The Western Kuksu Cult

Total Page:16

File Type:pdf, Size:1020Kb

Load more

','.%o." - 'G V -7 V. T.; ,.o 44 ,k Z. % k .4' _A -:A 'A .x If It, v- A_' 1; r,. 6, Z- S, V 4(j.-<J.,`,, Al 5. T i_J 4. Y. 4 Z_ d " -_ I. -O. O." 'j y 4v, 47 IRmi .,Y w. 4 7 'L I f Aw ..yl;1 i. I-" i'L X.; -1 ".I.. Ny N Nr L .7 iN 4K d'. -4, or 41 '4,4" ;4M -40 V.0 i, P, "I _N. 41 i't 4. .0 .4+ , 1:1 _0,. A. V"I'K ........ W. V. A., -41 -.C X .3w V M. 4., 'W. -7 A411, 4 Z.' -4 0 .M. m A- Sr, 14 '44 141 A17 Ze i7 '17 1?.. 4_1 r W "Px1,,,- 4- t 7 h 4 4,7 41, N A A, A P NN, ov, Z., ti I.V 1, zi. N Xv Ot. 14- A i A "t'. 4 'A t4 VOK 'W" 4- i" i;j .17 V, P ;,. te, s,A `44 7 4, A; ,4 Z7, 3li -4" 44 15, v; ,;, 114 r4 4* ,P 4.. A ._ .. ro. N., 4.1 4, % ki _(4, N." t 4 e- '7 P1 4 2", .;-. q,. A, 4e, )I j. 1, .7' V7 4 "'A "7 4";4, iff N w 171 4, ,I.7 i-I, V Tj., Ae .5. A7 41. n- 4zy al, V 4 .,5 A, At`W;P 7 t Z ., A., 45, ..'- 41 -. ... -, -1 11 - -, , ""' -`,.,-"n,,I.. I .l --- --- ,,,, ." '14, -_',., ',;.?, -,,.-,,--_4 .. if.,!, ,; 1- .., ,P ."" 11 -.1,,", II"." ,",.,-,Ke, .lt.l,.,,.i,., -1",-,I` '-.."---.. -,"4 -j.,-- --i - ., ,.% -.lt.ll.,,, 1, ,.-":,.,-..w :.- ,-,.-., '. .-.-....;;, .. 1'9'111.--.,.,--.,. -f--.., -w " ... ".j..,,-.A'.. t. ,,.,, I.4.,." i1.'A-,.. I,,.o ,7 ,II.,.v ,-,,.-...'-I'..: ", .,....-.-ll. ,,, ,I) -. ,,, ),,,,.,0"-, ,,,.. -N ._,-- ,:y.,.,, 1-0!-ix.t 17""'.. , ,:.,- .;I,..,, . '.'. ,I .,, i,...I.-"-, . -...,-... " -, .-, .45 ,- v. ",,V.";"..,,,,I v.i-..i-,.,.- .. .l , ,.,-i."', ,", ,r "', -,-7'. ,.I.A-.-,:-, .,.- m'N,-., I1,I..,.,..,"1,'. .t.41,,A, .,,- ..; 11.4'1,,:".,:, .I. ;A". - --- 4 i.., ,Z,.,, ,,.,.,. 11 -,.. 11,; - .,,, .,. ,I .,- .;J--.41' "".i,. ,. f', --",,.."",-C-,...,-;.. ., ,? 4., .-.,',; :. .. .., I.,I,.,.,,I.,,, ,I:-vl",,.;-"".:,.,,,,,.,.,,, .".,.-,I,.-.t I., .I.. .., .., -.,II,I,,-.,..,,--l-.,";".P.... ...,,, -- ".1, ,f,I"t,",.I,-."- -i_--.,., -#:. ": -, ". i.I-."t".,4i.,,., ",,, " "'..". .-, I...,"V--,- .,,II.,..)iii, .-4,.-, -, ".,,.-'.,,'--I. .,-,..,I,.-?;-,II .)',-, '. -'-, -. I'll, ..-,4..-.1,-.---".,,I",, ,,, t, ,-. ,-v -.- ,- -.,.,.,; ,.,- --,",..,: ,-. .,,.,I,, -!.,t0.,".-'j,.11 --...,,, ,,.II , ,-., /j, -b, "', ".-,,".,,,, 11I-:.-,-., ".-.,,-- j', ..r,...I,,",,.,,i.''..--.-I.,;,,,,;,,-.1) ,,,,. ,- ...,.i.I, 1;I.11 ,-,'.. ",.- .-v.."II,,,,I ", --.- 1-I.,I",",-1-1;;1:, -, '! ,I-",-.1;',:.",-,-,.I'l.".-,, 1.1- ,,, C., .--""-.,- ,-II- .` ". .t ".., .-..-:,:Z'.,..-...,"-:..- "..",-1,-..1 .. ... ,.",7- -,: ,'.,',4' .. ", ,,, '? . '.,A ',II, -.,;,.l-,I.I1,,"X,.-..,-.-,I--,.At ..,l,-I. .,.,....... -.' I;.1 ,-; -. ,,, ;. ,,,". I.,4.,, '7 -,-.--,41I:-,,--, -, ,I,.,, ,-.;,..--;" ....7...,';,.I-".I ,.. .,,.-I...i-- j, I, -, ,,, ,.4,...-.,.-., 1.II, 1. .,.la-..4 ,,. y, -,-,,. .,,I-,e-t11.e, ,,.-.I .-,.,.,,.`:l: "' , ;, ... " L- -, , ,, 1 '..-,,` .';-,-,,;!., -.',:-,.-,.-,,"...I-"1,.i I-...'-..,--f , II.-"", "v-. 'v--':I.---71 -,--, ,,,.,k..,,.,-,,--, I,,""I.1--,'..'. "7";,..-..,..-1'.I-,..,-,.,",,-., ,. ,. ." ,-, " , ,.--:11 ,"I., -,..."b .-- ,.'.. ,.iIIII-, '! ." "-,,--. -, ., -- "v,., .,,,':., 11" --Z.. I., hr,I".";---.z1-lk -'-, -,,,, .' -,.,- .1-, ".., ,.-( ", .-,,..,. f. ." -- 1.-II .-'.-,,","-,. .. -.-."I",.;,.. ...11 -,.,I,zA,....,-f "", -. --,..,,,.-.",..'.-t " '- 111 .