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YEAR XIX - 5 - September-October 1981
At Bottega
bimonthly journal of culture and art
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NOTES ON MYTH MYTH
Di Gennaro E PSICOANALISl
lacovo
The 'madness' is therefore intrinsic to Greek wisdom. The mania
mentioned by Plato, as we have seen. By the oracle of Apollo imposing man of moderation, while he is intemperate, and the kind-self-control, but as he manifests through a ¬ 'pathos' ¬ trolled unconscious: that the god with the challenge' man, it provokes, instigates him almost to disobey him. This ambiguity is imprinted in the word of the oracle, makes it an enigma. The darkness of the fearful response alludes to the gap between human and divine world. Oedipus
excels in the intellect. Need to demonstrate invincible in things, Intel-bed. To the wise, the enigma is a mortal challenge.
But he who wins the Sphinx with the awareness, it loses itself with its violent and momentary ¬ Actium, "Dionysian," killing the father of the unconscious, even for defense of their lives.
The unconscious is not Apollo.
and guilt.
In this way, Freud's theory of value. There is also a price for those who op-poses to those who did so being, and oppo ¬ it so hard. Moreover, Oedipus himself will be punished, this time '¬ ably aware. "
The importance of the unconscious, his opera ¬ rare in myths as in dreams, the specific effects of repressed emotions, the exis ¬ gency to satisfy certain desires, can be re ¬ in the imagination, these are no more ¬ tevoli and valuable insights of Freud.
His followers to have further refined. For example, the American anthropologist Clyde Kluckhohn-American market-in an essay titled Myth and Ritual in: General Theo-ry, based on the assumption that myths and rituals are related. The myths do not depend on-no rituals, they are rather an alternative form of expression of a unique psychological state. Both represent ¬ no "adaptive responses" to anxiety-producing situa ¬ tion and make a gratification through "the reduction of anxiety." In other words distract our attention from the things of life, and there ¬ sorry start to worry ¬ tions with specific forms of conduct deemed effi ¬ ective ritual or rac ¬ consolatory account. Another
their function, according Kluchhohn, is to achieve a "sublimation of trends ¬ antisocia them", the "outburst of emotions of individuals in socially acceptable channels."
That the myths about the murder over the groove or am ¬ there purified by a morbid worries about these things, where the ritual killing our sadistic impulses directed towards a form socially ac-ceptable and even useful. But here we see the tendency to impose a universal plea to all the myths.
We have already expressed reservations, previously, for the unique and overarching theories ("monolithic ') Of myth. Even Albin Lesky (History of Greek Literature, vol. I, Basic Books, Mi-lano 1973, p. 36.) Argues that "those who had wrongly ¬ no ¬ king tried to explain the evolution of these myths in all riconducen doli- only one root. We have im ¬ saved to distinguish the different colors in the weft and warp ¬, and we know that in greek myths had gathered in a durable form ¬ tion, a colorful ¬ multiplicity capacity of heterogeneous elements: memories ela ¬ borate with the highest freedom are ac ¬ hand to ancient stories of gods, the etiological interpretation of religion should be united to ancient fable reasons or in-conventions produced by the naive style of narration. Rarely, in these creations, symbol appears natural. "
Many myths are clearly dealing with different things by 'anxiety reduction' or by the sublimation of our aggressive instincts: the mild-license, to create myths ¬ tion and so on.
Similarly, many types of rituals they have other purposes: for example, those who maintain the worship of a god, say the solemn divine cleaning apparatus, as in the Athenian festival of Plyn-tery, in which the mantle of Athena was an ¬ manually carried in procession to the sea and washed. Love seems to be a motivation for the ceremonial ritual of type ¬ verse, as well as love for the beautiful rac ¬ accounts provide a different motivation myths. But
if anxiety is a "state of uncer za, warning," a mild form of an ¬ anguish but no, contrary to this, the psychological changes, and lived in the depths of ourselves, almost to the incor ¬ corporating our "being moral", by stimulating or paralyzing effects that can alter our active defenses or signal-to our consciousness the emergence of a profound disorder, then qualsi-like "response", ritual, etiologica'o of any other type, take away the anxiety, in the final analysis. While respecting the interpretation of theories of verse ¬ ¬ to me, I would say that the theory of Kluchohn, rather than being a comprehensive theory or another theory, is a "theory over-inclusive" interpretation of the myth: each answer, in fact, does not eliminate the anxiety? Gives rise to other mental attitudes and colorings: Anger, fear, jealousy, envy, friendship or love. Or indifference (AA.VV. Modern psychology, Sansoni, Florence 1968, see 'anxiety', pp. 21-22). The "sublimation trends antisocia ¬ li 'is a more specific, already proposed by AM Mocart and others (GS KIRK, op. Cit. P.. 75), but the first source is the purification of the Aristotelian fear and pity .
"Tragedy is by imitation (mìmeesis) of serious action, complete with a certain extension, performed with a lan ¬ gauge distinctly decorated in its shares for each of the forms ¬ ga impi, led by characters in action, and not exposed as a narrative; ¬ tion adapted to arouse pity and fear, resulting in the purification of such feelings (CA-Tharsis- catharsis) that the suffering will be represented. " So Aristotle (of poetry, 6, 2, e. C. Gallavotti, Mondadori, Milan, 1974, p.. 19) to link the material, "situated-tion" used by the tragedians on the submission of short stories set in the mythical ¬ pi group from tradition: "... In fact, the poets took the first dap ¬ ¬ happen where the stories go, but now the most beautiful tragedies that make refer ¬ a few miles ago, such as those Alcmaeon, Oedipus, Orestes, Meleager, Thyestes, Telephone, and many others are to suffer and COMMET ¬ tere terrible things (Aristotle, op. cit. 13, 4, p. 43).. The term 'miùthos' (myth) is rendered in Italian as 'story' by Gallavotti. In this regard, the pro ¬ greek philosopher states above: "... because the tragedy is imitation of action, and is accomplished by a number of people who act, they must a-true, to force certain attributes for the characters and the reasoning, percbé Compared with what we say we are Eligible actions, thought and character are just two causes of action, and all net shares men experience both success-both in success. The fact for himself the rac ¬ account (miùthos) is the imitation, so this story is called, the composition of events, on the other hand the character is so defined according to certain quality ¬ mo ¬ ease those scones; thinking and reasoning is that they set out to show which ¬ thing, or simply to declare a 'review' (Aristotle, op. cit., 6, 4-5-6, p. 21)..
Still, the distinction is significant pro ¬ placed between prose and poetry: "From the above it is also clear that the work of the poet is to report the real and-twenty, but facts that are possible, in of the probable or neces ¬ rio. The historian and the poet are not differ ¬ ent because they express themselves in verse as well op ¬ in prose writings Erotodo can turn into verse and remains a work of history with the structure as me ¬ ply without meters. But the difference is this, that the historian sets out the actual events, and the poet-such facts may avve ¬ ne '(Aristotle, op. Cit., 9, 1, p. 31)..
