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Meek (NaPoWriMo #29) *plus* an optional quiz

.A woman’s heart is a deep ocean of secrets.

The albinos sit  huddled together in the cafeteria
Picking at bits of rice drowned again since the paddies
In shy angst, they watch plates topped with hamburgers pass
As owners chow down on ketchup dipped fries
In quiet murmurs they sip fruit juice at their table
Watching with curious eyes, but no words.
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THE QUIZ:
In each line except the last, there is at least one “loan word” used in the English language that originates from another country. See if you can match a word to each of these languages and post your answer in the comments below!
Chinese, French, German, Bahasa (Indonesian), Spanish

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So it’s a bit of a variation on the prompt, but that’s alright, I think. This one was inspired by the group of young dancers from Denmark who are very sweet but extremely shy. They are a wonderful addition to the international cast of the dance festival, and are dearly loved by everyone. So this one’s for the Bournonville dancers!

Thanks for reading,
thebookybunhead

PS: I know I am late on this NapoWriMo business, but I’m doing my best to finish it ASAP with the time that I have.

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Le philosophie de Voltaire: Short paragraph en français

Le bonheur et le bon sens de vie

La philosophie de Voltaire est simplement que travail est le secret pour le bonheur véritable. Il croit dans un style de vie qui est introverti et qui concentre sur les tâches de soi-même. Voltaire a opposé l’idée de Leibnitz que tout qui se passe et un produit du cause et effet, et que tout arrive pour un raison, ou pour « les meilleurs du monde ». Voltaire admet qu’il y a de mal dans le monde, mais beaucoup des catastrophes, comme un tremblement de terre ou la mort, n’ont pas une explication que des humains peuvent comprendre. Il faut que nous n’inquiétions pas des grands problèmes ou des bavardages qui sont hors de propos à nos vies. Voltaire croit que les actions sont plus fortes que les mots ; des pensées doivent être appliquées pratiquement et traduites dans les efforts concrets. Le travail fait une personne heureuse par repoussant l’ennui et improductivité.  Essentiellement, Voltaire a dit que le foyer est la détermination sont important pour atteindre la potentielle maximum de chacun individuel et pour apprécier la vie précieuse. La vie significative est plein de bonheur est crée par se développer nos talents, travailler fort à nos buts, et dans les mots de ce philosophe remarquable, par « cultiver notre jardin ».

Thanks/Merci,
thebookybunhead

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Les Précieuses Ridicules by Molière: Essay en français

Les Précieuses Ridicules

            La pièce Les Précieuses Ridicules est un comedie du 17ème siècle écrit par le grand dramaturge Molière. Il raconte l’histoire de deux femmes, Magdelon et Cathos, qui suivent le mouvement féministe de la preciosité et qui, à cause de leurs attitudes arrogantes, deviennent les victimes d’une farce magnifique. Le faux marquis de Mascarille, l’étoile théâtral, a toujours amusé l’audience. Les personnages principaux sont des caricatures qui présentent des aspets de la préciosité comme la littérature et la mode avec beaucoup d’exagération. ll y a quelques éléments de comique qui sont mélangés dans le langage et le maniérisme dans cette pièce ; tous les éléments présents sont là pour se moquer des conventions de la préciosité. Dans le cadre de la théatre, le comportement qui est consideré approprié et correcte dans un salon précieux est perçu plutôt avec humeur.

Le comique de parole est trouvé dans le style du langage précieux et le contenu des conversations. Les filles imitent des expressions précieuses qu’elles apprennent des textes et elles discutent avec esprit et précision. Il y a des périphrases qui sont utilisées comme termes des objets commun. Les chaises sont des « commodités de la conversation » et un miroir est appelé « le conseiller des grâces ». Un autre exemple est l’emploi des adverbes comme des adjectifs. Par exemple, Magdelon a dit « …je suis furieusement pour les portraits… ». Molière a accentué le style précieux pour créer l’humeur en tout ce que Magdelon et Cathos disent. Elles sont vaniteuses et elles croient qu’elles savent tout pour devenir à la haute société. Ses caractères sont reflétées dans le dialogue quand les femmes expliquent les règles d’amour et ses changes des noms de « Polixène » et « Aminte » á Gorgibus. Le comique de parole existe dans la façon dont les femmes parlent, et aussi les sujets dont elles parlent dans leurs conversations.