-4r.. I,.- Ili, . ;, %-,,4,--),",,.L.. .',.. .--,. .--.'. ,-, .s-.,.-', .1. '-, ,,. ;; ,.% ,: ,',--;il. ,.'I.-1I,.I..,-!*. ,'5'--.x' .. V,-XI.- .. "I;-.. "" 1,--,:,.. -", $,-- ."ll", '.;I,- ,. --. ";, .- _,-).-,.,1, -..-"),. .l 4 .... -.. ,,. 'f, ", II-'-',. ..I.., ..,.I, ('. -7:"ll.,-I-,,x`",....j,.,-,,;..,'- .- II"",,- '.I..,-;v., ..-"1-- ,,",.-", -,. "."l-I ,. -; .16..---.-..,!,,7,. ---.,C,,.".1,., ,,,.,,.-,"-,,, ..f,.- ,. ., '..I""..,, ,,", I-,).' ,,,. ,.,., " ,-I..-,"I r';.. I'.. .",-7. .,I,"",,,I-:e,I.'.., -",,- ,!.,-.",-,.1,..-,.,,,,(,. .-,--,.- .lt,.."," " .1,. .'e",.,.',1.1%,,.,",:.. -.,I, '..,,, ,,.I,-.;,4 ,II,",., 11 1, -A'",P,,-""';,", , .li.,--,. ":,.;,f,..I", ,.'. .:-,-,,,,, ,.* /' ".,, --"4..` ,-_v t ,. ,,.*.'-.",.;....I-..;-';.7.... 'llp'A ,.".: ,..,,,-I,,!,,,.-.,..-:..,,.,A-.-,,..,:.I "A, ''. .", ,",, :,"..,14", '- ;.. -,."I ,.,.,,s., .,"',,.,-, ...;H,11...,q,,-. ..I."..III.,..-11 ".,,,-.,,'I,1..).,,,,,1,-t1, ,.,:- .,i-,,,:, -1, ;v lr-,k---, ,,. ,", .- ,.."":.-,,,. -,-.-,",;.lI,,1,,61,,,-1,.- ;j ..,--." ,-, Z, ",,,,-I. .- .'...1, -.. .",-,. -', ,!" -1- tq. .' ,'.j-..,,..4.4,..I-, --.'..-...-i -,,,'4L31 .,.,.,,(,,-&- o.i. III;--- 1.I..It.,.,. I,, ., ..-.',.l,-.:,..,-.,II-,.. -', ",(.-, ,11: . ,'..`-,. -. III ;l,.I,-.., .-, -!:.,, ,.,-,,ly.14111.1,f,::'.,p -,,' ". Ili" I,eI" ,,,. ;rt.-,-;, ,..-I' ,'-',. 11",_ ..411,.1-il"ll --r-,,.' ',- ,.-..', ., .;. I,,,,.,.,;-... N-..',.*. "', -4t, I. ""; A;4.,!,.,.,,. .., ',,... ,f..-,"..".,,,".",--..,,,-,Z41! 4, ,, ,I-.l ,. ,,.?,! .t.,,Ik...,;-.,'""-:-P,..,,.I.,..-;-.I,> ,,,, .',',' " -.I,", -- ..I .,-,,..., ...,, ,,".A ,,,,,,.-,-. ,I .,;,,,-,,,,,.* ....-...`l "f.. .,' , "" I*. ,.: ,,-.,. I,-, ., -.,,I,.,1,...,.lI. .II 1;1-._-,,.,,..-,..-... ,.,,,.', ,, V-..", -. .-l .,.,; ,---,,,;,.,,-, 11'',,,.,j",,;.-,,,, .I,-y.,.,-, ".-V, .l -I"- - .'-I..lI,:'r'I-111:'I "I.-- ,:-,I,.?,.,, 1:.,-- -. .,-..,,,,..',-j..,,'.,.,...,. ,,,',,, ,11 ",:. .., ..,s -,- .'- -I --.,"..';,,", " . Z,, ., ,,, 1... ,'.-:,, -.., ..i :1.",.',:::,. I,;,,.,,,.,6f, 4.,.,., -,!,"' --,-.I----:,,...,-",,I,. "I1. ". P, --J.'., -,,..",.",- 1--..4 - ..- .,.t,I': .III -:,--1..--4i", .1.-..l "'4, ,I.-,- -111,",1.-;l.'-.l-., .T, ,i'll:,1,,.'t ., :-, ...--;;,.,., --h--v, ') 1, ..,I,.,"...,,-,.!. 1,1..,,.", ,,,.",.,..",.".,. .,;,.,.;i.--.l I . ItI,.,...,,1,-I".1 .-.,., .,I "., -I., ",;;t ..-....;'k"'.g".1,., -,li,;,.,,,,-'Y"...-, ",.. .I..1,,. , -- ,..,,. '),.I.$. .-, "I.",--, " ,"I.,..- .. ,,, -'T. .,,, ..- ,,I--e- , -.,,,-.., -, -,...-- 1. ..l,1..4'- --.""; ,II,... " ., ..-..,"'!...,tI., P., "-.'. ,, I ,,.-. i.,, ,.- ..I.- ,,.l."", + I -;" at -,,. "- -,. il, "'..i",, ", -, -III --"IC,,,I,..`-.'rli-.t .,o ., .;_ ..,-...Iy,..A' I'-7,- .I ,t .".,,'; '.l "' ,',,,'I. ,. ."?. ""; ". ., " 11";,.,I..1, -":: I.- -,-.t'. I-.'.-.1I;,,;, .. .i,-..,Y.,.",.. ," ., ,, "", ..7,-.. - I--1.1!k !.;,',,v,"'i ,,.-..1,I-,,-1..11, ,5 .,.,-, -",",-.') -,,.I,,-),,, -.,., ,"..'-.. I1-.-. "-i'..'",,-I._,oA,.-`.,,,,, "-, -.-.-t.-,,(--.,:.. ,I '.-I-..,.,,-. .-1, ,I-I'-,-.II ,,l,. - II ,-,.- ,.. ". - -.- ... If ,:i- ",,, "'.,-.U.-,,I.,:.,j,,-.3-.1, .- .f .c--`,:'14.,P ., -- .,-..- ,;. ',4-1..II..IIII.:1,.,I"";'.,..,---.4 ,. .: ,.i: ,...11,,.I...-*,.,.-..,.;., -t ,,. '.,,,(.,..I..,.;, -.:"--,,.7', .1,.,"',iI..,I!,.' 