The fundamental concepts of Aristotle on the art are "imitation" and "catharsis." In another of his seminal work, says: "Well, this same relief from mental tension must necessarily prove (witnessing a tragedy) those who are inclined to pity, or easy to be frightened, or in general ¬ subjects you to the emotions "(Aristotle, ca ¬ Politi, 8.4).
felt the same, ie that ¬ to get out of medical treatment, and then happens to them to feel purged, released by ¬ bad moods, not the body now, but the soul, and being comforted by a sen ¬ I know I like (C. Gallavotti, the pleasure of mimesis re ¬ cathartic, is in Aristotle, of poetry - op. cit. - p. 234).. Aristotle, however, speaks of "those who are inclined to pity, or • easy to be frightened or generally subject to the emotions." I'm so all the men ¬ tion. Or there are few like this? And what effect will the other the narrative? (The Greeks 'narrated' evil, not repre ¬ Tavano.
say that Nietzsche is even more evil to the "pure" and "innocent"
tell beyond good and evil, its evil, rather than produce it. It is only the 'evil', therefore, to produce evil. And the 'actors' know-what not? ... We are all actors, and the word is an enigma, lie, lie. It is the arrow-that of Apollo, deadly game. It only saves the hero and the wise. Theseus, with the help of the woman-goddess kills the animal ¬ ta (Minotaur-Dionysus), but no trace-tance. And besides, if the foolish to ruin the Labyrinth (logos) the challenge of Dionysus (the god animality and instinct momentary enjoyment of memory and oblivion in the past), what is the "wise »?... the pain and suffering to the knowledge of evil. There is no solution. Schopenhauer suggests the denial of the will of vi ¬ true. But he was careful implementation. The proposal has only to ardent readers. He wisely waited 'the end of the representation ¬').
The narrative and the portrayal of "violence" and evil, sometimes incites to evil. Such as pleasure, pain makes slaves of suffering, in a cer ¬ mark with no beginning and no end. A well say that 'evil' not 'is' evil' or 'property' 'Is' just! It should be accepted and vis ¬ sue "? All we seek the "good." Even those who believe they have found it worse. ¬ is necessary to distinguish. Vitale. But it can be deadly.
Aristotle to purify the pure, then. Why? Perhaps because the pure know-no evildoers? Or maybe because evil is always lurking and must watch? We are all a
own mix of good and evil. What is good is often temporarily while ¬ bad. And judging is often difficult. "The pleasure does not ruin the foolish one who sees the other side. To thirst for pleasure fool to ruin the tri ¬ and himself "(Buddhist canon, but the Discipline ¬ L'Or - (Dhammapada), Hogarth, Torino 1980, p.. 80, No 355).
Like Aristotle, the Buddha (The Awakened), after giving excellent advice and exhortations to the saints, he says, a vol-ta 'extinct' and free from the foolish pursuit of pleasure, it can be enjoyed without re-partridge slaves. You become like those who can inject morphine without remaining as-suefatto. Or as those who love eliminates any implication 'sentimental', that boredom and loss of time, and reducing everything to simple sexual act ¬ ce. Or, tell me ¬ Council, lives (Dionysos?) In a few moments all the implications involving those who, having regard to the sexual act of the one-ne "the roof of a house," "per-gift time" to build strong foundations in the sand maybe mint, candied ¬ forgotten to do, finally the roof.
is a difference in "times"? Apollo, who smiles long and short shoots painful, or Dionysus, who enjoys the repetition of a life spent in the death of this? Far
ugly things to see "good" to ¬ able and know how to be truly evil, produce evil to actors for ¬ mez zo other actors?
And who will save the actors on stage pretending? ¬ I pretend representation, mimesis, in another lie?
And what will we see the wicked? The good? ¬ For him scoff? Why crucify him?
The myth of the Labyrinth!
"The geometry of the labyrinth, with its unfathomable complexity, in-game surge by a bizarre and perverse intellect, alludes to a ruin, a deadly danger that threatens the man when he dares to face the god -animal (Minotaur-Dionysus). Dion-I know he built man
* * Labyrinth: a work of Daedalus, an Athenian, Apollonian character into which, in the realm of myth, the inventiveness Arti ¬ partisan who is also an artist - as handed down capistipite sculpture - tech ¬ Nica and wisdom that it is also the first formulation of a ¬ gos still immersed in intuition, IMM ¬ ginazione. Its creation is between giuo co ¬ artistic beauty, alien to the realm of profit and the artifice of the mind, it's reasonable ¬ rising to unravel a dark, but with ¬ cretissima life situation. This is the cow them ¬ gnea that Daedalus built for Pasiphae, Minos's wife, because she could meet her crazy attraction to the sacred bull. That the elbow ¬ ter of wool given to Ariadne. But with something that manifests-play and violence and finally the most famous opera ¬ tion of Daedalus, the Labyrinth. On Jogos. The reason, where the Minotaur (Dionysus), the ani ¬ Malita, the fruit of love of Pasiphae was imprisoned by Minos. Daedalus, Apollonian artist, where the size and beauty come from without and from Iollo measure creates the Labyrinth, play violent and sophisticated, human creation, self ¬ and is the inventor, the man of creative knowledge, Apollonian individual, but the uncle ¬ servants of Dionysus, god of the animal a prisoner of the fruit of reason. Minos is the seco ¬ tion arm of this deity beast. Dionysus, then, the animal must be restrained by reason. Which tends to the right, but that will be killed, die in the right hand of the hero, Theseus. A-chicken, no boundaries, the intolerant, the wild, the god of madness, mania, with her responses suggested that the measure, the "nothing trop ¬ bit," the "know thyself." Dionysus and Apollo, So, like, equal. They tend, by the brutality and madness momentarily constant, measurement, to reason. But Dionysius died, in reason. His time is short. And then reborn, ¬ Zato concrete expression in the rational act of artistic creation, in
another game.
Apollo never dies. From death, because he is the madness that becomes cone ¬ knowledge, and knowledge from the pain and suffering is death.
The god who dies, he led the creation and the god of death, in the knowledge that he has recommended. And am ¬ Bedu are from insanity, drunkenness. But t times, the times, they are very different. ¬ Diver is the time to know who dies, is short, ¬ from that of one who gives the death as a challenge. ¬ Bedu and am, therefore, give life. But Dionysus from the life of the body, which then returns to the spirit. Apollo from the life of the spirit, which then returns to the body. Dionysus, music, art, pleasure, reason, philosophical, enjoyment, art, music, Apollo. Apollo and Dionysus. I always present. The always absent. This one absent the other. The gods of mor ¬ yourself and life. The gods alike, common, related, complementary but NEVER MIND SET AND AT THE SAME TIME.
¬ One leads to another, and suggests the other, but one or the other are mutually exclusive. Not on the metaphysical plane ¬ SICO, or aesthetic, or ethical. But on the ESI ¬ tance transmitted: one being that everyone can not possibly be, if not ¬ ing increasingly become more and equal to himself.)
a trap in which he will perish just as he deludes himself to attack the god. Apollo puts the riddle man, and the challenge.