Le comique de geste est un élément classique utilisé premièrement dans le temps du Commedia dell’Arte. Les blagues visuelles dans les gestes des acteurs, spécifiquement Mascarille, et de tournage a évoquer beacoup des rires partout la piéce. Un exemple du comique de la situation est l’arrivée du marquis avec les porteurs. L’entrée d’une grande chaise et pieds boueux dans un salon est inappropriée et elle crée une scène drôle. Suivant ça est un exemple du comique tarte à la crème avec des bâtons et les coups. Les porteurs demandent un salaire et ils sont répondus par un soufflet et une menace d’une bastonnade. Il y a des autres instances de ses farces ensuite comme les deux valets et les violons sont bastonnés aussi. La chanson de Mascarille est encore un autre exemple du comique de geste. On peut imagine ses actions quand il crie « Au voleur ! au voleur ! »  et les réactions intenses des filles admirantes. Aussi, le comique de geste anime plus loin les mots et sujets dans le comique de parole. Molière a appliqué ces techniques traditionnelles au contexte de la préciosité pour créer une pièce tout nouvelle.

Une autre partie de cette pièce est l’élément de la surprise. Depuis le début, le costume incroyable du marquis avec une abondance hideux des rubans et fanfreluches nous choquent et ravissent. Ses bouffonneries imprévisibles sont toujours étonnantes ; son caractère fou apporte continuellement des surprises. A la fin, la grande surprise est quand les deux hommes bourgeois arrivent et bâtonnent ses valets, révélant l’identité fausse de Mascarille. Les deux filles découvrent qu’elles étaient dupées et que tout était une farce tout le long.

Avec ces éléments, Molière a reflété la culture du temps dans le théâtre et il a causé des nobles pour se rire de sa société. Les interprétations et images mémorables et les techniques de comédie qui sont utilisés dans Les Précieuses Ridicules créaient un divertissement ultime.

Published from 2011.

*A Little Note*
So I have been republishing some of my earlier assignments and essays to build up the content of the blog and to share ideas with other students who may be learning the same. I came across some pieces I have written for French class, and thought it interesting to see what response I would get publishing it. Who knows how many français speakers this can reach?

Thanks for reading/ Merci de lire,
thebookybunhead

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Oedipus Rex Essay

OEDIPUS REX: Tragedy in Drama and Dance

                Oedipus Rex, written by Sophocles, tells the story of a man from Thebes who kills his father and marries his mother despite valiant efforts to escape this horrible fate. The play is a Greek tragedy in which fate is predestined and controlled absolutely by greater forces. Oedipus, our protagonist, was doomed by Apollo’s oracle to commit sins of murder and incest from his birth:

And to Laius and his wife Jocasta a son was born.

Before even a name had been give to this infant…

His life was clouded with the presage if disaster…

He was destined one day to kill his father,

And to become his own mother’s husband. (23)

The story is a struggle between Oedipus and his destiny as he attempts to flee from the path that had been placed before him. He leaves Corinth, the home of his adopted parents, to thwart the predicted events from occurring, but in doing so walks closer to the very fate he is trying to avoid. Three terms of tragedy reflect the tragic irony and imminent destiny that is the core of a classical tragedy.  The devastation of a hero obliviously trapped in the hands of the gods can be explained through the terms hubris, irony of fate, and catastrophe. These elements present in the script are also found in Martha Graham’s modern expressionist ballet, Night Journey, which expresses the play from Jocasta’s point of view.

Hubris is the fatal flaw of pride that gives Oedipus the bravery to fight the oracle’s prophecy but also blinds him from seeing the truth, therefore eventually leading to his downfall. Oedipus’ pride in defying the gods creates false assurance of his success in evading his fate, and this security allows Oedipus to seek his identity with confidence. Despite warnings from Teresias, Creon and his own mother, Oedipus continues his search, ignoring and insulting those who are essentially trying to protect him. Because of his pride, he fails to understand the intent of their warnings and assumes other reasons for their guarded behaviour:

(To Creon): “Have you the face to stand before my door,

Proved plotter against my life, thief of my crown?” (40)

(Regarding Jocasta): “Go, someone; fetch the shepherd. Leave the lady

To enjoy her pride of birth.” (55)

Oedipus accuses Creon of plotting to steal his throne and dismisses Jocasta as an arrogant noble, scared of discovering her husband as slave-born. In the ballet, Oedipus’ superiority is presented as he climbs the steps made by the sculptures to stand magnificently at the summit. His high status of king is established when he stands above Jocasta, putting his leg over her shoulder, and by the draping robe that displays a powerful stature. The dramatic length and folds that serve this purpose ironically also represents Oedipus’ tangled situation as he pulls and wraps the circular fabric around his arms to find the material overwhelmingly twisted. His difficulty in collecting the infinite fabric of the robe that represents his royalty is also a foreshadowing of a dark, underlying secret. Ultimately, the flaw of pride in Oedipus’ character causes his insistence in proving the stars wrong as well as his ignorance in refusing to realize the truth, until it is too late.

