The Ancient Mesopotamian society is often pictured as the cradle of society. It is surroundedby the rivers Euphrates and Tigris and has given life to an agricultural civilization that hasproduced the oldest preserved literary writing of our time, the Epic of Gilgamesh. In thisqualitative research paper, I intend to explore similar stories to expand the understanding ofthe Mesopotamian religion and its deities.Metaphorical literature, as with the Epic of Gilgamesh, represent society’s understanding ofits surroundings and thus portrays deities as reflections of its values and cognitive thinking.As an example, kingships of Mesopotamia were depicted as gods, and gods as kings, duringthe third millennia B.C. The prevailing political setting of monarchs demanded protection ofits citizens against outside threats. Wars were common during this era and thus walls werebuilt around the cities. The deities acted as protectors of the citizens as well as the kings. So,the metaphorical literature created during this time reflected upon this societal system.The analysis of the paper does not only intend to investigate the understanding of deities inrelation to the physical world, but also intends to elaborate the current understanding of thosedeities. Previous research has tried to explain and understand the Mesopotamianpandemonium in its completion despite the religion having produced nothing that can beexplained in a systematic structure. Instead, I argue, that the anthropomorphic Mesopotamiangod system needs to be further analyzed in relation to the society itself. Many metaphoricstories do not separate mankind to gods, and so this paper’s purpose is to further specify thecurrent Mesopotamian definition according to such keystones.

The ancient Maya afterlife is a rich and voluminous topic. Unfortunately, much of the material currently utilized for interpretations about the ancient Maya comes from publications written after contact by the Spanish or from artifacts with no context, likely looted items. Both sources of information can be problematic and can skew interpretations. Cosmological tales documented after the Spanish invasion show evidence of the religious conversion that was underway. Noncontextual artifacts are often altered in order to make them more marketable. An example of an iconographic theme that is incorporated into the surviving media of the ancient Maya, but that is not mentioned in ethnographically-recorded myths or represented in the iconography from most noncontextual objects, are the "travelers": a group of gods, humans, and animals who occupy a unique niche in the ancient Maya cosmology. This group of figures is depicted journeying from one level or realm of the universe to another by using objects argued to bridge more than one plane of existence at a time. They travel by holding onto or riding objects familiar to the ancient Maya that held other-world or afterlife symbolic significance and that are connected to events related to birth, death, and leadership. This group of figures (the "travelers"), represented across time and space and on wide ranging media, provides insight and broadens what is currently understood about the ancient Maya view of life and death by indicating a persistent belief in the ability to move from one realm to another in the afterlife.

In the Arthurian romances of the Middle Ages, the character of Morgan le Fay was transformed dramatically from her Welsh original, the goddess Modron. The effect was to vilify the enchantress so that medieval Christians would not be sympathetic to her character. This study consults the oldest available Welsh mythological and historical texts as well as the medieval romances surrounding King Arthur and the Knights of the Round Table. Also consulted are some of the top contemporary Arthurian scholars. By unraveling Morgan’s transformation and the reasons for such change, it is revealed that medieval demonizing of old pagan deities was not limited to male deities. Instead, the most ancient deity of all, the Great Mother Goddess slowly became one of the most infamous characters in literature, Morgan le Fay.

The topic of this work is water deities under the Nguyễn dynasty (1802-1945) in the context of state's relationship with local deities. Vietnamese rulers were striving to integrate locally worshipped deities into the state cultic system throughout Vietnamese history, and these efforts climaxed under the Nguyễn, the last Vietnamese dynasty, whose state cult stemmed from older Vietnamese tradition of the Confucian repertoire. Based on study of primary sources this work addresses the relationship of state power and local deities in 19th century. This relationship was differentiated, dynamic and full of compromises, despite the proclaimed state's power over local deities. Focusing on water deities and trying to classify them the state power's tendency to penetrate remote parts of the realm as well as its lowest administrative levels through official recognition of local deities is apparent. Within this process local water deities were transformed from ambivalent nature deities into quasihistorical heroes embodying state promoted Confucian values. These tendencies are apparent in the case of specific water deities, brothers Trương Hống and Trương Hát, worshipped in Bắc Ninh province in the north Vietnam. Key words water deities, religion, Vietnam, religious policy, Confucianism, Nguyễn dynasty