The gods love the puzzle, and no clarity. Dionysus puts the labyrinth as a challenge to man. Both gifts are mor-tal, a source of suffering: the art and knowledge. Both generate and exclude the other. (...) (...) The enigma is the equivalent in the realm of what the Apollonian-Dionysian sphere is in the labyrinth: the conflict ¬ to man-god who is in the visibility repre-sented symbolically by Labyrinth in its implementation inner and abstract ¬ ta finds its symbol in the enigma. But as an archetype, as primordial phenomenon ¬ dial, the Labyrinth can not foresee ¬ ferent to the "logos," reason. That what else, if not the "logos" is a product of ¬ man, where man is lost, goes to ro ¬ vina? God has built the Labyrinth to subdue the man, to bring him back on animation ¬ simplification of formalities, but will use the labyrinth Theseus ¬ to the domain and the fre ¬ Labyrinth that of the woman-goddess (Ariadne) defeats for re ¬ the animal-god. All you can e-sprimere in terms of Schopenhauer: the reason is the service animal, ¬ the will to live, but through ra ¬ the region to reach the knowledge of the do ¬ lore and way to overcome pain, ie denial of the will to live "(G. HILLS, op. cit., p. 29)..
Here, then. Dionysus leads to mor ¬ you, as a last victory over slavery to the nonexistence of animality. But can such a death ¬ evening continues, repeated ritual-
mind in terms of the myth that he does not know to be such. That relies on the memo ¬ ria, on memory. It is a death that conquers death, provided that you do not know in the long-time l'apollineo and painful awareness. Refreshes the memory u ¬ m and from life, the free dall'arsura ¬ death. With the help of memory " Yes rai a god instead of a mortal. " Memo ¬ ria, life, God is the mystery wins against forgetting, death, the man who ap ¬ partengono in this world. ¬ Recuperan do the abyss of the past identified the man ¬ cunt with Dionysus. So, I do not know Dionysus the god of crcudele ¬ bestiality. This loosening of Dionysus is called Orpheus. But behind this manifestation ¬ musical stars of Dionysus is an inner event, upsetting the hallucination-beratrice them of the mysteries, the great mystic man is Conque ¬ greek archaic. Pindar says of the Eleusinian mysteries: "Blessed is he who co ¬ having seen what comes under the earth knows the end of life and co-tains the principle given by Zeus." About re ¬ sail 'that' - the unspeakable mystery object in the man finds within himself - and Dionysus, and Orpheus is its singer. The oldest documents Orphic, papyrus and rolled-quarter net burial of the third century BC, is a poetic translation, ¬ acci dental, non-literary, mixed-recognized event, which produced the interior has remained hidden, stolen from every tradition but the dramatic framework, with ritual objects and actions that accompany ¬ no, he could be returned by the words of a raving symbolic poetry. Stu ¬ pefacente is as dramatic as some of these documents sumono ¬ ¬ or surfaces, as if it belonged to the ritual since gold ¬ mysterious origin, or at least ac ¬ companies to it, for ¬ action between characters, a sacred representation. In ¬ ¬ LAMINETTE funeral go find a dial between the initiator and the initiator to the mysteries in the progression of this dialogue is a reflection of the projected conquest of supreme vision.
is perhaps this aspect of theater, drama ¬ matic of the mysteries gives us another way to explore the origin of Greek tragedy. With this hypothesis fits the re ¬ I'm very good news of a trial of Aeschylus for having profaned the Eleusinian steri ¬ I: as, if not through his plays, he could have such a widely publicized?
... Through the nature of symbols that appear in these
Orphic documents, the attributes of Dionysus and the objects that accompany the initiation event, we are able to achieve a more benign, redeeming of Dionysus.
God of death as a revelation, Quin ¬ rebirth. Unless the death is not always such. Dionysus summons men ¬ ro aborting the world, emptied of all substance-bodied, any weight, strictly speaking, ¬ continuity, removing all reality the identi ¬ fication and for individuals. In this Orphic fragments ¬ sti ¬ A child is Dionysus, and its attributes are toys, the ball and the top. An element belongs to the polished way of manifesting it ¬ men of Apollo, in ¬ ni expression of art and wisdom, but the Apollonian Giuca regards the intellect and the word, the sign: instead of Dionysus in the play is im ¬ immediacy, spontaneity animal that enjoys and is fulfilled in the visibility at most is left to chance, as ac-sign, as suggests the Orphic-other attribute of the dice. A-I would say that chicken is the myth that in ac ¬ linguists is the "meaning" (langue), and Dionysus is its consideration of the "significan ¬ you" (words). Apollo and Dionysus, as "ca ¬ pacity 'and' implementation '.
symbol harder and deeper, quoted in an Orphic papyrus, is the mirror. Looking in the mirror
Dionysus, an ¬ zich himself, he sees a reflection of the world. So these
-Mende,
men and things of this world have no reality in itself, is only a vision of God. Dionysus only exists in everything he vanishes: to live, man must territories ¬ Nare him plunge into the divine past. And in fact it is said in LAMINETTE Orphic initiate craving ecstasy mystery: "I am parched with thirst and die: but give me, soon, the cold water that flows from the swamp of Mnemosyne."
Therefore, the god who gave the death, of life and happiness? And Apollo, that knowledge, from the pain and death?
Dionysus from the happiness of the moment to those who live by retrieving the past. Who 'knows how to be a real return from the past present. " You only know what you do. The past, we did. Who really "remember" the past, it has in every way "forgotten." The pos ¬ sits in him, into his person and the past haunts him. You can not es ¬ night, then, always on the side of God-
Nisus. It would be impossible to live a "car ¬ pe diem 'every moment. So Dionysus is merging with all that we know for a few moments, and that only fools are pos ¬ illusion of life voluntarily, knowingly. Dionysus is the love that can be torment, rapture, godimen ¬ to. Dionysus not to forget that you remember him or the memory that you recognize. It is the absence of memory and oblivion as enduring and conscious feelings. This is the "death" which Dionysus. Brief moments of life, aware that ¬ volezza iiccide. And Apollo, God kills ¬ Nisus.
Since the tragedy, and his catastrophe, which has come from unconsciousness and it turns in its invalidity, in his absence, in its violence. The knowledge that knows you know, not good nor evil, and kills the Sphinx, and life does continue. The riddle is solved instead of Apollo, and nothing changes. But the fury that takes when Oedipus kills his father - without even knowing that his father - is por ¬ exporter of evils that would fall about the hero and his city. Not knowing what you do, only to realize themselves, but is the ani ¬ tragedy. The knowledge, inquiring within, awareness and atone-ment is the return of Apollo, and Rico-gins where everything is over, only, those who lack the oc ¬, Oedipus. But he has within himself a real ¬ TA can still lose and regain mil ¬ time, as always happens in the lives of all people who enjoy and Dionysus is dying, and Apollo kills and revives. Gods of death and life. ¬ pain and drunkenness.
But Orpheus, the same voice of Dionysus, has found happiness? It makes sense to speak of happiness and unhappiness, or good and evil are the same, or two things but not like u-guali? It is evil because it gives birth to good and vice versa?
Orpheus. The divine singer. He 'is' an-a devotee of Apollo. The domain of Apollo and Dionysus is the same: the art and music, madness and reason, and little grains ¬ say, the inspiration and technical dreams and drunkenness. But no one dreams of drunken-u, or is made only with the inspiration ¬ tion or only with technology, nor do they speak without thinking, or thought without speaking. If the animal tends to reason, then kills him, the madness to the extent that the extinction ¬ guages, it is also true that often the extent and the reason they give birth madness and the man ¬ lack of any measure.
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Apollo and Dionysus must not posse-ing at the same time the man, but in succession and separately, and the time of Apollo are much longer than those of Dionysus.
