Goddess Religions
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The Player and the Playing: an Interpretive Study of Richard
DOCUMENT RESUME ED 442 143 CS 510 330 AUTHOR Henry, Mallika TITLE The Player and the Playing: AA Interpretive Study of Richard Courtney's Texts on Learning through Drama. PUB DATE 1999-00-00 NOTE 411p.; Doctoral dissertation, School of Education, New York University. PUB TYPE Dissertations/Theses Doctoral Dissertations (041) EDRS PRICE MFO1 /PC17 Plus Postage. DESCRIPTORS *Drama; *Learning Processes; Metaphors; Qualitative Research; *Scholarship ABSTRACT Using qualitative and interpretive methodologies, this dissertation analyzed Richard Courtney's writings to interpret his basic ideas on learning through drama. It focused on later writings (1989, 1990, 1995, 1997) in which Courtney distilled ideas he had been working on for as many as 30 years. It approached Courtney's texts using dramatistic metaphors which concretized his predominantly abstract writings. These metaphors focused on finding the basic elements of a drama: the setting, the act, the actor, and the Other. Through the lenses afforded by these metaphors, the thesis examined Courtney's wide-ranging, eclectic and often imprecise ideas to distill major themes. Courtney used notions like metaphor, symbol, ritual, Being, mind, perspective, oscillation and quaternity with apparently shifting definitions and loosely circumscribed meanings. It collected and analyzed Courtney's meanings recursively, both distilling Courtney's meanings and expanding them through concrete hypothetical examples. Courtney wrote about drama in abstract terms, using notions he had garnered from other disciplines to describe the process of learning through drama. The final construction that emerged in this dissertation represents the experience of the actor/learner: it is concentric, radiating from a nub which represents the feelings and imagination of the actor. -
CONTENTS PRESENTING GROWING TOGETHER INTRODUCTION 1. WOMEN in SOCIETY 1. What Is Male?
CONTENTS PRESENTING GROWING TOGETHER INTRODUCTION 1. WOMEN IN SOCIETY 1. What is male? What is female? 2. Are women discriminated against? 3. Women in the news . make your own collage 4. Double-sided debate 5. Images 2. LANGUAGE 1. Sexist Language 2. If a child lives with criticism 3. A serious'bit of fun 4. Practical Guidelines for Avoiding Sexist Language 3. IMAGES OF GOD 4. OUR RECORD 1. Alienation 2. The Women's League 3. Women and the Unitarian ministry 4. Unitarian women ministers 5. The Relevance of Radical Dissent and the emancipation of women 6. The Unitarian contribution to female emancipation 5. MINISTRY 1. Women' and the ministry - 1 2. Women and the ministry - 2 3. Women and the role of the minister 6. PEACE 1. Where can feminist theology ta6e us? 2. Anger and humility 3. Humility and power 7. ROLES OF WOMEN AND MEN IN THE CHURCH 1. Feministy Theology in the mainstream churches 2. General: Who does what? * 3. An exercise for a committee meeting 4. Being a minister's spouse 5. Worship FURTHER READING PRESENTING GROWING TOGETHER THE REPORT OF THE UNITARIAN WORKING PARTY ON FEMINIST THEOLOGY In 1982, the Unitarian General Assembly passed the following resolution: This General Assembly of Unitarian and Free Christian Churches resolves to set up a working party to consider possible implications of feminist theology in connection with the thought and worship of our denomination and to produce a report with recommendations to the 1984 meetings of this Assembly. This working party shall comprise equal numbers of men and women. -
RE 330D Goddesses
RE 330: Goddesses and Other Powerful Women Dr. Eliza Kent Fall 2020 Office: Ladd 209 WF 1:00-2:50 pm Office phone: 580-5405 Ladd 206 Office hours: Mondays 11am – 1pm [email protected] and by appt. I. COURSE DESCRIPTION: This course provides an examination of the feminine divine as it finds expression in cultures across space and time. As a comparative investigation of goddesses in selected societies, we will read myths, ethnographies and scholarly studies that explore the theological and political possibilities of female divinity. We will also explore how people in particular socio-historical contexts – scholars, people of faith, men, women and transgendered individuals - have drawn on goddess mythology, symbolism and ritual in order to challenge, or justify, established norms surrounding gender, race, religion and power. II. COURSE OBJECTIVES: • to acquire a specialized vocabulary that will allow you to speak in a precise and informed way about feminist approaches to the study of religion, and about gods and goddesses in the religious traditions that we examine in the course: ancient Greek, Christianity, Native North and Central American religion, Haitian Vodou, Christianity and Hinduism; • to gain a familiarity with religious hermeneutics, that is, the interpretation of received religious texts and traditions to meet the needs of a changed socio-historical situation; • to develop an understanding of major debates among feminist scholars of religion and the confidence to enter into those debates, as well as the intellectual humility to recognize the limits of one’s own understanding and knowledge; • to develop a richly nuanced conception of religion that recognizes both the social and the personal dimensions of religious belief and practice; • to examine, challenge and clarify one’s own self-understanding, worldview and fundamental values. -