Jiří Dynda Gods and Demons: The Construction of the Slavic Paganism in the Medieval Textual Sources PhD Thesis, Faculty of Arts, Charles University Abstract The thesis focuses on the analysis of ways of discursive construction of Slavic paganism in medieval written sources. Three chapters attempt to answer the basic research question: how are the elements of Slavic paganism (and especially its concept of divinity) described before; shortly after; and long after Christianization. In other words, how paganism was portrayed as an active external enemy, as a defeated enemy, and as an internal enemy of medieval Christianity. The discourses analysis is applied to more than a dozen case studies of specific sources or their groups. These written sources are analysed also in comparison with other textual, archaeological and ethnographic sources. By thorough identification of several discursive strategies (idolatric, demonological, ortho-practical, euhemeristic and Graeco- Roman interpretation) in the sources the thesis is directed towards a detailed knowledge of the specifics of the Christian perspective (interpretatio Christiana) on the Slavic pagan religions. Thus, the thesis contributes to the possibilities of their understanding. In particular, the concept of divinity in functioning pagan societies in comparison...

Thesis (MPhil)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Many metaphors relating to creativity are too misleading, confusing, and restricted in scope for a meaningful exploration of the phenomenon and its fluctuating social and cultural contexts. Given the Muse's long-term association with literature, philosophy, education, and more recently, the fine arts and other "creative" fields, an analysis of this concept may provide a unique opportunity to gain insight into the "mechanisms" underlying the creative process. Since affiliation with the Muse appears to have signalled attainment of critical cultural and/or social status by cultural practitioners in various societies, from the ancient to the present (a category which was broadened substantially), it is thus logical to assume this concept encompasses and has accumulated characteristics particular to the creative process as historically and currently valued in Western culture. Given the limited scope of the thesis, I have focused on specific concerns: 1) Provide an overview of the history, origin and development of the concept via specific examples ranging from antiquity, the medieval period, and the modern. 2) Assess the changes which have occurred in the development of the concept, and postulate likely causes: such as for example, the impact of an increased focus on the visual - and by extension, the physical - due to a more literate populace, on a concept originally conceived of as experienced through predominantly audial means. 3) Identify closely related concepts, the characteristics of which may have played a role in the formulation of the initial concept, along with those integrated into it, to form the modern version of the Muse: examples include the influence of the myth of Pygmalion on notions regarding the poet's relationship with both material and Muse; and the consequences of an amalgamation of characteristics of Aphrodite with those of the pastoral Muse. 4) Explore the extent to which the Muse-poet interaction can reveal fundamental aspects of the creative process and its main components: the differences between the public invocation and experience of the Muse in an oral context, as opposed to the privately experienced Muse of the literate poet; also, the changes imposed on the concept's perceived means of functioning due to its extension to the practice of the visual arts; and the correlation between the Jungian notion of the anima and aspects of the Muse. 5) Postulate the fundamental aspects of the creative process as revealed by analysis of the concept of the Muse for further investigation. In brief then, the main intention of this thesis is simply to examine by analysis of particular examples, the feasibility of applying the concept of the Muse as metaphor through which to identify for further exploration, issues and themes relating to the production and changes in social assessment of creative enterprises. / AFRIKAANSE OPSOMMING: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Menige metafore verbonde aan kreatiwiteit is te misleidend, verwarrend, of beperk in omvang vir 'n betekenisvolle ondersoek van díe verskynsel en die fluktueerende sosiale en kulturele kontekste daarvan. Gesien in die lig van die Muse se langtermyn assosiasie met letterkunde, filosofie, opvoedkunde en meer onlangs, the skone kunste en ander "kreatiewe" velde, mag 'n analise van die konsep moontlik 'n unieke geleentheid bied om insig te verkry in die onderliggende "meganismes" van die kreatiewe proses. Aangesien affiliasie met die Muse blyk om die bereiking van kritiese kulturele en/of sosiale status, deur kulturele praktisyne in verskeie samelewings, van die antieke tot die huidige ('n kategorie wat aansienlik uitgebou is) aan te dui, is dit dus logies om te aanvaar dat die konsep alomvattend is van eienskappe kenmerkend van die kreatiewe proses, soos geskiedkundig en huidig op prys gestel in die Westerse kultuur. Gegewe die beperkte bestek van die tesis, is gefokus op spesifieke kwessies: 1) Verskaf 'n oorsig van die geskiedenis, oorsprong, en ontwikkeling van die konsep deur spesifieke voorbeelde, in omvang vanaf die antieke, die middeleuse periode, en die moderne. 2) Evalueer die veranderinge wat voorgekom het in die ontwikkeling van die konsep, en veronderstel moontlike redes daarvoor: soos byvoorbeeld, die impak van vermeerderde fokus op die visuele - en daarby die fisiese - as gevolg van 'n meer geletterde bevolking, op 'n konsep wat aanvanklik hoofsaaklik ouditief ondervind is. 3) Identifiseer verwante konsepte, die eienskappe waarvan moontlik 'n rol kon gespeel het in die formulasie van die aanvanklike konsep, asook die wat daarby geintegreer is, om die moderne weergawe van die Muse te vorm: voorbeelde sluit in, die invloed van die mite van Pigmalion op begrippe aangaande die digter se verhouding met beide die materiaal en Muse; en die gevolge van 'n samesmelting van Aphrodite se karaktertrekke met die van die pastorale Muse. 4) Ondersoek die mate waartoe die Muse-digter verhouding fundamentele aspekte van die kreatiewe proses en sy hoof komponente kan ontbloot: soos die verskille tussen die publieke invokasie en ervaring van die Muse in 'n verbale konteks, in teenstelling met die geletterde digter wat die Muse privaat ondevind; asook die veranderinge temeegebring op die persepsies aangaande die konsep se funksionering as gevolg van die uitbreiding daarvan tot die visuele kunste; en die korrelasie tussen die Jungiaanse idee van die anima, en aspekte van die Muse. 5) Veronderstel die fundamentele aspekte van die kreatiewe proses, soos ontbloot deur analise van die konsep van die Muse vir verdere ondersoek. Kortliks dan, die hoof voorneme van hierdie tesis is om deur analise van spesifieke voorbeelde, die uitvoerbaarheid te ondersoek om die konsep van die Muse toe te pas as metafoor vir verdere navorsing waardeur kwessies en temas, aangaande die produksie en veranderinge in sosiale waardering van kreatiewe ondernemings, ge-identifiseer kan word.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