Otherwise, man is torn apart by the two forces that ¬ exclusive-fighting there, like day and night, which are always the same re ¬ position of the Sun compared to Earth, but not the antenna above the Earth And there is the twilight sun, and the al-ba, which seem to be day and night, day or night. But it's the night who runs the day and the day that escapes the night. For brief moments merge. ¬ In the some parts of the earth, sunrise and crepu ¬ Drain are what they are for us day and night, because it is more constant exposure to those parts of the super ¬ surface of the globe than that Astra also symbolizes Apollo, the god who keeps track of time, and that light chains ¬ bra. It is traditionally said to Leto, mother of Apollo and Artemis, a-vrebbe could only give birth in a place that had never been illuminated by the sun first. The birth had to CARRY ¬ tact into the darkness for a time when sol ¬ so the wolves could be seen. In the twilight greek antelucano was indicated by expressions such as "lykophos 'Or' lykauges ',' light by wolves. " It was said that Apollo could turn into a wolf to crush your enemies, or to join in love with his mistress Cyrene. Leto seems itself had been transformed into a lu ¬ pa by Zeus, before reaching the land of Hyperborea Delo.
The god of light from darkness is imminent. The 'recovery', not of loss and abandonment (Dionysus). Phoebus Pindar says these things: "He who dispenses remedies for men and women of serious diseases, he gave them the harp, and those who want grants Musa, inducing in their minds the peaceful disposition of enemy war and go ¬ verna withdrawal fateful "(Pythian V, 63 et seq.). This us know presented as the divinity of ¬ the duration of things in the ro ¬ recover their optimum condition. Fe ¬ bo but also by the death and pestilence. He, who is from the night and crowds, tents and leads to wisdom and light. And urging the man, the mortal challenge (Oedipus). Dionisio, however, has for a few moments. It is the loss and death of those times when you plunge into the whole. It is the night that comes after a short day and dazzling.
is the sunset, the other crepu ¬ drain.
The oldest and most widespread tradition on the death of Orpheus tells us that the Can-tor, after his return dall'Ade, amareg ¬ refugees for the loss - double loss - of Eurydice, denied the cult of Dionysus, the god who had till then revered, and he turned to Apollo. Offended the god punished him and had him torn to pieces by the Maenads, as we have already seen. Returns as an emblem ¬ cally the polarity between Apollo and Dion ¬ know: the torn Orpheus alludes to this duality is ¬ less, the soul of poetry ¬ tion, the wise, possessed and tormented by the two gods. And Dionysus prevails over Apoljo. Co ¬ me in the Cretan myth, where Daedalus, ¬ is Apollonian art, build a maze for Dionysus presented as raw mauve ¬ trip, bestial gods, Apollo and do ¬ mined, even here the musical goodness of Dionysus gives in to his cruelty ¬ fon do. The carrying out of myth receives a seal imperious by Dionysus, and en ¬ both cases the end is tragic (G. HILLS, op. cit., pp. 23-36). For women, a joint Arian ¬ na ¬ labyrinth goddess Dionysus as policy, then fled with Theseus, after having denied the divinity of providing animal hero ¬ continuity, giving each its own continuity, for the triumph of the indi ¬ duo permanent blindness to redeem man from the animal-god, her daughter and sister of Phaedra, Pasiphae, expres ¬ sion, therefore, the elemental violence dell'istin ¬ to animal, the end will be tragic. ¬ born abandoned by Theseus, will be killed by Artemis, but will be returned to Dionysus immortal and no old age, the Illusion dissella ¬ uma na. For the singer also will be the tragic end. For him, that he wanted to perpetuate the b ¬ breeze of love for Eurydice, transforming the sea ¬ ¬ eter nity in time Dionysian Apollonian. For him, Minister Dion ¬ I know, he wanted to leave, in ¬ to bankrupt the company, the thrill of the dream. O Dionysus, momentarily, or sen ¬ za life, and even protected him Apollo. For him, who was voted to the god of intoxication, it was not possible to abandon the tradi ¬ tion.
But truly "wins" Dionysus? Has not turned into something of eternal love and Arianna Or feo ¬? It does not always set for the pre ¬ unique moment of intoxication beyond the first, then all well now? It seems, therefore, that victory is the same, for Dionysus, with the victory of Apollo, and that his life is only possible in a "death" without ceasing.
Dionysius, then, is the im-mortal who becomes "time" and has an end, before and after, beginning with a vague because "drunk"? And Apollo, then, would be the "time" that is eter-na? The moment that escapes to deter-final in a death that is life forever in the memory, poetry as capable of giving immortality to mortal things?
Dionysus, perhaps, the incarnation of the divine ¬ ta, the idea that object becomes fleeting and de ¬ action designed to short-lived, Apollo and the constant reminder of things in order and death has conquered time, more than the next. And that, in man. Not out. Inside. Life and death dying living.
unhappy they are nearly all the loves of Phoebus Apollo, that is clear and dark, and if the sun can symbolize, more so is the light that dazzles and become ¬ ta darkness. Daphne was transformed into a laurel. It was only in his memory, transformed into poetry. Dionysos Ariadne always loved, but with ups and downs, and his love was a re ¬ stained often under cruel and sell ¬ cannot, until she became final ¬ mind as him, an eternal moment.
the tragedy as a representation of a representation, reflecting the drama of Quin ¬ ¬ water always present position a painful but inescapable awareness.
... It 'amazing that I look for you in this or any other place on earth where there is a lot if we can recognize. But it is still my age, that one expects from others that is in us, or does not exist.
Love helps us to live, to last, love and cancel from the beginning.
And when those who suffer or languish
hopes - even if hopes -
that a rescue had loomed in the distance, he is a breath enough to rouse it.
This I have learned and forgotten
[thousand times,
hour from you I made clear again, now takes vividness and truth.
My last sentence is more than this moment.
(Mario Luzi, April-Love)
... and again:
and trees, trees, trees
the golden head:
I will stay here,
caught in the middle of the road with my dress and my fluorescent
invisible body.
And you, you insist
you only to say that I exist.
(M. ZOLI - hibernating Kaster Kar). So
poets, wonderfully, ¬ am not in a few words what I'm trying to say in these pages. There are other functions p ^
icologiche of the myths that are totally excluded from the theory of unilateral ¬ Klukhohn, it was the first of which, such as those of Carl Gustav Jung, who has been mentioned previously in various places.
CG Jung was part of the circle freu ¬ show, but ended with the removal. In some respects his ideas show a Freudian descent, for others he cor ¬ radically the conditions of interest ¬ mae stro. Like this, including no less that dreams can reveal certain configurations of the myths of the unconscious, but instead of vestiges of desires and concerns of the 'childhood of mankind ", he regarded them as revelations of what is called maya 1 ¬'" unconscious collective ', which is the implication of the hereditary and permanent-l'umanità in certain key symbols. The impor ¬ tance of the "archetypes" (in the philosophy of Plato was the archetype of the model and ideal of the ori ¬ nal sensible things. Kirk considers the "misunderstanding" that he ¬ Jungian terms, referring to universal symbols or the disposition to pro-duty applications) for the psychologist is that the militant their utilization by INA-ecutions, for example in dreams, is indicative a drama of unconscious psychic pro ¬ ce that the health or disease of the mind. The myths reveal trends for their part psychic laws of society - including the tendency ¬ ze concern related to contradictions and problems both social and personal. Nothing in the myths is "in ¬ fantile ', on the contrary they reveal the im ¬ pulse and phobias of unconscious mo ¬ ern society no less than old ones, and their expression relieves also compli ¬ cations of living today. One of the deepest insights of Jung, according to Kirk, is that men are subject to these ancient, traditional forms of expres ¬ sion, the ritual and religion as myths, no less today than in the past. The re ¬ tie in the realm of historical curiosity has not only increased the neurosis of modern man. With
general idea that myths are an essential psychic balance, and so much more than social group, one can not but agree.