The fact that Oedipus is completely unaware of the implications of his search and that other characters, the chorus, and the audience or reader comprehend more of his fate than he creates irony. After determining that capturing Laius’ murderer would absolve the nation, Oedipus states the punishment that awaits him:

No matter who he may be, he is forbidden

Shelter or intercourse with any man

In all this country over which I rule…

Expelled from every house, unclean, accursed,

In accordance with the Pythian oracle. (32)

Pronouncing this sentence of banishment, Oedipus seals his own future; he enforces the will of the gods yet he himself is the one who defies them. By capturing his enemy, he unknowingly captures himself. In Night Journey, irony of fate is found in the use of a prop that symbolizes the relationship between the king and queen, and its curse. In slow and precise movements, Oedipus and Jocasta use a rope to entwine themselves in poses of affection and sensuality, signifying their union in marriage. In contrast to their dance is chaos presented simultaneously in the music and the choreography of the corps, or chorus. The women jump to crashing chords, perform series of sharp rolls and contractions, and cover their eyes as if to shield themselves from the horror of the contemporary pas de deux. The interlacing rope is an interpretation of another relationship: that of mother and child, connected by an umbilical cord. This same cord is later the tool used to commit Jocasta’s suicide; the double bond between her and Oedipus proved fatal. When perceived differently from reality, certain actions and situations gain significance as they can cause a change of fortune and reversal of fate when the truth is revealed.

The weakness of pride and dramatic irony in both play and ballet lead to the catastrophe, the devastating defeat of the hero. In fighting destiny, Oedipus ends up completing it. This unconscious self-condemnation is also performed by the character Macbeth in Shakespeare’s play Macbeth. The two protagonists possessed hubris, were influenced by supernatural forces, and believed in their abilities to change their fates – Oedipus denies the oracle’s prophecy while Macbeth follows the witches’ predictions. However, despite these similarities, their circumstances differ: Macbeth deliberately chooses to commit murder against his conscience but Oedipus has no idea of the true consequences of his actions. While Macbeth is therefore responsible for his terrible conclusion, in a Classical tragedy, the hero is powerless and will meet his destiny regardless of his choices. With no chance of exonerating himself, Oedipus accepts his misfortune and in a final act of desperation punishes himself to a most awful death, destroying his own eyes to forever wander the earth.

Where is there any beauty for me to see?

Where loveliness of sight and sound? Away!

Lead me quickly away

Out of this land. I am lost,

Hated of gods, no man so damned. (63)

The classical tragedy of Oedipus Rex portrays the impossible battle between man and his destiny. Time is inevitable, and so is the fate that with all certainty will be fulfilled. In Night Journey, Teresias, the blind prophet, is the last character to be seen, crossing the stage with his staff. The steady pounding of his stick demands authority in the complete silence following Jocasta’s death. It is the last, echoing sound, symbolizing the advance of time, sealing of the prophecy, and continuing power of fate.

Published from June 14, 2012.

(To my email followers: I’m sorry if you receive duplicate emails; I had publish this earlier but something happened that caused it to be turned into a draft again. Sorry for the hassle.)

Thanks for reading,
thebookybunhead

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Mythology Essay

Different societies have different beliefs that create a diversity of cultures. Elements in mythology provide explanations for common human questions of life and consequently shape the ideas and values of a people and their civilization.

With the mystery of creation comes the belief that some greater, intangible force was present at the beginning of time and exists beyond our physical world. Different creation myths and religions present a variety of superior powers with certain control over our lives on Earth. In the Christian faith, there is only one, all knowing God who is represented as the Holy Trinity and perceived as a male. In Greek mythology, there are many gods, each representing a different aspect of life. Unlike God in Christianity, they are flawed in the sense that they are essentially human beings with the capability to be jealous, greedy, and wrathful. More different still is the deity of Native American beliefs that is not portrayed as a figure, but as simply a force that inhabits and connects all things, specifically in nature. The Gnostic belief interestingly shares elements from some of the former; there are two levels of divine powers and a strong emphasis on unity. The One is perfection and an indescribable, harmonious blend of everything; quite like an abstract version of God. Beneath this force are aeons, gods who watch over the universe and can make mistakes, similar to Greek gods. Though they believed in equality between genders, Sophia is the main goddess of knowledge and wisdom; and the female forces, unlike the male God, are considered more important spiritually. The different characteristics of divine spirits that are worshipped are reflected in the cultures that they create.