Goddess’ and Contemporary Spiritual Values
31st International Conference on Psychology and the Arts Universidad Complutense de Madrid, Spain, June 25-29, 2014. The ‘Goddess’ and Contemporary Spiritual Values Louis Laganà University of Malta In this paper we are going to see how ancient goddesses became very popular with many female artists, musicians and writers. Some made use of the goddess to express their own personal emotions, others to express a link with the past, so to entrench a national identity with the prehistoric ancestors, while others used the symbol of the goddess as a significant political ramification for the feminist movement. I am not going to get into a detailed and at times controversial debate of how strong the symbol of the Mother Goddess became for feminists. My interest lies precisely on how certain female artists interpreted the use of the symbol of the Mother Goddess in their work and how it is linked with a primitivistic attitude. The Goddess movement had a very significant influence on many female artists in the beginning of the 1970‟s. It “needs to be recognized as both spiritual and archaeological.”1 I include also the artistic aspect. “Spiritually, the images of female divinity has offered comfort and inspiration to women who felt negated by female images offered within the mainstream Judaeo-Christian religion.”2 It grew also out of the discontent with modern life and is the result of individual longing for a way to reconnect with a „spiritual‟ life. Von Fersen Balzan explained that the reason she and others sought out the temples in the first place was as a result of discontent with modern spiritual/religious structures. -
Joan Arbeiter Interviewed by Dena Muller Date: September 20Th, 2006
NYFAI Interview: Joan Arbeiter interviewed by Dena Muller Date: September 20th, 2006 Edited for clarity by J.A. DM: When did you first become involved with NYFAI? JA: Shortly before NYFAI opened its doors in 1979, I spotted a brief notice about it in Ms. Magazine. It interested me so much that I can still recall exactly where I was when I saw it. DM: What was the notice? Was it advertising for administrative help? JA: No. It was the announcement of the Gala Opening of NYFAI at the World Trade Center. So, I went to the opening and saw Louise Nevelson make her dramatic appearance as honored guest. It was a celebration. Donna Henes wove us all together with string and symbolism. There were wonderful happenings that evening – which was my first experience with this kind of female energy. DM: Why did you become involved? JA: Well, I was ready to return to school after my marriage and children had reached a certain level of maturity. I was picking up the threads of my formal education, which I began as an art major in college. I was ready to get my MFA and wanted to become a college art teacher, a Professor of Art. I had recently enrolled in a patriarchal institution for my MFA, and one of the elective courses was finding yourself an Internship. I decided to use this course as an opportunity to get as much experience in as many places as I could – and one of these places was NYFAI. I became a working intern at NYFAI and other places, and in turn I received graduate credit. -
Maura Reilly, “The Dinner Party: Curator's Overview,” Brooklyn
Maura Reilly, “The Dinner Party: Curator’s Overview,” Brooklyn Museum, Elizabeth A. Sackler Center for Feminist Art website: https://www.brooklynmuseum.orG/eascfa/dinner_party/index.php The Dinner Party by Judy Chicago is an icon of feminist art, which represents 1,038 women in history—39 women are represented by place settings and another 999 names are inscribed in the Heritage Floor on which the table rests. This monumental work of art is comprised of a triangular table divided by three wings, each 48 feet long. Millennium runners, silk coverings inspired by altar cloths, fit over the apexes of the table. They are embroidered in white thread on a white ground, each with a subtle letter "M," as it is the thirteenth letter of the alphabet, signifying the break in each group of place settings. Arranged chronologically along the wings are thirteen place settings; each includes a unique runner and plate, as well as a chalice, napkin, and utensils. Wing One of the table begins in prehistory with the Primordial Goddess setting and continues chronologically with the development of Judaism, to early Greek societies, to the Roman Empire, marking the decline in women's power, signified by the Hypatia plate. Wing Two represents early Christianity through the Reformation, depicting women who signify early articulations of the fight for equal rights, from Marcella to Anna van Schurman. Wing Three begins with Anne Hutchinson and addresses the American Revolution, Suffragism, and the movement toward women's increased individual creative expression, symbolized at last by the Georgia O'Keeffe place setting. Genesis Judy Chicago's The Dinner Party began modestly, in both concept and form. -