4,,i,,. -I, -il' -,I I4...0- ,--- .,,"-"II..f, ,IIV.,"..,'a.-,,,, .-,,'.,I,.,.. - ..' ,,- .--'t,.,,V.,-I.,. -1 ;, "-.r .,a '.-,.,-,IL. -'. .. "" .- ,..-l--, ,,.ck--..I-.I,.,-I-; ",.., . -.- I- ,I ,-,. -, ,'t ,;...,,,-.!,;' 1. .1,".l.-. .j .-, I. -.Y -,-.' -- ''? ", .1- -,.' ,-'. ---. III,,:4 . ..-,,f,.- . .-,.-I- -'., -1. .-- .-0i-, -.- -,--"...:,,-, " -, .,',v,.'.',",II.', -, I., ,- .--:-",(..":--., ,I--. ...-,,, I,.,-.- `11, ,.- tt., , !. -_ ".;,-.,,I ", ..'-. i.I ":. ,- :, ,., 1,,,,, ow. -,.. '.1 .".,.,L.'.I.. .; .,*. ..,;.,IX.I....---.,',.-1,,..,.,.'-.. -.,,,, .,. ... :, ., It,..0,'. .,,..111,,.,.!. ...I..I-. ,.,-..., .--,,,,- "","III,-"''t" ,.eII "' II1,. '. ". ., ,-.,;. --_.'.v".-1.;"Ili ", , " AF-I'l,1..!.'...,i .,-'I,,,,.,l-11.6-1.!.,". il ".. .-"",. ll. .. ,V 1..I -1 .jl/-,;. 'y,.. , ,-,-,,- I", Z, ". -,w. ., 4.,, .,..,-,,,.".,..", ::'.,..', -,,.-7,.- .., t ,-; '.;", ,.-.-I ". -" I" .. ,,.-":1. .,, ,."-.- ,,, 1..,... -. ,--,..-.,,2" ,,,"--,,(-.,.--..1,A' -I,....,-,x,.....- "..--,,1, -ti,-. S, I, .,II'I,,.,,...,'-..;-,,,.,,, I.- k. i_17'.4- ---,--.4"I...,.,, I., .. .. ,.- .l,-.1, -,-11,..;4,-",.- .... "-!.., ,,, I. ,'t I" ,.l..-,--..,..i ,,---, "t", -1 , -"i" ,. ,t, .'..,;;".. ,.1. :1, - ..-1 , ,;,.', -, .41, 1, .16.,.I, -.-. -,j,,,- 41-I-,."-i ,- :.'.. A+ "I'lk"v- - ,,I. V."4-,.- ,.., -.',. 1..,II1; ",-"II.,II",'I,...,,.,,. .;,.: .. ..,,,,. 1-'i-, I"., ,,-.:", ,,1-.4 .TI1-- I1,.,II .. .-...,",.,,.,.z .-- ,4-' .i I... I,,, Yf..,,.--,If'.- .II.. ., -1, , ,,-1.,..,,d,-,--.'- --',,..,-,."',l -,' ,.II.I)-.,,7, t-l -,.., 1..'- ,,i.:,-,,.,. X,..,- ..--It''*- 1'.. - I1..-, -4o ., .- ., ,..,.z -.I".,'...11I,,,. I.'..,.,.F,I., -"i.." I, .-Azl..- '. .7: "':-i, i.:.-,--1.a-.- -"N;.-,.- -x '..' ",.l,1,. , ",,,, ....-, .-, --,i ". :1. " .1.1)I11'11..-I., ", `., I.,., :17. :"*, r..-,-, ..; ,"7-.,,...l 11,1,,I"',-,4-,-,,-..II--I-",.-,/.'..'., .",-,,.. ." ,,--, -II e., ". ,,,., .",It f. -;..?, ,,". ".,-4i.:-:. .'*. I.,.-.L,,-1: .-J+,.",:. ,,.-,- 1,11'r1..--:-, -.- );,IZ4 "-.,,.-eO. I"'-/I .. .'.I-I1; 1'.'-..,.I11-I -'ll-.i,,I'I,,"".-.,.",'.I-,-- -i.,,.,.,, 1''. ..II " 1-01&'..'!".' .l ;,- -..- --,..,, -, --l' ,., ,-..:',, gx*l"' .,.,-. "i -, *I. I-,I , -- ., "'I" S.-I,.- I.m,x,7' ", -. .V - '-", `4-, 4.,t,,,-t,.'.,. 1. 1'. "'...,.,."", :, .,,,,.4','.,4*;,-,",,.,;., --'%.- ..".- .II f. ., .`;- ,.,,,-,; 11 11".-1 -. - "-4--,".7,,- ,C .l.+.' -`. '.`""", -.9: ... "I-,.-,,,,.4. '.Z.:l-,..4-" ,,. ,,,, --. ,,-,.;'.,. ,.,,, i.,,ll'-.?-.,.`..l , , ".,:'- I,.." ...'. .'. "i --.,-,,S, ",'. $',f'i -`-! :.' ,-,,.,;-"-'- -,,.,-_.11-I ,.,r ,"-",.,-,"-,", ...,.,I-"'j---,-.. -',;I.,.,."...Im..,. "v 7.1' -.-"-- 1-,-li.l.,I ,,-,;. ":,I".,l,.,. ,A4 .`.--, .' -".I- ,. e -I ,-')1'. ,-,I',.,".,.', -- .". .' .I ,-. ,,, .., _-.-,l , %. 1, II -..I11 ,1,.-- 'i ., ,"'I; ..-,5 ".11.".-'-.,'t,,I.," I-,,A -1 --.,,:.,kI i, "11-,'. ,., ,.,,.I.,I11.-'tMm.'7 ,, i'.-, -!- _ ". .--'-. (. -%.,-.) A. ,; ...' ,y.11,I'.,,-",...,I..-_I1,.",, ".., ,it',.. ,,..", . ..'.., A',-;..,.- .. I'.,. -."- -- .'l-I-., ,,. -11,..",.1.,", 4 fI 1.' 1,I.11,., _.: .I..A'lllfi.I_,..l -I11-11,",,AU:..,,,,"4 11I1, ..I,,.-.--- ,I-i,-" 1, ..,("v ,,. X ,,--,.,.-, .-- ,--..o.",CI -- .,., '. ,..> ,..l--
Recommended publications
  • 1912 Durfee Record