Mythology contains an opposition of good and evil which affects how life is defined in a culture and creates the foundation of a people’s purpose in being. Ultimately, in their lifetimes, people strive for the ‘good’, an idea formed by their beliefs that influences their thoughts and actions. In the Genesis story of Paradise Lost, the original sin cast humans out of the Garden of Eden, and brought labour and suffering to Earth. For Christians, life is a struggle to resist the temptation of Satan and evil of sin, which causes the downfall of man. On the contrary, the Gnostic religion does not believe in sin, only errors, that even the gods are able to make. Gnostics believed that the material world was a mistake and vice lies in the physical matter that the world is made of; the human spirit that is perfect and what is significant in life. In Native American pantheism, there is no definite line of good and evil, but rather a balance of all things in life, both living and inanimate. The world as a whole is venerated and humans must live not in superiority, but in harmony with nature. In Greek mythology, the gods have total control of one’s fate; not necessarily that people cannot make choices, but that the actions of humans cannot manipulate the destiny that awaits them. People are simply the pawns of the gods and follow the paths that were predestined for them. Mythology creates different attitudes towards life that form cultures with varying views of the role humans play in their world.

The inevitability and ambiguity of death is frightening and caused people to develop a belief that there was something beyond the physical that is preserved at the end of a mortal’s life. Religion creates a multitude of ideas regarding the saving of one’s soul and life after death. In the nature oriented Native American faith, life is a cycle which death is merely a part of; because the souls of all beings share a bond, a person’s spirit never dies but rather becomes a part of all things. In Christianity, after death, a person faces judgment based on his doings in life, and his soul is either saved into heaven, or sent to be tortured in hell. In Greek mythology, a similar process occurs in the underworld, where souls are judged to be saved or condemned. In both these cases, people’s actions on Earth determine the fate of their valuable souls; life is a short and linear period of time to prove oneself for the outcome of eternity. There is judgment in the Gnostic faith as well, but not of the same finality; punishment for the soul is to be reincarnated, and reward to be free from the bounds of the material world. Unlike Christians, Gnostics do not bear the heavy weight of sin and penance to achieve salvation, but seek gnosis to be enlightened in their lives. In Homo Religiosis, an experience brings out inner knowledge and understanding that one always had but was not aware of and instantaneously transforms a boy into a man. Gnostics believed similarly that all human spirits possess knowledge within that when accessed allows the soul to return to its perfect state in freedom and harmony with The One. In our modern world where atheism is growing, distinct cultures and beliefs are perishing because they blend into a norm. Science has replaced the role of mythology in explaining then unanswerable questions and technology has become a global culture. Looking back on ancient myths, it is easy to feel a loss for the diversity of cultures that flourished and are now disappearing in our modern day culture.

Published from November 22, 2011.

Thanks for reading,
thebookybunhead

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Romeo and Juliet Essay: Themes in ballet and play

Romeo and Juliet
Comparative Paragraphs

The rebirth of Shakespeare’s Romeo and Juliet in Kenneth Macmillan’s ballet version of this classic love story shows how ideas are expressed differently by poetry and movement. Comparing the two pieces helps us appreciate the beauty of both art forms. Emotions can be very strongly portrayed in a ballet; the physicality and pureness of a body’s movement can present abstract ideas in a more human and touching way than in words. On the other hand, poetry engages our creativity and shows abstract ideas by transferring complex thoughts and pictures into our heads. In the ballet, a scene taking place in Juliet’s bedroom incorporates many events including what would have been Act 4 Scene 1 in the play. These scenes show the varying interpretations of this rich work and reveal the strengths of both the drama and the ballet.

Juliet’s refusal to marry Paris in what was originally Friar Lawrence’s cell is powerfully expressed in a pas de deux that portrays her emotions very clearly by using her whole body. Movement magnifies her expression; she shows rather than speaks to Paris that she will not marry him; while music and setting enhance the scene. In the script, she politely hints using double entendre to Paris that she will not marry, whereas in the pas deux she is very obviously showing her attitude towards marriage by keeping a soulless facial expression and her body rigid throughout the dance. The exact choreography is repeated from Juliet’s charming first meeting with Paris but performed with very different quality and intention, which reminds us of the change that occurred when Juliet met Romeo. Prokofiev’s beautiful music can be interpreted as a love theme, but as Juliet is unwillingly continuing the dance, the music becomes more dramatic and makes the scene more frantic. Setting this dance in Juliet’s bedroom in front of her parents also adds tension to this scene. In conclusion, this pas de deux expresses Juliet’s act of defiance and emotions in a much bigger way than words through body language.

