La diosa blanca: gramática histórica del mito poético. Front Cover. Robert Graves . Alianza, – pages QR code for La diosa blanca. La Diosa blanca: historia comparada del mito poético. Front Cover. Robert Graves. Losada, – Mitologia en la literatura – pages. La diosa blanca/ The White Goodess (Spanish Edition) [Robert Graves] on *FREE* shipping on qualifying offers. Rare book.
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Graves proposes the existence of a European deitythe “White Goddess of Birth, Love and Death”, much similar to the Mother Goddessinspired and represented by the phases of the moonwho lies behind the faces of the diverse goddesses of various European and pagan mythologies. This page was last edited on 18 Julyat La diosa blanca robert graves concluded, in the second and expanded edition, that the male-dominant monotheistic god of Judaism and its successors were blancq cause of the White Goddess’s downfall, and thus the source of much of the modern world’s woe.
He describes Woman as occupying a higher echelon than mere poet, that of the Muse Herself.
Graves created a methodology for reading images he called “iconotropy”. Some Neopagans have been bemused and upset by the scholarly criticism that The White Goddess has received in recent years,  while others have appreciated its poetic insight but never accepted it as a work of historical veracity. The White Goddess represents an approach to the study of mythology from a decidedly creative and idiosyncratic perspective.
For the Greek sea goddess, see Leucothea. Seymour-Smith, Martin, Robert Graves: Graves’ “Tree Calendar” has no relation to any historical Celtic calendar. The Triumph of the Moon: Roles of the Northern Goddesspage Graves admitted he was not a medieval historian, but a poet, and thus based his work on la diosa blanca robert graves premise that the.
According to La diosa blanca robert graves Huttonthe book “remains a major source of confusion about the ancient Celts and influences many un-scholarly views of Celtic paganism”. The White Goddess has been seen as a poetic work where Graves gives his notion of man’s subjection to women in love an “anthropological grandeur” and further mythologises all women in general and several of Graves’s lovers in specific into a three-faced moon goddess model.
However, The White Goddess was accepted as history by many non-scholarly readers.
By applying this methodology Graves decoded a woodcut of The Judgement of Paris as depicting a singular Triple Goddess  rather than the traditional HeraAthena and Aphrodite of the dios the image illustrates. In The White GoddessGraves proposed a hypothetical Gallic tree goddess, Druantia, who has become somewhat popular with contemporary Neopagans.
Graves argues that “true” or “pure” poetry is inextricably linked with the ancient cult-ritual of his proposed White Goddess and of her son. A History of Modern Pagan Witchcraft. Retrieved 23 December Associated University Presses, The Golden Boughbut first edition publishedan early anthropological study by Sir James George Frazeris the starting point for much of Graves’s argument, and Graves thought in part that his book made explicit what Frazer only hinted at.
Graves derived some dioas his ideas from poetic inspiration and a process of la diosa blanca robert graves analeptic thought “, which is a term he used for throwing la diosa blanca robert graves mind back in time and receiving impressions.
On reviewing the book, Riding was furious, saying “Where once I reigned, now a dioaa abomination has sprung to life, a Frankenstein pieced together from the shards of my life and thoughts. Views Read Edit View history.
The Modern Construction of Myth. Relying on arguments from etymology and the use of forensic techniques to uncover what he calls ‘iconotropic’ redaction of original myths, Graves argues for the worship of a single goddess under many names, an idea that came lx be known as ” Matriarchal la diosa blanca robert graves ” in feminist theology of the s.
For the film, see Ramar of la diosa blanca robert graves Jungle. First published inthe book is based on earlier articles published in Wales magazine, corrected, revised and enlarged editions appeared inand Many of the book’s themes are also explored in a fictional form, through his depiction of a future society dominated by Great Goddess religion in the novel Seven Days in New Crete.
La Diosa Blanca Tomo II Robert Graves
The Concept of the Goddess. What he was saying-not-saying was that Christian legenddogma and ritual are the refinement of a great body of primitive and even barbarous beliefs, and that almost the only original element in Christianity is the personality of Jesus. To practice this methodology one is required to reduce “speech into its original images and rhythms” and then to combine these “on several simultaneous levels of thought”. Visual blannca was also important to Graves’s conception.
Graves first wrote the book under the title of The Roebuck in the Thicket in a three-week period during Januaryonly la diosa blanca robert graves month after finishing The Golden Fleece. According to Graves’ biographer Richard Perceval GravesLaura Riding played a crucial role in the development of Graves’ la diosa blanca robert graves when writing The White Goddessdespite the fact the two were estranged at that point.
The book draws from the mythology and poetry graved Wales and Ireland especially, as well as that of most la diosa blanca robert graves Western Europe and the ancient Middle East. From Wikipedia, the free encyclopedia.
La diosa blanca: gramática histórica del mito poético – Robert Graves – Google Books
Kroll, Chapters in a Mythology p. Graves also argues that the names of the Ogham letters in the alphabet used in parts of Gaelic Ireland and Britain contained a calendar that contained the key to an ancient liturgy involving the human sacrifice of a sacred kingand, further, that these graved names la diosa blanca robert graves lines of Ancient Greek hexameter describing the goddess.