    1912 Durfee Record

    The Durfee Record Senior Class PUBLISHED B Y B . M . C. Durfee Hígh School 1912 To Principal George F. Pope : This book isrespectfully dedicated , as a mark obymembersfteem thees of the class of 1912. Principal George F . Pope e Faculty GEORGE FREDERICK POPE, A . M . Principal . Mathematics. WILLARD HENRY POOLE, A . B . Vice-Principal Physics and Chemistry . HANNAH REBECCA ADAMS, English . DAVID EMERSON GREENAWAY, A . B . History and Civil Government EMILY ELLEN WINWARD , French . WILLIAM JOHN WOODS, S. B ., Mechanics DAVID YOUNG COMSTOCK, A . M ., Latin . and Drawing . SAMUEL N . F. SANFORD, Secretary an d Librarian . JAMES WALLIS, Commercial Department . CHARLES FREDERIC WELLINGTON , A . B . GERTRUDE MARY BAKER, English . Assistant Secretary . HARRIET ANTHONY MASON SMITH, French . HELEN HATHEWAY IRONS, B . L ., French . ASA ELDRIDGE GODDARD, A . M ., Mathe- LENA PEASE ABBE, A. B ., Algebra . matics, Astronomy and Geology . FLORENCE ESTHER LOCKE, A. B ., German . HARRIET TRACY MARVELL, A. B . , Physiography, Physiology, Reviews . HARRIET DAVIS PROCTOR, A. B ., German and English . HERBERT MIL LER CHACE SKINNER, S. B . Mechanics and Drawing . ANSEL SYLVESTER RICHARDS, A . M . , English . EUNICE ALMENA LYMAN, A . B ., History . SUSAN WILLIAMS STEVENS, German an d CHARLES ADAMS PERRY, Mechanics an d Mathematics . Drawing. ROBERT REMINGTON GOFF, A . B ., Mathe- CECIL THAYER DERRY, A . B ., A . M . matics . Greek and Latin . JOHN SMITH BURLEY, PH . B ., English. BLANCHE AVELINE VERDER, B . S ., English WILLIAM WILSON GARDNER, A . B., English and History. and Mathematics . ALICE GERTRUDE LANGFORD, A. B ., Lati n LINDA RICHARDSON, A . M ., History and and History. Latin . WILLIAM DUNNIGAN MORRISON, A. B., ALICE BOND DAMON, A.
  • “Heretic Streak”: the Orwellian Aesthetic in Ray Davies' Song Writing And