Capulet’s anger is thoroughly expressed through words in a way that movement cannot. The scene is full of ideas which not only advances the plot; but reveals attitude and creates imagery. The vocabulary, phrasing, and punctuation that are presented by voice show his absolute rage at hearing the news:

How, how, how how, chopt-logic? What is this?

‘Proud’, and ‘I thank you’, and ‘I thank you not’,

And yet ‘not proud’, mistress minion you?

Thank me no thankings, nor proud me no prouds,

But fettle your fine joints ‘gainst Thursday next,

To go with Paris to Saint Peter’s Church,

Or I will drag thee on a hurdle thither.

Out, you green sickness carrion! Out, you baggage!

You tallow face! (3. 1. 149-157)

Lord Capulet’s mocking and insults are so flustered that his anger can look comical, which plays with the feel of the scene; however, it is clear that Juliet has a very serious problem. His reaction towards her refusal reveals the importance of marriage in the renaissance society; it was based on social status, not love. His harsh words paint grave images of Juliet on the streets or being “dragged… on a hurdle”; creating a glimpse of a possible future. Through movement, Capulet’s rage is difficult to express because his speech is effective through our own mind’s thoughts and pictures. For example, the individual words in the insults “green sickness carrion” and “tallow face” cannot be expressed in a ballet, while the idea of his disgust can. In the ballet, Lord Capulet acts coldly towards his daughter and then leaves. His act of abandonment is fast and dramatic, but does not show his thoughts and character in the way that words do.

The last farewell is expressed effectively through both movement and poetry. Both forms reflect on the passion of their love and their desperate situation while enriching each other by their strengths. Romeo and Juliet’s pas de deux is visually brilliant; dynamic lifts and beautiful steps that freely travel the stage show their young love. Again, as the music grows stronger, the choreography gets bigger; increasing the intensity of their movements and portraying a growing passion and sadness. Their conversation in the script comparing the lark and the nightingale again shows their love and reluctance to part, while also showing a playful side in their argument. Juliet insists that it is still night, so Romeo plays along, “Let me be tame, let me be put to death… I’ll say yon grey is not the morning’s eye, ‘Tis but the pale reflex of Cynthia’s brow…” (3.5. 17-20) There is imagery and slight sarcasm to his words that lightens the mood temporarily; however, his words also advance the script in a darker direction. In comparison to their balcony pas de deux in Act 2 Scene 2, this one, taking place in the bedroom, is more dramatic; which expresses their longing to stay together in the changing situation and their growth in maturity. The script also shows these changes when the mood turns urgent as Juliet realizes the time of day and later states, “Methinks I see thee now, thou art so low, as one dead in the bottom of a tomb…” (3.5.55-56) which again shows the struggle of their love and brings their sadness further into the future. Both the ballet and the script strongly express Romeo and Juliet’s passion and misfortune; and present the light and darker feelings of this scene.

In conclusion, Shakespeare’s Romeo and Juliet is expressed beautifully by both movement and poetry. They portray ideas differently; one through the body, and one through the voice; but both express this loved story like the masterpiece that it is.

Published from March 14, 2011.

Thanks for reading,
thebookybunhead

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The Chrysalids: Religion Controlling a Society and its Effects

“Religion is regarded by the common people as true, by the wise as false, and by the rulers as useful.” — Lucius Annaeus Seneca.

The idea of a celestial and infinite force brings out a certain fear and respect out of humans, and this is translated into honouring the spirit and conceiving it as the virtuous. As mortal beings, we often feel helpless from the fates that we believe direct our paths, and during difficult situations, turn to an intangible and superior power. Applying the concept of religion for power distorts the spiritual connection as well as our grasp of the divine and good. When an aspect of religion is misrepresented by authorities, unwavering reverence can become a weakness and turn into ignorance. The theme of using faith as a source of control is found in history, literature, and more specifically, in John Wyndham’s The Chrysalids.

