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Mircea Eliade--one of the most renowned expositors of the psychology of religion, mythology, and magic--shows that myth and symbol constitute a mode of thought that not only came before that of discursive and logical reasoning, but is still an essential function of human consciousness. He describes and analyzes some of the most powerful and ubiquitous symbols that have ruled the mythological thinking of East and West in many times and at many levels of cultural development.
Famed historian of religion Mircea Eliade observes that even moderns who proclaim themselves residents of a completely profane world are still unconsciously nourished by the memory of the sacred. Eliade traces manifestations of the sacred from primitive to modern times in terms of space, time, nature, and the cosmos. In doing so he shows how the total human experience of the religious man compares with that of the nonreligious. This book serves as an excellent introduction to the history of religion, but its perspective also emcompasses philosophical anthropology, phenomenology, and psychology. It will appeal to anyone seeking to discover the potential dimensions of human existence. -- P. [4] of cover.
Sinceits founding by Jacques Waardenburg in 1971, Religion and Reason has been a leading forum for contributions on theories, theoretical issues and agendas related to the phenomenon and the study of religion. Topics include (among others) category formation, comparison, ethnophilosophy, hermeneutics, methodology, myth, phenomenology, philosophy of science, scientific atheism, structuralism, and theories of religion. From time to time the series publishes volumes that map the state of the art and the history of the discipline.
No detailed description available for "On Symbolic Representation of Religion / Zur symbolischen Repräsentation von Religion".
First published 1958; preparation of sacred ground, separation from women; Kurnai initiation mystery; tooth avulsion Yuin, Murring & Waradjuri, initiatory ordeals, symbolic death, tossing of novices (Arunta), throwing fire; bullroarers & circumcision, symbolism of subincision; female initiation Arnhem Land; Kunapipi cult & ritual exchange of wives; medicine men, initiatory death, Arunta, Unmatjera and Western Desert tribes; use of magical substances, quartz crystals, pearl shell, spirit snakes; Asiatic influence apparent; Melanesian mummification; comparisons with Indian & Tibetan yogis; many authors quoted; bibliography.
Rethinking textuality, mimesis, and the cognitive processing of texts in light of new modes of artistic world construction. Winner of the Aldo and Jeanne Scaglione Prize for Comparative Literary Studies from the Modern Language Association of America Is there a significant difference between engagement with a game and engagement with a movie or novel? Can interactivity contribute to immersion, or is there a trade-off between the immersive “world” aspect of texts and their interactive “game” dimension? As Marie-Laure Ryan demonstrates in Narrative as Virtual Reality 2, the questions raised by the new interactive technologies have their precursors and echoes in pre-electronic literary and artistic traditions. Approaching the idea of virtual reality as a metaphor for total art, Ryan applies the concepts of immersion and interactivity to develop a phenomenology of narrative experience that encompasses reading, watching, and playing. The book weighs traditional literary narratives against the new textual genres made possible by the electronic revolution of the past thirty years, including hypertext, electronic poetry, interactive drama, digital installation art, computer games, and multi-user online worlds like Second Life and World of Warcraft. In this completely revised edition, Ryan reflects on the developments that have taken place over the past fifteen years in terms of both theory and practice and focuses on the increase of narrativity in video games and its corresponding loss in experimental digital literature. Following the cognitive approaches that have rehabilitated immersion as the product of fundamental processes of world-construction and mental simulation, she details the many forms that interactivity has taken—or hopes to take—in digital texts, from determining the presentation of signs to affecting the level of story.