"Unfortunately - supports Kirk - many of its more specific insights are less acceptable. The most dubious of all is the idea same as "archetypes": the mother-earth, the divine child, the old sage, the sun, God, self, the soul and the animal, but ¬ (the idea and the idea that women's human man of the woman), even certain forms such as the mandala and the cross, as well as the number four.
Jung asserts that these images recur repeatedly in myths, in the so-signs and other manifestations of popular consciousness. But things are so true dav ¬? Here is just enough truth that spe ¬ cific enough to be meaningful? Jung's students are limited to ac ¬ cept its repeated assertions to that effect and refer to cases derived from myths, history and art by me ¬ sticismo medieval, which are the ones that affect the same that are used frequently and Jung in his copious writings. We obviously have a mythical statistical reasons (the recurring figures of more than typical events), but his followers still living seem redundant and spiritually repugnant.
In my previous volume I have sug-gerito that the old sage, the mother earth, the divine child and the like are not really making use of specific figures in mind, the Greek myths. The "old but the re ¬ 'Pigs or black, is a typical prophetic figure, and the wisdom of old age is embodied in Nestor, who lived for three ge ¬ neration human and whose advice is constantly sought by Agamemnon, according to the Iliad of Homer. Demeter sim ¬ boleggia doubt the fruitfulness of the earth, and the loss of her daughter Persephone is one of the most ancient Greek myths and touching. You might think that the divine child to be represented in the stories dell'infan ¬ aunt of Dionysus, Hermes, or even of Heracles. But these themes are not universal or even particularly co-muni in Greek myths, no one could say that the concepts that are Preval-gano on many others. But in any case, Jung's collective symbols what else are they but the fundamental ideas of Mankind Communities necessarily presupposed by the physiology of man and the circumstances so ¬ cial? An infallible father is a factor of psychic development of most par ¬ you of us who knew our fathers, and the sun, needless to say, it is important
many, the idea of \u200b\u200bGod is located in one form or another in every human society, the "but ¬ mother earth" is a concept very com ¬ tion, and Greeks were obsessed with Cybele Asian and prototypes of Artemis, no less than by Demeter.
course, some of these ideas turn out to be co ¬ mon myths, and it would not strategic if not ¬. But what do you ¬ significance than the fact that myths are sometimes refer ¬ scone to ideas and generalizations uni ¬ universally human? We have postulated to explain a re ¬ '¬ vo collective unconscious "that goes beyond the universal interests of mankind ¬ salts? We need to use misleading terms such as ni ¬ "archetypes? "We have to believe ¬ mo, as Jung and his followers believed Kerényi Karoly, which can existing stere a real science of me ¬ thology, so it is permissible in certain symbols ac ¬ membering specific values, and assign to the ro ¬ use a place in a mental map of normality?
More seductive is the Jungian idea that certain concepts can be inherited as a co ¬ compartment models of bio ¬ logical. And 'what you can prove or disprove, his value for the study of myths is that could explain the very precise use of mythic themes in seemingly independent cultures "(GS KIRK, op. Cit. pp. 76-78).
to Ernst Cassirer, who undertook the e-standards effort to compose a philosophy of civilization, the myth is seen as a major 'symbolic forms' of expression ¬ sion, while the others are the same language, and science knows ¬ (E. Cassirer, Philosophy of Symbolic Forms, trans. com. Firen ¬ ze 1974, especially you. II).
According to him, a myth can not be considered intellectually, because it is not allegorical but tautegorico. It 'a form of self expression, which contrasts with the spirit world of facts of experience of creating their own world of images: the pure opposite impression deriving ¬ activated. As we are led by it to treat the myths as products ¬ tion of feeling than of reason, this is a healthy corrective ¬ lisers intellectual theories of myth as "protoscience. What does this theory? In the end, that the "mythical consciousness", which comes in fun ¬ tion when the outside world "overwhelms a man of pure immediacy," so that the 'subjective excitement becomes obictti ¬ vata and stands in front of the mind but for ¬ god and demon, "is little more sense of religious veneration.
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For Cassirer myth and religion are in a relationship of continuity, but this should not obscure that many I know-no myths completely different from religion, at least their genesis must be totally separate from the mind of feelings about the gods and worship. Cassirer re ¬ is vague about what exactly is "expressed" by quebiu ¬ tact with the emotional with the outside world, sometimes it is a "god or a demon," sometimes a symbol. But a symbol of what? An ¬, once again we face the difficulty that a symbol, even if it is allegorical, a code entry rational, must have at least an emotional content ¬ vo. Sometimes it seems that for Cassirer ¬ que of this content is simple, a kind of sense of divine presence. Other times he speaks in ¬ stead of mythical core configurations "Owning" unit of fact "under a" below for ¬ but structural. " These symbols are at least complex, most detailed of the simple feelings of numinosity ¬ and military, and indeed their 'configurations sentimental "look like" pi ¬ archetypal' Jungian, just as their common structure anticipates the ideas of Levi- Strauss. Cassirer was certainly not devoid of sympathy for Jung, Jung repudiated if only because the concent-freu-diana action on sexual motivation, which seemed to Cassirer degradation of human civilization. But, like Jung, he did not succeed in clarifying the nature and operation of the mythical symbols. You may suspect-ing that both men were also condi-Freudian idea of \u200b\u200bthe substantial fixed correlations between data symbols and certain types of feelings or worries ¬ tion, e-saprattutto between objects or uteriformi phallic and sexual obsession and repression. Overall
Cassirer has little to reach the ag ¬ I ¬ simple concept that no metaphysical theories based jung-it: the notion that there are certain bases ¬ mental human concerns and whose expression in the myths-¬ tion promotes the integration of 'individual in his physical and social situation. This concept is important for many ¬ Levi-Strauss, but his theory of myth is more interesting, so ¬ cially because it provides detailed analysis of how myths reflect the inner tendencies of man (Levi-Strauss, Structural Anthropology, trans. com. Milano, The Assayer, Ch. 11). This theory depends on the fundamental assumption that the esprit
man is structurally similar in every period and every kind of organization / company. It also accepts much of the doctrine "funzionatisi i-ca" that the company is a machine, each of which is involved in the functioning of the whole. For Levi-Strauss, the structural unit of the machine comes from the social ¬ coherent structure of the minds that determine ultimately shapes. The myths, such as rituals, are part of the machine, and play specific roles in making it work; Quin ¬ also be determined ultimately by the structure of intellect. ¬ Lé vi-Strauss argues that one of the poles ¬ main characteristics of this structure is the tendency to polarize the experience to divide in order to understand itself ¬ ries of opposite, more or less like a computer platform. It is true that you are familiar with many kinds of mo ¬ society in which the classificatory system ¬ but the binary nature. The partnerships are often organized ¬ zate in half, into two groups namely non ¬ Each one of them choose the other spouse, even if the same Levi-Strauss has shown that this apparent ¬ layer systems are often more complex in reality. Even in the three companies ¬ is often given out of the carry ¬ exposure to binary divisions (not ternary, etc.) among the objects of experience, the Greeks (especially showed this tendency. You know ¬ no, of course, the objective factors that encourage this kind of looking at things. The existence of two sexes requires the dichotomy of the most important aspects of social life ¬ you, those involving coupling and '¬ continuation of the tribe. "
also the contrast between subject and ob-jet between themselves and the outside world, reinforces the tendency to see things in terms of opposites: desirable and inde-siderite, yours and mine, black and white, love and co ¬ enemy, love and hate. The individual ¬ TY like the human psychology encourages us inco ¬ to divide our world cop ¬ pies, and this trend is undeniably reflected in some aspects of social ¬ tion. But, according to Kirk, ¬ sareb certainly be closer to the truth to say that the inevitable aspects of Bihar! of the organization must apply to the human and social ¬ intellect, rather than admit that a purely mental product of each mini-determined human behavior. Our knowledge of the brain to this day does not allow us to think that it should function as an elaborate re ¬ track
... yet im ¬ fold structuralism clearly this type of operation.
