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One of them is Ookuninushi.

As a transition from the divine to the historical, heroes between the miracle and the real appear, and they require helpers to overcome obstacles and complete difficult tasks. In doing so, he disgraced her, thus making her his arch-enemy.

We can find progenitors among the gods in question — the demiurges, cultural heroes, and tricksters, who have an inherent capacity of alternatively creating and disorganizing. By analyzing the magical escape motif in Serbian folktales we find that among the objects representing the object of transformation the comb figures most prominently. She also translates literary texts from Japanese into Serbian. Just a moment while we sign you in to your Goodreads account.

Then he enters the palace and sees a dismal sight: The first night he sends him to sleep in a cave with snakes, and the next night to the cave with wasps and centipedes. Among all peoples of the world there are a great many beliefs, according to which numerous magic properties are attributed to diverse plants.

Nevertheless, even the undead get there, the return to the world of the living has been granted to them just because they are living. Similar myths exist in Polynesia and North America as well. However, we can also see the differences between one and the other land of the dead. However, all this magic is not sufficient to completely thwart the pursuit.

On the other hand, since time immemorial the bamboo has been considered a miraculous plant in Japan, primarily for its rapid growth. The breach of the gaze taboo motif also occurs in the classical myth of Cupid and Psyche. He collected several volumes of folk prose and poetry and he published the first dictionary of vernacular Serbian.

The celestial sphere is represented by the Plain of High Heaven. Those two ideas have certain things in common. The hero manages to survive with the help of magic scarves that he received from Suseribime.


In that way, parts of relief, elements of animate or inanimate nature originate from each object the pursued throws away in the magical escape, making the hero a demiurge, and bringing this motif closer to the creator myths.

He is first helped by Suseribime, who offers him magic scarves, and then a magic helper — the mouse, thanks to whom the hero is saved from an apparently helpless situation. The third cosmic level — the netherworld, is embodied as the Land of Night, for which some of the celestial gods leave.

heroj sa hiljadu lica pdf 14 |

Those obstacles originate in the following metamorphoses: However, she does promise him to talk to the god of night and asks him not to watch her. Such universal themes and motifs prove interesting for comparative and typological study, and are found in the cultures of people worldwide, which certainly had no contact with ancient Japan, in particular Serbian folk tradition.

The god Ookuninushi 6 arrives in his realm, one of the cultural heroes — tricksters in the Kojiki.

You’ll likely know within the first fifty pages if this is something you wish to absorb fully now or perhaps reserve for a later time. Those characters are most often the teacher the devil and the apprentice, waging a battle to the death, in which the one who takes initiative and assumes a better form stands more of a chance hiljzdu success.

heroj sa hiljadu lica pdf 14

In the story of the god Ookuninushi, the idea of the land of the dead parallels the idea of the Plain of High Heaven, but also the idea of the Middle Earth grown in reed, from which a conclusion may be drawn that in ancient Japanese consciousness all three spheres celestial, earthly and underworldly resemble one another.

The peach tree has fruits of apotropaic characteristics which halt the malign demons.

Among other things, we find the widely known Persephone motif, the Orphic motif or the motif of the successful escape from the Land hiljsdu the Dead. Asao Hagivara et al. In a similar way, Izanami like Greek Gaea, the Babylonian Astarte and Egyptian Isis incorporates the functions of fertility goddess and the chthonic mistress of the realm of the dead in her person.


That also means that the gods of the Japanese pantheon the Kojiki presents them as genealogically related anthropomorphic characters in fact personify the concrete natural elements, various human activities and imaginary concepts.

That act is another from a series of reasons why this divine couple will remain forever separated. Also, the god Izanaki is a hero who himself has supernatural powers and objects of miraculous properties, so he does not need a magic helper. The vine is equally present in Serbian popular beliefs as a netherworldly growth, but simultaneously as a holy plant from which demons flee.

Herok, we can also find similarities with mythologies of other peoples. There he finds a peach tree, picks three fruits and throws them at his pursuers, thus stopping them. For everything that has happened, Izanami vows to strangle a thousand men every day, and he tells her that every day he will build fifteen hundred child-bearing huts.

After them, divine couples originate, including the primeval couple of gods — demiurges, Izanaki and Izanami, and the process of insular and divine creation continues through their sexual congress.

The speed at which it happens is miraculous, because each metamorphosis occurs momentarily. On the other hand, the pursued hero transforms into objects making him unidentifiable, but along the same lines: They primarily include the developed ideas and motifs of the underworld of the dead. In such a way the netherworldly realm is decisively differentiated from the sublime realm of celestial gods that create the world. In Serbian folktales either the hero steals the magic objects that transform or already herojj them with him.

According to him, this cult not only had a central place in the religion of the Serbs, but the entire old Serbian religion stemmed from it. The pursuer dashes after the hero or gets in his way, quickly morphing into various animals and alluring objects.