Nancy+ Azara+ CV
A.I.R. NANCY AZARA CV website: nancyazara.com email: [email protected] EDUCATION AAS Finch College, N.Y. BS Empire State College S.U.N.Y Art Students League of New York, Sculpture with John Hovannes, Painting and Drawing with Edwin Dickinson Lester Polakov Studio of Stage Design, New York City SELECTED SOLO EXHIBITIONS 2021 High Chair and Other Works, A.I.R. Gallery, Brooklyn, NY 2020 Gold Coat with Red Triangle, Gallery Z, Windows Exhibition, New York, NY 2019 The Meeting of the Birds, curated by Robert Tomlinson, Kaaterskill Fine Arts Gallery, Hunter Village Square, NY 2018 Nancy Azara: Nature Prints, a cabinet installation, curated by Claudia Sbrissa, Saint John’s University, Queens, NY 2017 Passage of the Ghost Ship: Trees and Vines, The Picture Gallery at The Saint- Gaudens Memorial, Cornish, New Hampshire 2016 Tuscan Spring: Rubbings, Scrolls and Other Works, curated by Harry J Weil, A.I.R. Gallery, Brooklyn, NY 2015 Allegory of Leaves, (3 person show) The Harold B. Lemmerman Gallery, New Jersey City University, Jersey City, NJ 2015 I am the Vine, You are the Branches, St. Ann & the Holy Trinity Church, Brooklyn, NY 2013 Of leaves and vines . A shiing braid of lines, SACI Gallery, Florence, Italy 2012 Natural Linking, (3 Person Show) Traffic Zone Center for Visual Arts, Minneapolis, MN 2011 Spirit Taking Form: Rubbings, Tracings and Carvings, Gaga Arts Center, Garnerville, NY 2010 Spirit Taking Form: Rubbings, Tracings and Carvings, Fairleigh Dickinson University, Teaneck, NJ 2010 Nancy Azara: Winter Song, Andre Zarre Gallery, NYC, NY 2009 Nancy Azara, Suffolk Community College, Long Island, NY 2008 Nancy Azara, Sanyi Museum, Miaoli, Taiwan 2008 Maxi’s Wall, A.I.R. -
The Female Body As a Sacred Symbol: an Analysis of Goddess Theology and Its Relation to Feminist Archaeology and Feminist Art History
THE FEMALE BODY AS A SACRED SYMBOL: AN ANALYSIS OF GODDESS THEOLOGY AND ITS RELATION TO FEMINIST ARCHAEOLOGY AND FEMINIST ART HISTORY Miranda Siler Senior Honors Thesis for the Department of Religion at Tufts University May, 2017 ACKNOWLEDGEMENTS First and foremost, I would like to thank my advisor Elizabeth Lemons, and my second reader, Christina Maranci for taking the time to engage with this project. I would like to also thank Peggy Hutaff, Brian Hatcher, and Cathy Stanton for their ideas and support. Thank you to Jamie Gorman for the administrative help. Thank you to the Summer Scholars Program, and especially Anne Moore and Ashley Wilcox for the funding and scholar development. Thank you to Katie Swimm, Jen Horwitz, and Bradley Smith of the Academic Resource Center for writing support. Also, thank you to the Tufts Women’s Center, Women’s Gender, and Sexuality Program, and the organizers of the Undergraduate Research and Scholarship Symposium for letting me present my work. Lastly, I would like to thank Priestess Shelley Holloway and the Cornucopia Collective for allowing me to sit in on one of your classes, Siobhan Kelly for general guidance and support, and the workers at the Tower and Hotung Cafes for keeping me fueled through this entire process. TABLE OF CONTENTS INTRODUCTION .......................................................................................................................... 1 How I Will Approach These Questions ...................................................................................... 2 Definitions -
Goddess Spirituality by Mara Lynn Keller Encyclopedia of Psychology and Religion 2012
1 Goddess Spirituality by Mara Lynn Keller Encyclopedia of Psychology and Religion 2012 Goddess spirituality is the reverential experiencing and expressing of divine female energies within the universe. It emerged among our early human ancestors in Africa during the Palaeolithic Age, and it continues to the present in societies around the world, because it meets profound needs in the psycho- spiritual life of adherents. Goddess spirituality played a major role in the Neolithic Age with its agrarian revolution and emphasis on the fertility of the Earth, perceived as Great Mother, Bearer of all Life. Artemis of Ephesus is a late expression of this Goddess, here wearing a necklace of zodiac signs and costume of sacred animals, bees, and flowers. Votaries called her Great, Magnificent, Queen, Commander, Guide, Advisor, Legislator, Spreader of Light, Savior, Controller of Fate. (Fig. 1) Fig. 1. Artemis, Goddess of Ephesus, many-breasted Great Mother and Mistress of Animals. 1st century CE. Ephesus Archaeological Museum, Selçuk, Turkey. Photo courtesy of Diane L. Martin (2001). This kind of multi-faced Great Goddess continued to be worshipped into the Bronze and Iron Ages, although Goddesses generally became subordinated by male-dominant societies that worshipped male Gods as supreme. Goddess 2 spirituality has persisted in most indigenous cultures of Africa, Europe, Asia, and the Americas. But the male-oriented Abrahamic religions of Judaism, Christianity, and Islam have extensively suppressed Goddess spirituality in regions they came to dominate, due to superior military might, and sometimes through more brutal tactics, such as the witch-persecutions in Medieval and Early Modern Europe, in the Christianized Americas, and in Africa. -