To go to the myths, we see that the ro-quality quasi-binary Levi-Strauss is their function (as he sees it) of 'mediate the contradictions'. That is, in life people are faced with all sorts of problems, some 'general do not depend on the circumstances indi ¬ vidual, eg how to reconcile their interests and ambitions with those of the group, such as bear the thought of death when all our instincts are for life, how to temper the avi-depth and luxury with the natural discretion. Most of these problems, I generally in the form of with-contradiction: between desire and reality, between the attainable and the unattainable, between the individual and society. Then the function of the myths he ¬ is to make these contradictions bearable, not giving the body a fantasy of fulfillment or releasing inhibitions, creating the pseudo-logical models that serve as re ¬ average or better palliative ¬ tions of the same contradictions.
One of the clearest examples of what he has in mind is the Levi-Strauss's analysis of the creation myth of the Pueblo Indians, where hunting is inserted as a means of subsistence agriculture in one hand and war on the other. ¬ In another part of the same cycle of myths about the animal-tegorizzazione antithetical grazers and predators is corrected by the observation that animals which are there ¬ ban on carrion intervene between the two other types, because they eat dead meat but do not kill to obtain it. The contradiction mediated by this myth is exactly that between life and mor ¬ you, and the result is obtained by emphasizing that, in specific spheres of produc ¬ tion of food and animal behavior instinctive ¬ tive, there is no simple ¬ ce contrast between living and dead, but also intermediate between the two phrases. This casts a doubt, but no more than a doubt about the finality of death. The myths are not intended to provide evidence of philosophy, but rather to change our emotional response to one aspect of our experience. The main complex includes testimonies of Levi-Strauss in the myths of the tribe-related
diane Brazil and Paraguay, and is particularly valuable because these myths have been collected for centuries by missionaries from high level. Variants I-cies recorded from them have helped to show that Lévi-Strauss in a myth that tends to change over time are the specific events, personal and individual. What remains constant is the ratio of a character or a fat ¬ to another and, in short, the whole structure of the story. No matter if ¬ superficial mind a myth about a girl who disobeys her mother or a grandmother who poisons his nephew - the structure remains unchanged and is referred to a conflict between the generations, ultimately to its mythical solution.
This theory, in extreme form in which its author presents it, which-offers that difficulty. When he says that the real content of myth is a kind of algebraic ¬ bra, an abstract structural similarity between the intellect and the surrounding environment, which transcends the specific problems and social Worried ¬ ployment, he pushes too far mind the undoubted ¬ ' intuition-Listica structure. But the idea that myths are especially aimed at all ¬ mediate contradictions, showing that "the empirical categories (...) that can serve as conceptual tools to free ¬ abstract ideas" is a fruitful idea. It so happens that does not ap ¬ parcels equally happy (and other western myths) as well as those of the Bororo Indians and in ¬ their neighbors, but this is probably due to two reasons: the first has been distorted by the literary tradition, and in any case their cultural empha-neature, without reasonable to a number of variants, are oc-cult. However
structuralists are re-pulsating any dilution of the theory and reject the idea that a structure-I policy may be modified during the transmission because according to them ¬ ¬ in the human intellect, which claims its structure in the same so, do ¬ vrebbe ensure continuity, and since all the myths are a product dell'intellet to ¬ and society, should all be equally susceptible to structural analysis. On this point, GS KIRK (op. cit. P.. 84) is not in agreement and under the influence on ¬ line every tradition nar ¬ SPAN engaged in the accident, the human weak ¬ ness, the changing of the background and so ¬ cial ' arbitrary personal choice. The whole concept of Levi-Strauss, like many other anthropological theories, the market has toc ¬ absurd in its rigor.
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The company is not a machine, although its mechanical aspects, the human intellect are not all similar in structure and fine ¬ ity, even at the most abstract .
These insights, the recognition of non ¬ to ¬ tion by the total rigidity of mental and social systems, enable us to avail ourselves of the possibility that a myth ¬ ity to propose a kind of mediation, along with other possible ¬ ity already considered, which can act as a driver's license, submit an explanation, have a predominantly dramatic value, and so on . It seems clear that the ¬ Cuni myths dealing with problems, so ¬ cially of the major causes of anxiety as to the nature of death. The advantage of a structural interpretation is that there has amended the special insight that the important factor in the relationship may consist of more profound than in argon ¬ The surface (even when I ¬ no interpreted symbolically), together with the idea that the problems tend to as-Sumerian form of the contradictions and inconsistencies can be corrected, revealing a "tertium quid", sometimes for up-dummy. One of the fundamental contradictions
dis ¬ rounded by a Levi-Strauss in his life and myths of North American Indians is that between nature and civilization, often symbolized in their myths from the difference between raw and cooked. Even the Greek myths seem to worry about the contradiction between natural law and human law, including the strength and retention, barbarism and civilization. And the pear or ¬ Levi-Strauss can help us to under-stand the fundamental importance of this general opposition. The anti-thesis of nature and civilization made by the so-fist Greeks under the heading of 'physis' and 'nomos', nature and the law (or agreement), and put back into circulation by private Rosseau but Levi-Strauss, it was actually personificala by centaurs.
Their human torsos and rear horses symbolize their ambivalence ¬ Denzano and avoid a possible association between the brain and the human element, animal and sex (GS KIRK, op. Cit. P.. 216). As the most famous heroes of the greek myth
, Hercules, gU most striking aspects of its business-
legendary scones are as follows: the killing and capture of criminals and mo-ters, ie wandering tut-
the parts of the world; intervals fol-lia and slavery, the bestial aspects of the one part, other than civilized, her clashes with the death and the afterlife.