    “Heretic Streak”: the Orwellian Aesthetic in Ray Davies' Song Writing And

    STUDIA HUMANISTYCZNE AGH Tom 15/2 • 2016 http://dx.doi.org/10.7494/human.2016.15.2.7 Izabela Curyłło-Klag* Jagiellonian University in Krakow UTOPIA, DYSTOPIA AND THE “HERETIC STREAK”: THE ORWELLIAN AESTHETIC IN RAY DAVIES’ SONG WRITING AND OTHER CREATIVE PROJECTS The article explores the infl uence of Orwell’s fi ction on the creative output of Ray Davies, one of Britain’s fi nest songwriters and the erstwhile frontman of The Kinks, a ‘British Invasion’ group. The Davies oeuvre can be placed alongside Orwell’s work due to its entertainment value, sharpness of ob- servation and complex, confl icted socio-political sympathies. By balancing utopian visions with dystopian premonitions and by offering regular critiques of the culture they hold dear, Orwell and Davies represent the same tradition of cautious patriotism. They also share a similar aesthetic, communicating their insights through humour, self-mockery and acerbic wit. Keywords: Orwell, Ray Davies, pop culture, dystopia, utopia In the opening frame of a documentary on The Kinks, Hugh Fielder, a well-known English music critic, comments: “If George Orwell wrote songs, and was not a member of the socialist party, he’d be writing Ray Davies’ songs”. He then immediately checks himself: “Sorry, that’s a literary allusion, it’s probably gonna go whoosh” (The Kinks Story 2010: 3’21). Mentioning literature with reference to a British Invasion band is not exactly the done thing: rockers do not usually enthuse over writers, even if they share their love of words. Not long ago for instance, the frontman of Oasis declared that reading fi ction is a waste of time, and dismissed the whole publishing business as elitist, since it allows “people who write and read and review books [to put] themselves a tiny little bit above the rest of us” (Gallagher 2013).
  • From Custom to Pancasila and Back to Adat Naples

    From Custom to Pancasila and Back to Adat Naples

    1 Secularization of religion in Indonesia: From Custom to Pancasila and back to adat Stephen C. Headley (CNRS) [Version 3 Nov., 2008] Introduction: Why would anyone want to promote or accept a move to normalization of religion? Why are village rituals considered superstition while Islam is not? What is dangerous about such cultic diversity? These are the basic questions which we are asking in this paper. After independence in 1949, the standardization of religion in the Republic of Indonesia was animated by a preoccupation with “unity in diversity”. All citizens were to be monotheists, for monotheism reflected more perfectly the unity of the new republic than did the great variety of cosmologies deployed in the animistic cults. Initially the legal term secularization in European countries (i.e., England and France circa 1600-1800) meant confiscations of church property. Only later in sociology of religion did the word secularization come to designate lesser attendance to church services. It also involved a deep shift in the epistemological framework. It redefined what it meant to be a person (Milbank, 1990). Anthropology in societies where religion and the state are separate is very different than an anthropology where the rulers and the religion agree about man’s destiny. This means that in each distinct cultural secularization will take a different form depending on the anthropology conveyed by its historically dominant religion expression. For example, the French republic has no cosmology referring to heaven and earth; its genealogical amnesia concerning the Christian origins of the Merovingian and Carolingian kingdoms is deliberate for, the universality of the values of the republic were to liberate its citizens from public obedience to Catholicism.
  • A Study of Bagobo Ceremonial, Magic and Myth