The Cuban-born artist Ana Mendieta (1948-1985) created the Silueta Series during the 1970s and ‘80s. It consists of earth-body works in situ featuring the silhouette of the artist's body fashioned from mud, plants, rocks, gunpowder and other materials. Underlying the creation of the Silueta Series is Mendieta's belief that the elements are sentient and powerful beings. This perception is particularly strong in the Afro-Cuban religion Santeria, a creolized form of the Òrìsà tradition of the Yoruba of West Africa introduced to the Americas during the trans-Atlantic slave trade. While scholars have noted Mendieta's incorporation of Santeria in her art, a thorough analysis of the iconographical references to the deities have yet to be explored. This thesis aims to provide such an analysis of Mendieta's works; thus enriching the current discourse on the Silueta Series.

Actuellement, le concept « idole » a basculé dans la sphère triviale du culte de personnes et renferme, néanmoins, des traces du sens antique du mot. Le terme d’idole met l’accent sur le moment de la vénération et c’est précisément là que réside la difficulté : la combinaison de l’adoration et de la plasticité d'une image va à l’encontre de la théologie de l’Ancien Testament de la vénération unique et sans image de JHWH. Le point de départ de cette étude est le mot grec eidôlon, qui est ancré dans le sujet de l’image des divinités depuis la Septante et qui fait office de terme fixe pour désigner les déités étrangères. Il en ressort qu’il n’existe pas d’expression standard pour une image de culte dans la culture grecque. La comparaison et l’analyse exacte des équivalents hébreux et grecs forment la majeure partie de la thèse. Dans le cas d’eidôlon il n’existe pas d’équivalent standard mais un bon nombre de termes hébreux qui sont tous reproduits par le terme grec dans la LXX. Par ailleurs, le terme eidôlon apparaît dans des textes d’importance cruciale pour la foi israélite (voir sa fréquence dans le deuxième commandement du Décalogue et dans le Chant de Moïse). Il s’agit d’une manœuvre stratégique et théologique des traducteurs, car ce terme renferme tous les éléments majeurs des divinités étrangères. Il existe donc une différenciation claire entre le dieu d’Israël et toutes les autres divinités. / The concept “idol” derives from ancient Greek, which is still used today. Nowadays, an Idol designates first and foremost the cult of personality but the traces of the ancient meaning are partly preserved. The term idol focuses on the veneration of foreign deities and their pictorial representations. Therefore, idols contrast with the monotheism and an iconism of the god of Israel. This study elaborates the original meaning of the Greek word eidôlon which becomes the standard expression for divine images since its usage in the Septuagint and afterwards. It seems that there did not exist a major term for cult images in the Greek culture. The comparison and the exact analysis of the Hebrew and Greek equivalents form the major part of the thesis. In the case of eidôlon there does not exist a Hebrew standard equivalent but a variety of Hebrew lexemes which are all translated by the Greek word in the Septuagint. In general, eidôlon appears in important and authoritative texts (Exodus 20: the Second Commandment,Deuteronomy 32: The Song of Moses). Concerning the choice of terminology, eidôlon is astrategic and theological move of the translators because this Greek expression includes allmajor characteristics of foreign deities. A clear distinction between JHWH the god of Israel andall other deities becomes clear.