Can you believe that the reason for slavery in the hero is connected to the madness. And his kind of madness seems an extension of the fury and brute force. The attack on the Lino is certainly more than a matter of pure insanity. The alternative is that the madness does not follow from his aggregate in character, but that is completely alien-tion. In the case of his co ¬ attack against their children's madness, after all, is sent by Hera, his enemy, and could simply be regarded as a more radical form of infatuation that, according to the Iliad, is so often sent between men by the gods. But the line between inspiration martial the Greeks called 'menos' (possan ¬ za) and the killing spree is not very clear, and the madness of Heracles could be the result of a casual and extreme force, a supernatural vitality that had always potentially dangerous. The same trait is exemplified by Achilles ¬. Heracles, however, should not be treated as a real person, whose character is a psychological tendency of amal ¬ gama com ¬ patible. He is obviously a creation ¬ it largely fictitious, and some of its ele ¬ ments, such as the slope to establish cul ¬ you and games, certainly reflect the require ¬ ments of institutional communities scattered far more plausible that the nuances of a psyche individual. But the arbitrariness can not be absolute, and there must be a specific and significant core qualities which may become more random. Que ¬'m nucleus is there a general antithesis between nature and civilization. The actions we ¬ cowardly hero ("civilization" of his character) comprise the foundation of the games or limpici-chair and its rituals of ini-tiation. His actions bestial, savage or barbarian ("nature" of his character re-) imply the free operation of the 'mon ¬ do natural' in contrast with the law and the Convention of men. ¬ The soul will live according to nature, and Hercules has a number of "animal-like aspects" when dealing with physical villi, the use is of a cover ¬ skin of a lion's head, the club cut rough and powerful mind ¬ direct from the tree.
He looked strong and wild for a lion rampant. Yet another component of the behavior "natural" Hercules is its lack of brakes made of love, food and wine, the normal social inhibition ¬ tions are not for him. His prodigious strength
mark it as sovru ¬ hand, an image more than a man, and the excesses of rage and madness are more bestial than human (GS KIRK, op. Cit. Pp. 214-215). There are other signs that the vision of "polarization" of things is en ¬ demic in greek thought since the primordial-to. The man-made structures such as i. centaur (half horse and half men) and iiCiclopi (giants with one eye) are devel ¬ pate in such a way as to seem unconsciously re ¬ emphasizes the virtues and vices-basin tenati of nature and civilization. ^
Bikers are vigorous and often savage, like when they get drunk and dan ¬ no excesses at the wedding of Hippodamia, the Princess of Lapiths, their neighbors in ¬ lands adjacent to Mount Pelion. They cer ¬ sion to rape Hippodamia and the other girls, and for this reason they are driven out by King Pirithous ¬ cle and was chased by himself. But the leader of the Centaurs was Chiron, who abstains from these businesses and lives a supremely civil and exemplary paradigm of civilization, in its paradoxical cave montana.
This type of dualism is less evi-dent in the Cyclops. If we remember only Polyphemus in the Odyssey, we refer to a framework of terrifying brutality here ¬ ¬ ism and cannibals, but the truth is that the whole Cicloplnel are relatives of the gods, rather than live peacefully, and Poliferno is a kind of alien to each other. There were other ¬ clop indeed identified as the author of the colossal walls of Tiryns and Mice-tion and with whom Zeus's lightning-Bili its supremacy and the reign of law.
And again, in their conception of the three great cosmic masses, fire, earth and sea (or water), the Greek-compartment strands reunited contradictory myths that it contributes to weld together. The fire is sacred and profane, both beneficial and destructive. It comes in the form of lightning dall'àìther (cycle), the cycle bright or pure upper air layer, natural home of the gods, it purifies all evil, the co ¬ me burning the chaff is the gift of the gods to men, the means by which men are silent ¬ cuo not only food but also burn the sacrificial victim ¬ me maintain the link with the divine and the heavenly, is es ¬ sential tool of ceramic and metallurgical ¬ ca, the arts protected by Athena and Hephaestus. But
in its opposite aspect is the instrument of divine punishment and destruction of the brand: the lightning and the lightning of Zeus. Even water is both the giver of life, both as ¬ sociated death in the form of floods, such as that which survived ¬ ro only Deucalion and Pyrrha. The earth is the clearest of all, because it is the place where corn was born, the partner of the pia-fertilizing rain that falls from the sky, the re ¬ cettacolo of the dead, the place where the ani ¬ me off of the dead descend into the King ¬ GNO Hades.
In other respects the Greek-compartment tends to highlight the contradictions in-site in the heart of things.
Women are seen as glorious and evil, love and stars as a demon ¬ no, old age is as a cause of dementia is saggez ¬ za. Sometimes the myths suggest a mediation (in the case of fire, Prometheus, Persephone in the earth), but often is not so, and in general it is important to admit that ¬ ¬ ele ments of many Greek vision of the world with ¬ held, for example, the list of functions if ¬ same divine nature are not antithetical. The theory of Levi-Strauss is clearly based on a particular conception of breath ', which presumably includes the psyche. The media-tion implies a polarizing trend in a way that is of the mentality, but this type of struc-tural assessment seems to fall more in the interpretation of intellectual myths in the psychological.
The total gain on the psycho-logical opposite seems rather small, with siderite-especially the confidence with which psychologists have put forward their case and respect with which they were heard. Of course, myths are a product of the unconscious, but Rank, Jung and Abraham, no less than Cassirer, we have devoted special attention. Not exist-then the specific aspects of psychological studies that illuminate certain issues I-tical, regardless of universal theories. Modern-day investigations have shown that dreams about flying are extraordinary ¬ nary common: their implicazio ¬ it is debatable, but help to explain the charm of those myths co ¬ me of Icarus flying towards the sun or that of Bellerophon Pegasus. That is to say that their main theme coincides with a common dream theme that no less mysterious. More uncertain is the Kirk said ...
... about the Freudian interpretation of the myths that will float on the-Water as an unconscious reference to the embryo surrounded by its liquid, and the association of the myths of paradise unconscious memories of childhood happiness certainly seems arbitrary, as are many other possible explanations. The more that is yet to demonstrate that the in ¬ childhood is "happy."
In general we can say that has not been revealed yet no reason-that myths are psychologically satisfactory as such, it constitute a unique form of expression) as opposed to other forms of narrative), which calls for a type particular response is fantastic.
"Their traditional nature explains their particular topics and their imagination more than any definite relations with the human psyche, and in their specific subjects that surfaces in their etiology as a way of expression that they claim a non-random ¬ no psychological interest "(GS KIRK, op. cit. p. 87).. There is a fantastic quality
date, at least not in ¬ many myths, which causes a particular type of response is ¬, ¬ empathy to them almost visceral level, similar to the impact of great music and great poetry is. Such sentiments are not limited to a few particularly suggestive themes (though here they just go with some specific tribute ¬ ¬ cal psychological theories). Perhaps the quality that produces an ¬ drebbe not associated with a special kind of mythic expression, but the general themes of myth, or even with particularity the circumstances in which par ¬ ¬ you are told. The first option brings us back to the theo ¬ ria of Mircea Eliade, myths that reconstruct the aura of an era creates ¬ tion of past time by the powers mixed ¬ Rios. This theory is valid, however, for several myths. A look at the myths gre ¬ we do not offer much support to the intuition of Eliade. Those
cosmogonic, ¬ it as the next of Uranus, Cronus and Zeus, have some great brutality, but we can not yet speak of a creativity that can be set apart from men. The activities of Prometheus in favor of the EU ¬ Manita are no longer relevant, but their effect is more intellectual than emotional. The birth of various gods and the functions that they acquire, not unlike the ge ¬'s Heroes (even when no behavioral
travel above and below ground) have a tone too pragmatic to agree with the theory. Despite rationalizing the organization which they were subjected ¬ sti, the Greek myths as a whole still possess a great force, but not of the kind postulated by Elias de ¬. Myths mesopotamid affect us in many ways more a Greek but also they lack an acute nostalgia Rivoli-ta paradigmatic events " ilio in tem-pore. "
One suggestion is due to the different-l'antropologo VW Turner, according to which the myths are "liminoli," that I am not related in ¬ situations of 'threshold' or transition (International Encyclopedia of the Social Sciences, vol. X, 1968, pp. 576 et seq. - sv Myth and Symbol).