    A Study of Bagobo Ceremonial, Magic and Myth

    % PRESKNTED BY THE AUTTHOR jg^v*. -. i--V:/> -^^It^^s^^' -4 NOV 1 4 1916 A STUDY OF BAGOBO CEREMONIAL, MAGIC AND MYTH Laura Watson Benedict Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Faculty of Philosophy of Columbia University [Reprinted from the Annals of the New York Academy of Sciences, Vol. XXV, pp. 1—308. Published 15 May, 1916.] Printed by E. J. BRILL, Leyden (Holland). ^> t [Annals N. Y. Acad. Scl, Vol. XXV, pp. 1—308, pll. I—YIII. 15 May, 1916] o A STUDY OF BAGOBO CEREMONIAL, MAGIC AND MYTH^ By Laura Watson Benedict {Presented by title before the Academy^ 20 April^ 1914) CONTENTS Page Prefatory remarks 3 Introduction. General characteristics of the religious attitude of the Bagobo 8 Part I. Mythological concepts 13 The Bagobo pantheon 13 Myth-gods of the nine heavens 15 Gods associated with human interests 18 The demons called buso 29 Interpretation of physical evironment 43 The souls of man and life after death 49 Characterization of the two souls 49 Right-hand soul or Gimokud Takawanan 50 Signs of death 51 Summons to the living 51 Onong or travel outfit for the soul 53 The one country of the dead 54 Manner of existence in Gimokudan 55 Topography of the one country 56 Idea of retribution 58 Left hand soul or Gimokud Tebang 58 Dream exploits 58 Fate at death 60 General considerations ' 61 Restoration of the dead to life 61 Cult of the dead 62 Ideas of death 63 Souls of animals and of manufactured objects 64 Traditions of mythical ancestors 65 Part II.
  • Seeing the World Through Chumash Rock Art

    Seeing the World Through Chumash Rock Art

    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE A PLACE WHERE THEY ONLY PLAY PEON: SEEING THE WORLD THROUGH CHUMASH ROCK ART A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Anthropology by Leslie Schupp Wessel May, 1982 The Thesis of Leslie Schupp Wessel is approved: Keith L. Morton Antonio Gilman, Chairman California State University, Northridge ii DEDICATION To Earth, and the First People of California who believed in her. iii ACKNOWLEDGEMENTS This thesis was produced with the help and usually the encouragement of many people: Rick Wessel, John Romani, Antonio Gilman, Clay Singer, Keith Morton, Breck Parkman, Dan Larson, Gwen Romani, Mike Mcintyre, Randy Milliken, Willie Pink, Bob Edberg, Arlene Benson, Tom Blackburn, Travis Hudson, Ken Hedges, Georgia Lee, Chester King, Bob Wlodarski, Kathy Miller, Chris Martinez, Chuck James, Aluk•oy, Lynne Turner, and countless others whose ideas I appropriated without even realizing it. iv TABLE OF CONTENTS Page DEDICATION . iii ACKNOWLEDGEMENTS iv LIST OF TABLES . viii LIST OF FIGURES . viii LIST OF PLATES . viii ABSTRACT . ix INTRODUCTION . 1 Chapter 1 CULTURAL BACKGROUND 5 INTRODUCTION • 5 THE CHUMASH 8 THE SALINAN • • • 11 THE YOKUTS • • • • • • • 13 HIERARCHICAL ORGANIZATION 1 5 MOIETIES • • • • 16 RELIGION • • • • • • • 24 GAMES • • • • • • • • 33 SUMMARY 35 2 MYTHOLOGY 36 INTRODUCTION • • • 36 CREATION OF THE UNIVERSE • • • 40 THE FLOOD AND CREATION OF EARTH 41 TRANSFORMATION TO ANIMALS • • • • • • • ·41 THE MAKING OF MAN • • • . • • • • • • • 42 THEFT OF SUN AND FIRE • • • • 43 ORIGIN OF DEATH • • • • • • • 43 THE CONTEST OF DEATH • • • • • • • • • • • 44 LAND OF THE DEAD • • • 44 VISITS TO OTHER WORLDS • • • • • • • 45 OLD WOMAN MOMOY AND THE THUNDER TWINS • 46 INTERPRETATIONS • • • • • • • • • • 47 v Chapter Page 3 ROCK ART .
  • Printable Pdf Version

    Printable Pdf Version

    Follow the Kinks through the dark alleyways and passages of L O N D O N If you don’t have enough time to attempt The Great North London Kinks Tour, you might like to take in at least a few of the major Kinks locations in and around Muswell Hill, as described on the Jim Smart / Geoff Lewis Big Black Smoke site. Much of the research which has led to this route was carried out by Peter Ølgaard, Olga Ruocco and Jayne Morgan. Wherever you are starting from, get onto the Northern Line of the underground, and travel to Archway. Walk across to the Archway Tavern (22). Sadly it is not a proper pub any more, so no longer suitable for a quick drink to get your tour started Take a number 134 bus to Muswell Hill Broadway (8).On a clear fresh morning, Peter recommends the attractive ride up Muswell Hill Road. Ray Davies mentions in “X-Ray” riding the 134 down to Leicester Square, although nowadays the route only runs as far as Tottenham Court Road. Walk along Fortis Green (or take a 102 bus). You will pass Midhurst Avenue, where Ray and Rasa had their second home (anyone know which number?) After a while you will come to Denmark Terrace. Number 6 was the Davies family home (13). Directly opposite is the wonderful Clissold Arms (12). Have a few more beers and look at the Kinks exhibits on display there. Remember that time is tight - you may have trouble tearing yourself away. Continuing along Fortis Green, you see number 87, which was Ray and Rasa's third home (14).
  • History Religion Tokarev.Pdf

