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This book first published in 1973 offers a broad survey of the study of symbolic ideas and behaviour. The study of symbolism is popular nowadays and anthropologists have made substantial contributions to it. Raymond Firth has long been internationally known for his field research in the Solomons and Malaysia, and for his theoretical work on kinship, economics and religion. Here from a new angle, he has produced a broad survey of the study of symbolic ideas and behaviour. Professor Firth examines definitions of symbol. He traces the history of scientific inquiry into the symbolism of religious cults, mythology and dreams back into the eighteenth century. He compares some modern approaches to symbolism in art, literature and philosophy with those in social anthropology. He then cites examples in anthropological treatment of symbolic material from cultures of varying sophistication. Finally he offers dispassionate analyses of symbols used in contemporary Western situations - from hair-styles to the use and abuse of national flags; from cults of Black Jesus to the Eucharistic rite. In all this Professor Firth combines social and political topicality with a scholarly and provocative theoretical inquiry.
This book first published in 1973 offers a broad survey of the study of symbolic ideas and behaviour. The study of symbolism is popular nowadays and anthropologists have made substantial contributions to it. Raymond Firth has long been internationally known for his field research in the Solomons and Malaysia, and for his theoretical work on kinship, economics and religion. Here from a new angle, he has produced a broad survey of the study of symbolic ideas and behaviour. Professor Firth examines definitions of symbol. He traces the history of scientific inquiry into the symbolism of religious cults, mythology and dreams back into the eighteenth century. He compares some modern approaches to symbolism in art, literature and philosophy with those in social anthropology. He then cites examples in anthropological treatment of symbolic material from cultures of varying sophistication. Finally he offers dispassionate analyses of symbols used in contemporary Western situations - from hair-styles to the use and abuse of national flags; from cults of Black Jesus to the Eucharistic rite. In all this Professor Firth combines social and political topicality with a scholarly and provocative theoretical inquiry.
In this study, first published in 1979, Landow contends that Hunt’s version of Pre-Raphaelitism concerned itself primarily with an elaborate system of painterly symbolism rather than with a photographic realism as has been usually supposed. Like Ruskin, Hunt believed that a symbolism based on scriptural typology – the method of finding anticipations of Christ in Hebrew history – could produce an ideal art that would solve the problems of Victorian painting. According to Hunt, this elaborate symbolism could simultaneously avoid the dangers of materialism inherent in a realistic style, the dead conventionalism of academic art, and the sentimentality of much contemporary painting. George Landow examines Hunt’s work in the context of this argument and, drawing on much unknown or previously inaccessible material, shows how he used texts, frames, and symbols to create a complex art of mediation that became increasingly visionary as the artist grew older. This book is ideal for students of art history.
In this study, first published in 1979, Landow contends that Hunt’s version of Pre-Raphaelitism concerned itself primarily with an elaborate system of painterly symbolism rather than with a photographic realism as has been usually supposed. Like Ruskin, Hunt believed that a symbolism based on scriptural typology – the method of finding anticipations of Christ in Hebrew history – could produce an ideal art that would solve the problems of Victorian painting. According to Hunt, this elaborate symbolism could simultaneously avoid the dangers of materialism inherent in a realistic style, the dead conventionalism of academic art, and the sentimentality of much contemporary painting. George Landow examines Hunt’s work in the context of this argument and, drawing on much unknown or previously inaccessible material, shows how he used texts, frames, and symbols to create a complex art of mediation that became increasingly visionary as the artist grew older. This book is ideal for students of art history.
First published in 1938, this title presents the greater part of the 1933 Gifford Lectures in natural theology, given by Edwyn Bevan. The questions raised regarding the element of symbolism in religious conceptions takes the reader to the very heart of the religious problem, and addresses some of the most fundamental questions posed by theology and comparative religion: the nature of ‘Spirit’; the spiritual efficacy of sacred histories and the images they utilise, in particular those found in the Bible; the ambiguous role of language, not only in relation to God but also to the world around us; and the uncertainties pertaining to ‘rationalism’ and ‘mysticism’. Symbolism and Belief offers the student of theology, philosophy, scriptural exegesis and anthropology a wide-ranging resource for the study of religious discourse.
G. A. Gaskell’s Dictionary of the Sacred Language of All Scriptures and Myths, first published in 1923, examines several different aspects of religion, including examples from Ancient Egyptian religion and mythology to modern-day Christianity, providing explanations of gods, events, and symbols in alphabetical order. This is a perfect reference book for students of theology or the history of religion.
First published in 1982, Images of Crisis explores the premise that literature and art exploit various images to present culturally prevalent ideas, and thus create their own form of iconology. George Landow shows how the tumultuous history of the past two hundred years has resulted in a plethora of metaphors associated with moments of human crisis. Avalanches and volcanoes emerge as focal images in an aesthetic that concerns itself increasingly with the vulnerability of humanity. However, it is in the transformation of traditional religious images that the ideas of the vacant universe are most dramatically presented. Associated with this central idea are ironic transformations of other images that formerly had been associated with Christianity as paradigms of belief: the journey of Odysseus, the rainbow of the Covenant and Robinson Crusoe. Combining close textual analysis with a theory of literary iconology, this fascinating reissue will be of particular value to students with an interest in literary images, and literary and cultural history.
Originally published in 1970, this book represents a unique study of beliefs and ritual practices in a pagan religion, and of the processes by which a transformation to Christianity took place. Christianity came to the major islands of Polynesia nearly two centuries ago, and within a couple of generations, the traditional pagan religion had disappeared. Only a few remote islands such as Tikopia preserved their ancient cults. Over eighty years ago, the author first observed and took part in these pagan rites, and on later visits he studied the change from paganism to Christian faith. Unique in its rich documentation, this book presents a systematic account of the traditional beliefs in gods and spirits and of the way in which these were fused with the social and political structure. The causes and dramatic results of the conversion to Christianity are then described, ending with an examination of the religious situation at the time of the book’s original publication. The book is both a contribution to anthropology and a case study in religious history. It completes the major series of studies of Tikopia society for which the author is famous. It gives the first full account of a Polynesian religious system in a state of change.
We are a product of nature. Every single cell of our body is made of, and depends, on nature. Our inner soul is heavily influenced by nature. We feel sad if the sun is not shining for a few days, and feel pleasure when drawn to the wonder of flowers and uplifted by the song of birds. We came from nature; we are part of nature. In short, we are nature. Nature has been an intimate part of the human experience from the earliest times. Different religions and cultures, from all corners of the world, have honoured and worshipped nature in art, ritual and literature in their own unique ways. This book shows how we learn about our own human nature, our own sense of identity and how we fit into the larger scheme of life and spirit when we come to better understand how our human ancestors, through art, symbol and myth, expressed their relationship with the natural world.