The idea is an extension of the popular i-identification made by A. of van Gennep. a type of ritual known as 'rites de passage', whose function is to carry out. transition from one phase to another or social life: at birth, the pu-dom and initiation, marriage, of- old age and death. Such rituals tend to be celebrated in unusual hours and luo-ghi (of night in the bush or the desert, naked or dressed in strange) to subtract the participants in the normal spatial or temporal. They pose a range FRAP ¬ ¬ stream sacred to the profane experience, to facilitate the ra ¬ pida transition from one state to another totally different. According to Tur ¬ ner, even myths "are often told at times and places that are 'half way'." But this is only true for a small minority of myths. ¬ false mind is clear to the Greek myths in all the phases that can be reconstructed, even in tribal societies and myths are told very often in everyday circumstances and prosaic. Certain types of myths are recited ceremonially, it is true, but not we are not allowed to consider them typical of the genre, completely overlooking the other, and it's equally true that the meek-NiAl ceremonies (who tend to the quality of patents) are more imaginative than others. If, as Turner suggests, myths provide a kind of 'total perspective', often it will be due to different reasons.
At this point, Turner seems to re ¬ folded to a position close to that of fi ¬ Llado; myths "are seen as mixed re ¬ sublime and profound that put the ini ¬ ziando in temporary relationship with the primordial generative power of the universe" -
! 13
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(GS KIRK, op. cit. p.. 89).
... However, the particular co-effect of many fantastic myths depends partly on the fact that they do offer something similar to "total view" of Turner, or at least a more pious than the am ¬ of everyday life. We have already mentioned the side of the great myths. Part of it depends not by narrative motifs that affect us, but use of supernatural elements, they are monsters, gods or magic. The effect is not religious in nature, as implied by their co ¬ stressing the "sacred" as the mythic quality essential. Rather, es ¬ I indicates the coexistence the ordinary and the extraordinary in the human-rio, the sacred and the profane. This is a mode of mythic imagination. Another, similar but distinct, dependent on the displace ¬ tion sequences and expectations ¬ rule them, something that carries beyond a kind of paradoxical in-oltremon daneità that is purely a dream and a nightmare at times.
Freud pointed out the 'movement' of the experience of waking as a function ¬ tion Delf "dreaming." If the myths as ¬ resemble dreams for their displacement ¬ tion of events, as indeed it always ¬ bra, this presumably is not due to the exact kind of psychological reason (sleep projection, repression Sideri antisocial de ¬) ¬ CONSIDERATIONS taking it from Freud. Rather, one can hypothesize that the location of everyday life itself is revitalizing them ¬ beratoria. According to this hypothesis is not the 'liminality' of the myths that gives them a 'total perspective' is rather their ability to detect possible new Ta ¬ ever experience on the other hand im-image. A theory, therefore, as the myth of a life in power, alternative and parallel to that in place, that is ¬ proposed by Kirk (op. cit. P. 90).. "This concept - says Kirk - no meet-Shire completely alien to a society that enjoys surrealist art, and that needs it of a "theater of the absurd," and always seems plausible that the gravitational pull of the unconscious fantasy of displacement can not be lower, although of different quality, in terms layers and culturally-fied a limited company that has no writing and is based on tradition. " And - I would like to add - will fail altogether
alien species in a society where the ab-norm, the surreal and the absurd take on more and more like the usual and normal, and what is 'normal' the appearance of absurdity and dell'abnorme. But even accepting the point that even the ¬ irrational, the absurd, the surreal is' real '¬ or less is' a' reality and placed elsewhere, however, be found, the myth can not be placed on an equal footing. In quan ¬ to, which does not happen for the other two dimensions, can be the object of worship and veneration. The absurd and abnormal can be possibly good alibi. Of 'lifesaver'. Which, even if it is not "the same thing", may still exert a result equals: appease the anxiety, stop anxiety, assuming alternative and potentially verifiable credible, and therefore "poetic," not imi ¬ tative of all reality, but evocative of a probable reality, given certain assumptions. The Greek myths do not have strong disloca ¬ tions, and the fantasy that periodically put on display depends more on the ro ¬ supernatural components. The same applies to the Nordic myths, and generally for most of those who at one stage were subjected to transmission literary or quasi-literary. The myths of Mesopotamia unexpectedly retain some quality of apparent dislocation, despite a long tradition of writ-ing. Examples are the Gilgamesh-wake precious objects fall into the underworld through a hole, the fatal stroke Enkindu to recover, or the goddess of the earth that creates the ot ¬ Ninhursag to diseases of Enki placing it in your vagina.
The juxtaposition of mechanical issues and the determination of events by means of etymology-te are special factors, resulting in unpredictable sequences. Even so, there is a residual fantastic, although there ¬ well as strike the fancy of which they are imbued with the myths of society tri ¬ bali American Indian or au ¬ straliani. According to a myth of Pitjandjo-ra (Central Australia), two sisters Ra ¬ GNO brought food to a novice ¬ circumcision in the bush. A ten ¬ to copulate with her and to do so he stretched it into a ditch, but he refused. Eventually, it led him to heaven. Here we find another reason for the apparent paradox, as many so-no details in the story related to ritual practices - the fos ¬ knows and sexual abstinence in particular.
part of ejected other forms of fantasy, espe ¬ cially the crudities and other distorting rituals of everyday experience. This undoubtedly had its effect ¬ good surfaces. Perhaps even contributed to the development of a rational view of the world.
And the Greek myths, however, were not always so bland and devoid of true unforeseen.
may not always have been deprived of that primitive force and quell'estatica-slocazione of everyday life which is probably an essential element in the formation of a civilization-veramen
There is thus an allegorical level, which complicates the imagination, but the ' important is that it does not abrogate or makes me less mysterious in relation to ¬ ¬ Naria Horde secular experience.
you creative.
The classical scholars have complex-so much admired in the Greek myths is the relatively absence of 'horrific case "(as named by HJ Rose) and glaring lack of logic, a sign of clear thinking for which the Greeks of the period classic van ¬ not famous. It is true that already at the time of O-mere myths of Hesiod and had received an organized form in which the supernatural natural ¬ was assigned a specific place.
...
"Seligit and Silvis Arabum lucisque Sabaeis quo Phoenix ramos Paret in his bag."
("From the forests of the Arabs and the Sabians woods phoenix choose the branches to get the fire)
John Jovian Fontano, Eridanus, XI, De Phoenicia ave et de lover, The Italian Letter ¬ ture, History and Texts, vol. 15, a Latin poet of the fifteenth, R. Ed Richards, MI ¬ NA. 1964.
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