    History Religion Tokarev.Pdf

    STUDENT'S LIBRARY Sergei Tokarev History of RELIGION PROGRESS PUBLISHERS MOSCOW Translated from the Russian by Paula Garb Editorial Board of the Series: F.M. Volkov (Managing Editor), Ye.F. Gubsky (Deputy Managing Editor), V.G. Afanasyev, Taufik Ibrahim, Zafar Imam, I.S. Kon, I.M. Krivoguz, A.V. Petrovsky, Yu.N. Popov, Munis Reza, N.V. Romanovsky, V.A. Tumanov, A.G. Zdravomyslov, V.D. Zotov. BHEJIHOTEKA CTYflEHTA C. T oK apeB HCTOPMH PEJIWrHM Ha ammiucKOM H3biKe © IIOJIHTH3AaT, 1986 © Progress Publishers 1989 Printed in the Union of Soviet Socialist Republics 0400000000-438 g 9 014(01)-89 ISBN 5-01-001097-6 Contents TRIBAL CULTS Chapter One ARCHEOLOGICAL EVIDENCE OF RELIGIOUS BELIEFS ................................ 9 1. Paleolithic S ite s ........................................................................ 9 2. Neolithic S ites.............................................................................. 13 3. Religion in the Early Bronze and Iron Age .... 16 Chapter Two RELIGION OF THE AUSTRALIANS AND TASMANIANS............................ 18 1. The A u stralian s........................................................................ 18 2. The T asm anians........................................................................ 33 Chapter Three RELIGION IN OCEANIA ........................................................................ 35 1. The Papuans and M elanesians.................................................. 36 2. The P olynesians........................................................................ 42 Chapter Four
  • Native American Myth, Memory and History Seminar What Does It Look

    Native American Myth, Memory and History Seminar What Does It Look

    RSOC Native American Myth, Memory and History Seminar Religious Studies, Santa Clara University Fall T/TH 12:10 – 1:50 Kenna 306 Jean Molesky-Poz [email protected] Off. Hrs. T/Th 9:45 – 10:45; and by apt. Kenna 307 Native American Myth, Memory and History Seminar “I’ll tell you something about stories, he said. They aren’t just entertainment. Don’t be fooled. They are all we have, you see, all we have to fight off illness and death.” Ceremony, Leslie Silko, 2. What does it look like when mythology, history and the future intersect? Course Description: This seminar examines creation accounts of native peoples, exploring Earth/sky relations, the reciprocity between the human community, the Sacred and the rest of creation. Focus on the stories of the Kiowa (Plains), the K’iche-Maya Popul Vuj (Central America), northern and southern Native California, and the Southwest. We consider how memories of these stories have informed historical and contemporary lives, and how native peoples today reclaim these accounts as transformed continuities, as they resist environmental devastation, claim sacred sites and practices, work determined to protect land rights and our common future. In the first unit, we compare Native California, northern and southern peoples, how contemporary Native Californians are reclaiming their creation and migration stories, their sacred sites and rituals, to create a viable future. As Junipero Serra will be canonized in Fall, 2015, special attention will be given to the fact/fiction of the encounter between Native peoples and the Spanish in Alta California. In the second unit, we examine the creation stories of the Plain’s peoples – the Kiowa and the Lakota -- the relation of story to sacred geography, to peyote and sacred pipe rituals, and to ways contemporary Plains’ people engage in the stories to protect land and sacred sites (Medicine Wheels, Lodge of the Bear, and the tar pits of Canada).
  • A Genocidal Legacy: a Case Study of Cultural Survival

    A Genocidal Legacy: a Case Study of Cultural Survival

    A GENOCIDAL LEGACY: A CASE STUDY OF CULTURAL SURVIVAL IN NORTHWESTERN CALIFORNIA ____________ A Thesis Presented to the Faculty of California State University, Chico ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Anthropology ____________ by Aimee L. VanHavermaat-Snyder Fall 2017 A GENOCIDAL LEGACY: A CASE STUDY OF CULTURAL SURVIVAL IN NORTHWESTERN CALIFORNIA A Thesis by Aimee L. VanHavermaat-Snyder Fall 2017 APPROVED BY THE INTERIM DEAN OF GRADUATE STUDIES: _________________________________ Sharon Barrios, Ph.D. APPROVED BY THE GRADUATE ADVISORY COMMITTEE: ______________________________ _________________________________ Guy Q. King, Ph.D. Antoinette Martinez, Ph.D., Chair Graduate Coordinator _________________________________ Frank Bayham, Ph.D. ACKNOWLEDGMENTS I would like to begin by thanking the Bear River Band at Rohnerville Rancheria for their support of the Benbow Archaeological Project and this thesis. I would also like to thank Erika Cooper, THPO for the Bear River Band at Rohnerville Rancheria, Rick Fitzgerald of California State Parks, Kevin Dalton, and everyone involved with the Benbow Archaeological Project. A huge thanks goes to Greg Collins of California State Parks for leading this archaeological endeavor and for supporting this thesis work. Thank you to my thesis committee, Antoinette Martinez and Frank Bayham. Nette, your guidance and influence as an archaeologist, anthropologist, teacher, and friend have meant so much to me. The profound impact of your teaching career is immeasurable, and I count myself lucky to have studied and grown under your guidance. You have changed me and will forever be my example of a strong, brilliant, kind, and powerful woman. Frank, I have had so much fun working with you as your ISA, having you on my crew at Benbow, in class, on this thesis, and beyond! Dad, Mom (Lisa Pizza), and brother, I know how truly lucky I am to have such an amazing family.
  • The Kinks Preservation Act 2 Mp3, Flac, Wma

