Mythological Body

In the 1970s, especially after Franco's death in 1975, Spanish cinema was bursting at the seams. Numerous film directors broke free from the ancient taboos which had reigned under the dictatorship. They introduced characters who, through their bodies, transgress the traditional borders of social, cultural and sexual identities. Post- Franco cinema exhibits women, homosexuals, transsexuals, and delinquents in new and challenging ways.Under Franco rule, all of these dissident bodies were 'lost'. Here, they reflect new mythological figures, inhabiting an idealised body form (a prototypical body).

Long ago the ancestors of the Greeks, Romans, and Hindus were one people living on the Eurasian steppes. At the core of their religion was the "shamanic trance," a natural state but one in which consciousness achieves a profound level of inner awareness. Over the course of millennia, the Indo-Europeans divided and migrated into Europe and the Indian subcontinent. The knowledge of shamanic trance retreated from everyday awareness and was carried on in the form of myths and distilled into spiritual practices--most notably in the Indian tradition of yoga. J. Nigro Sansonese compares the myths of Greece as well as those of the Judeo-Christian tradition with the yogic practices of India and concludes that myths are esoteric descriptions of what occurs within the human body, especially the human nervous system, during trance. In this light, the myths provide a detailed map of the shamanic state of consciousness that is our natural heritage. This book carries on from the works of Carl Jung and Joseph Campbell to show how the portrayal of consciousness embodied in myth can be extended to a reappraisal of the laws of physics; before they are descriptions of the world, these laws--like myths--are descriptions of the human nervous system.

The author of The Hero with a Thousand Faces explores the origins of myth from the Grimm fairy tales to Native American legends, explaining in a collection of essays how the symbolic content of myth is linked to universal human experience and how myths and experiences change over time.

There is a broad cultural region with related traditions of mythical beliefs interconnected by long-term contacts during prehistoric times. This area - called here the "Mythological Crescent" - is a zone of cultural convergence that extends from the ancient Middle East via Anatolia to southeastern Europe, opening into the wide cultural landscape of Eurasia.The very old interconnections between Eurasia and Anatolia are explored in this study for the first time. In a comparative view, striking similarities can be reconstructed for the ancient belief systems and the imagery of both regions which suggest convergent cosmological conceptualizations of high age. The beliefs and ritual practices of the indigenous peoples of Eurasia are rooted in the shamanism of the oldest cultural layers of the Palaeolithic. Although socioeconomic development in Anatolia was markedly different from cultural evolution in Eurasia, the hunters and gatherers in Anatolia who adopted sedentary lifeways did not entirely lose their ancient beliefs during the transition to plant cultivation (in the eighth millennium BCE). Archaic beliefs and imagery fused with new practices and innovations during the development of agrarian societies. One diagnostic motif which was perpetuated from the Palaeolithic to the Neolithic and beyond is represented by the production of female figurines (statuettes). Their significance for communal life has been linked to spiritual concepts of the continuity of life, the vegetation cycle, and the protection of the natural habitat of all living things as recorded in myths and historical folk art of Uralic and other peoples. The bear plays a significant role as a mythical animal in the imagery of Eurasia whereas this motif was lost in Anatolia during the transition from antiquity to the Middle Ages.

From the household cat to horses that can fly, a surprisingly wide range of animals feature in religions and mythologies all across the world. The same animal can take on different roles: the raven can be a symbol of evil, a harbinger of death, a wise messenger or a shape-changing trickster. In Norse mythology, Odin's magical ravens perch on his shoulders and bring him news. This compendium draws upon religious texts and myths to explore the ways sacred traditions use animal images, themes and associations in rituals, ceremonies, texts, myths, literature and folklore across the world. Sections are organized by the main animal classifications such as mammals, birds, reptiles, fish, amphibians and insects. Each chapter covers one significant grouping (such as dogs, cats or horses), first describing an animal scientifically and then detailing the mythological attributes. Numerous examples cite texts or myths. A final section covers animal hybrids, animal monsters and mythical animals as well as stars, constellations and Zodiac symbols. An appendix describes basic details of the religions and mythologies covered. A glossary defines uncommon religious terms and explains scientific animal names.