Nature Vs. Nurture in Duncan Williamson's
ORIGINAL SCIENTIFIC PAPER 821.111.09-32 ВИЛИЈАМСОН Д. DOI:10.5937/ZRFFP50-28032 MILENA M. KALIČANIN1 University of Niš Faculty of Philosophy English Department “A PROGRESS THAT THREATENS ALL LIFE”: NATURE VS. NURTURE IN DUNCAN WILLIAMSON’S “MARY AND THE SEAL” ABSTRACT. The paper first discusses two documentaries by Donna Read, Signs Out of Time (2004) and Goddess Remembered (1989), that focus on the pacific tradi- tion of the female centered settlements on the territories of modern Eastern Europe in the Neolithic and Bronze Ages. Read depicts significant findings of a world-renowned archeologist Marija Gimbutas who claims that a peaceful image of Old Europe embodied in the omnipotent Great Mother changed radically towards the end of the third millennium when violent Indo-European nomads came from Russia and shattered the matriarchal utopia of equality and natural harmony. These tribes introduced the princi- ples of hierarchy and violent male-rule. Read’s and Gimbutas’ findings are further developed and examined in the studies by Riana Eisler and Erich Fromm who also claim that conspicuous material aggrandizement of patri- archal culture severely damaged a blissful matriarchal bond between man and nature. These theoretical insights are applied to Williamson’s compre- hension of nature vs. nurture issue in “Mary and the Seal” (1997). In portraying a tender relationship between Mary and the seal, as well as its tragic and totally unnecessary shooting, contemporary patriarchal culture is brought to a trial. The mere existence of the bond between Mary and the seal, an embodiment of an idyllic matriarchal unity between man and nature, testifies to the prevalent need for the return to its substantial but 1 [email protected] This paper was submitted on August 18th, 2020 and accepted for publication at the meeting of the Editorial Board held on September 25th, 2020. -
The Sheela-Na-Gig
The Sheela-na-gig: An Inspirational Figure for Contemporary Irish Art Sonya Ines Ocampo-Gooding A Thesis in the Special Individualized Program Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts at Concordia University Montreal, Quebec, Canada 2012 December 15 © Sonya Ines Ocampo-Gooding, 2012 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Sonya Ines Ocampo-Gooding Entitled: Sheela-na-gig: An Inspirational Figure for Contemporary Irish Art and submitted in partial fulfillment of the requirements for the degree of Master of Arts complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: _______________________________________________________ Chair Brad Nelson _______________________________________________________ Examiner Pamela Bright _______________________________________________________ Examiner Lorrie Blair _______________________________________________________ Supervisor Elaine Cheasley Paterson Approved by ________________________________________________________ Brad Nelson Graduate Program Director __________________ 2012 ________________________________________ Paula Wood-Adams Interim Dean of Graduate Studies Abstract The Sheela-na-gig: An Inspirational Figure for Contemporary Irish Art Sonya Ines Ocampo-Gooding A Sheela-na-gig is an enigmatic, medieval stone carving of a female figure with exposed genitalia. It is exceptional both as a public -
Title of Dissertation
PANIC ON THE BRITISH BORDERLANDS: THE GREAT GOD PAN, VICTORIAN SEXUALITY, AND SACRED SPACE IN THE WORKS OF ARTHUR MACHEN A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Jeffrey Michael Renye January, 2013 Examining Committee Members: Daniel T. O’Hara, Advisory Chair, Department of English Sheldon Brivic, Department of English Talissa Ford, Department of English Robert L. Caserio, External Member, The Pennsylvania State University, University Park © Copyright 2013 by Jeffrey Michael Renye All Rights Reserved ii ABSTRACT From the late Victorian period to the early twentieth century, Arthur Machen’s life and his writing provide what Deleuze and Guattari argue to be the value of the minor author: Contemporary historical streams combine in Machen’s fiction and non-fiction. The concerns and anxieties in the writing reflect significant developments in their times, and exist amid the questions incited by positivist science, sexological studies, and the dissemination and popularity of Darwin’s theories and the interpretations of Social Darwinism: What is the integrity of the human body, and what are the relevance and varieties of spiritual belief. The personal and the social issues of materiality and immateriality are present in the choice of Machen’s themes and the manner in which he expresses them. More specifically, Machen’s use of place and his interest in numinosity, which includes the negative numinous, are the twining forces where the local and the common, and the Ideal and the esoteric, meet. His interest in Western esotericism is important because of the Victorian occult revival and the ritual magic groups’ role in the development of individual psychic explorations.