    The Kinks Preservation Act 2 Mp3, Flac, Wma

    The Kinks Preservation Act 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Preservation Act 2 Country: US Released: 1974 MP3 version RAR size: 1314 mb FLAC version RAR size: 1628 mb WMA version RAR size: 1611 mb Rating: 4.9 Votes: 591 Other Formats: VOC WAV FLAC MIDI AA ASF MP3 Tracklist A1 Announcement A2 Introduction To Solution A3 When A Solution Comes A4 Money Talks A5 Announcement A6 Shepherds Of The Nation A7 Scum Of The Earth A8 Second-Hand Car Spiv A9 He's Evil A10 Mirror Of Love A11 Announcement A12 Nobody Gives (Part 1) A13 Nobody Gives (Conclusion) B1 Oh Where Oh Where Is Love? B2 Flash's Dream (The Final Elbow) B3 Flash's Confession B4 Nothing Lasts Forever B5 Announcement B6 Artificial Man B7 Scrapheap City B8 Announcement B9 Salvation Road Other versions Category Artist Title (Format) Label Category Country Year Preservation Act 2 (2xLP, LPL2-5040 The Kinks RCA Victor LPL2-5040 UK 1974 Album) Preservation Act 2 (CD, VICP-70007 The Kinks Victor VICP-70007 Japan 2008 Album, RE, SHM) Konk, Preservation Act 2 (CD, UICY-25359 The Kinks Universal UICY-25359 Japan 2013 Album, RE, RM, SHM) UMC Preservation Act 2 (2xLP, CPL2-5040 The Kinks RCA Victor CPL2-5040 Canada 1974 Album, Gat) Preservation Act 2 (CD, VEL 79722-2 The Kinks Konk, Velvel VEL 79722-2 Germany 1998 Album, RE, RM) Related Music albums to Preservation Act 2 by The Kinks The Kinks - Preservation Act 1 R. Kelly & Public Announcement - Honey Love The Kinks - Kinks Kollekted The Kinks - The Kinks Are The Village Green Preservation Society The Kinks - Alcohol Kinks, The - The Essential Kinks The Kinks - Percy - The Original Film Music The Kinks - Give The People What They Want The Kinks - Tarde De Verano (Los Kinks Vol.5) The Kinks - Come Dancing With The Kinks / The Best Of The Kinks 1977-1986.
  • Authenticity, Politics and Post-Punk in Thatcherite Britain

    Authenticity, Politics and Post-Punk in Thatcherite Britain

    ‘Better Decide Which Side You’re On’: Authenticity, Politics and Post-Punk in Thatcherite Britain Doctor of Philosophy (Music) 2014 Joseph O’Connell Joseph O’Connell Acknowledgements Acknowledgements I could not have completed this work without the support and encouragement of my supervisor: Dr Sarah Hill. Alongside your valuable insights and academic expertise, you were also supportive and understanding of a range of personal milestones which took place during the project. I would also like to extend my thanks to other members of the School of Music faculty who offered valuable insight during my research: Dr Kenneth Gloag; Dr Amanda Villepastour; and Prof. David Wyn Jones. My completion of this project would have been impossible without the support of my parents: Denise Arkell and John O’Connell. Without your understanding and backing it would have taken another five years to finish (and nobody wanted that). I would also like to thank my daughter Cecilia for her input during the final twelve months of the project. I look forward to making up for the periods of time we were apart while you allowed me to complete this work. Finally, I would like to thank my wife: Anne-Marie. You were with me every step of the way and remained understanding, supportive and caring throughout. We have been through a lot together during the time it took to complete this thesis, and I am looking forward to many years of looking back and laughing about it all. i Joseph O’Connell Contents Table of Contents Introduction 4 I. Theorizing Politics and Popular Music 1.
  • Supplemental Resources

    Supplemental Resources

    Supplemental Resources By Beverly R. Ortiz, Ph.D. © 2015 East Bay Regional Park District • www.ebparks.org Supported in part by a grant from The Vinapa Foundation for Cross-Cultural Studies Ohlone Curriculum with Bay Miwok Content and Introduction to Delta Yokuts Supplemental Resources Table of Contents Teacher Resources Native American Versus American Indian ..................................................................... 1 Ohlone Curriculum American Indian Stereotypes .......................................................................................... 3 Miner’s Lettuce and Red Ants: The Evolution of a Story .............................................. 7 A Land of Many Villages and Tribes ............................................................................. 10 Other North American Indian Groups ............................................................................ 11 A Land of Many Languages ........................................................................................... 15 Sacred Places and Narratives .......................................................................................... 18 Generations of Knowledge: Sources ............................................................................... 22 Euro-American Interactions with Plants and Animals (1800s) .......................................... 23 Staple Foods: Acorns ........................................................................................................... 28 Other Plant Foods: Cultural Context ..............................................................................