos, Hébé, et d’autres divinités dans une moindre mesure. Nous avons alors cherché à comprendre ce lieu d’expérimentations et de jeux qu’est l’image attique et, plus particulièrement, que constitue ce « panthéon d’images » en analysant les confusions, en déterminant de probable fusions imagées, tout en envisageant la diversité mais aussi la polysémie de l'iconographie de la déesse Iris. L’enjeu de ces analyses est de nous permettre d’appréhender une vision grecque de l’image des femmes ailées, de voir l’évolution des représentations des dieux sur la céramique attique, et ce qu’implique la conceptualisation imagée des rapports entre monde divin et monde humain. Pour ce faire nous avons mené différentes enquêtes en fonction des thématiques que nous avons été amenés à aborder à cause de ces images et à partir de ces images. Nous avons envisagé non seulement les images mais aussi les lectures des textes antiques qui ont pu être faites ces dernières années, ainsi que la société qui a produit ces images. Nous cherchons donc à utiliser une perspective plurielle, amorcée, entre autres, par Jean-Pierre Vernant, alliant trois approches : l’anthropologie, l’histoire des religions et l’histoire du visuel afin de saisir l’étendue des représentations de la déesse Iris
Iris—the rainbow and the “Golden Winged” swift messenger—is a divinity of the second rank whose representations on Attic ceramics of the 6th and 5th centuries BC have been little studied; this is due to the great number of representations of winged goddesses on Attic ceramics, which necessarily leads to confusions and identification problems, first and foremost with Nike, but also with Eos, Hebe and other divinities to a lesser extent. Therefore, we have tried to understand the experimentation and games of Attic images and, more specifically, what constitutes this “pantheon of images”: to this end, we have analysed the confusions by determining probable fusions of images, while at the same time considering both the diversity and the polysemy of the iconography of the goddess Iris. What is at stake with these analyses is the possibility to apprehend a Greek vision of the image of winged women, to see the evolution of the representations of gods on Attic ceramics, and what the conceptualisation of the connection between the divine and the human worlds through images implies; to do so, we have carried out various investigations depending on the themes that we have been led to address because of and starting from these images. We have considered not only the images but also the interpretations of Attic texts which have been made these last years, and the society which produced these images as well. Thus, we have tried to use a pluralist perspective, one which was initiated by Jean-Pierre Vernant, among others, and combining three approaches—anthropology, the history of religion and visual culture—in order to grasp the scope of the representations of the goddess Iris