Le dieu égyptien Min a toujours été considéré comme un dieu de la procréation par nombre d’égyptologues. Pourtant, l’analyse de son image et de son culte sur la période allant du début de la 8e dynastie à la fin de la 17e dynastie révèle une toute autre définition. Son iconographie témoigne d’une élaboration cryptique dans l’emploi des divers éléments qui composent son image. La présente étude réanalyse par ailleurs la parèdre coptite du dieu ainsi que la réappropriation de l’image de Min au début du Moyen Empire par la divinité thébaine Amon. Loué lors de fêtes spécifiques aux fonctions agraires et dynastiques, Min fit l’objet d’une vénération certaine au cours de cette large période, aussi bien auprès des souverains que des particuliers. Min est aussi particulièrement vénéré en contexte expéditionnaire. Qu’il s’agisse du ouadi Hammamat ou du Gebel el-Zeit en passant par Mersa Gaouasis et par Konosso, le dieu est mentionné ou figuré pour ses attributions guerrières et minérales. Enfin, au cours du Moyen Empire et de la Deuxième Période intermédiaire, Min semble particulièrement loué en Abydos. Son insertion dans la geste osirienne – avec la création de sa forme Min-Horus-nakht – témoigne du déplacement et de la portée funéraire et dynastique croissante du culte à cette époque. Par ses hymnes et les témoignages archéologiques découverts en Abydos, apparaissent en ce lieu les vestiges d’un sanctuaire propre au dieu. Au regard de l’ensemble de la documentation récolée, Min apparaît alors non pas comme un dieu de procréation, mais comme un « Suivant d’Horus », un dieu de la force aux fonctions dynastiques et régénératrices, agissant tant sur le monde naturel que dans l’inframonde. / The Egyptian god Min has always been considered as a procreation god by many Egyptologists. However, the analysis of his image and his cult on the period from the beginning of the First Intermediate Period to the end of the 17th dynasty reveals a very different definition. His iconography shows a cryptic elaboration in the way of using various details composing his image. This present study reanalyzes the Coptite consort of Min as well as the reappropriation of the god’s image by the Theban deity Amun at the beginning of the Middle Kingdom. Revered during specific agrarian and dynastic religious festivals, Min was subject of a great veneration during this period, both from kings and private individuals. Min was also particularly praised in expeditionary contexts. From the wadi Hammamat to the Gebel el-Zeit via Mersa Gawasis and the peninsula of Konosso, this god was mentioned and figured for his warring and mineral abilities. Lastly, during the Middle Kingdom and the Second Intermediate Period, Min seems particularly revered in Abydos. He was inserted inside the Osirian cult with the creation of the figure of Min-Horus-nakht, the latter testifying the moving of the cult and the funerary and dynastic importance of the god in this city. With Abydenian hymns and the discovery of archeological fragments, the location of a sanctuary dedicated to the god could be brought to light. Regarding all the collected data, Min appears not as a procreation god but as a ‘Follower of Horus’, a god of strength with dynastic powers, a god of regeneration who acts over both the natural world and the underworld.