Religion has been always been a part of our history as a foundation for both culture and security. It is engrained in our knowledge that a god portrays the good and this attitude makes religion a universal answer that in a way is untouchable. For example, in the Middle Ages when the feudal system was developed, God was the highest in the hierarchy and life was so because it was what He intended it to be. When the Black Plague appeared, it was religion that would save them from the baffling spread of the evil disease. In the community of Waknuk, where a massive disaster had destroyed all history and their surrounding world was brimming with the alien and questionable, fear caused the people to resort to faith as it was the sole substance within their grasp. In the book Gathering Blue by Lois Lowry, the primitive civilization too, like Waknuk, had lost much past knowledge with the exception of a song and a robe. These were showcased in a spiritual gathering that explained the people’s role in the world. In these cases, religion builds a lost culture and provides a comforting reason for the mysterious and unexplainable. Such reliance magnifies change and control that can be achieved when officials manipulate a spiritual subject.

Religion when used to create an inflexible environment leads to isolation. In a society where it is imperative to follow a certain belief, such as Waknuk, the whole population thinks in one perspective. The uniformity in opinion in essence results in thought control and also expels the possibility of accepting difference and change.

In Richard Adams’ book, Watership Down, we meet a warren of rabbits that were routinely fed and trapped by a nearby farmer. Their fear caused them to avoid the obvious and retreat into a state of denial and worship. All rabbits born in this warren were raised with a philosophy of defeated reverence to accept their deaths, and any strayed thinkers were ignored or extinguished. The statement “Beware the mutant” was a variation of a passage in the Bible but was declared so forcefully that it persuaded the Waknukians to believe it was the good. In this situation, religion was used as an outlet to prove the credibility of the mutated statement by playing on the people’s trust and loyalty. Only one way of thinking creates a static society that rejects change and the unfamiliar. A community that believes in only one judgment is easier to manage and the Holy Word once again provides a reason for obedience.

Consequently, by controlling mindsets it is possible to control actions of a population and isolation causes insecurity towards anything that is not understood. Waknuk became a society that was absolutely intolerable towards the individual and unique; the culture revolved around beliefs such as “The Devil is the Father of Deviation” and this mentality transfers to actions such as the killing of the Dakers’ tailless cat. David’s ability to generate thought shapes was incomparable to the usual physical deformations that were easily spotted. A combination of both the undeniable understanding that “Blessed is the norm” and fear of the unordinary caused a panic that revealed the isolation of such a traditional and strict society.

In conclusion, religion protects the mind from the scary and bewildering, but in a cycle its manipulation indirectly causes more fear towards the unknown. Really it is mankind’s hunger for the good and power that allows religion to be used as a tool of control.

Throwback Thursday essay written on January 10, 2011.
Thanks for reading,
thebookybunhead

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Homo Religiosis: Hunting rituals and religion

In the Paleolithic age, a young boy is transformed into adulthood overnight through a terrifying process in the underground tunnels of Lascaux. Through fear, isolation, and the use of images, the experience allows him to recognize his powers and comprehend his purpose in life. He must face frightening ordeals such as traveling through a cramped tunnel in total darkness, being incarcerated and buried in the earth, and told that he would be eaten by a monster. The terror he experiences forces him to discover the inner strengths and resources that he was unaware existed within. Completely alone, he becomes conscious of his being and gains an understanding of life and death. Being stripped from everything familiar he knew above ground, he finds independence, and “is pushed into a new state of consciousness that enables him to appreciate the profound bonds that links hunter and prey in their common struggle for survival.” When the images of the cave are revealed, the boy is enlightened, both literally and spiritually; the artwork triggers timeless human emotions and thoughts that complete his initiation. The experience a young initiate undergoes gives him new knowledge, changing him into a man that is ready to hunt with sacred respect and sacrifice himself for his people.

Our religious experiences today are different because of our changing culture and needs. Our way of life has changed dramatically, and so has our society’s relationship to religion. The hunt sustained the ancient peoples, and so, to value and respect life was an essential part of their spiritual being. Today our world is sustained by money and production; our concerns no longer revolve around survival, but focus on consumerism. Our emotional response to the killing of animals and death are indifferent because we do not have understanding of those subjects on a personal level. The hunting rituals have lost their power in meaning because they are irrelevant to our cares and culture. The personal ties that the ancient peoples had in their respect for nature we now have for our technology and communication devices. An adolescent needs time to “find himself” today amongst the many choices and distractions around him, rather than “going into the tunnel” and searching for answers within. In our very busy world, personal reflection is difficult to experience and our identities are created, and our values dictated, by the technology and images around us. Primarily, religion has diminished because its importance to our being has been replaced by the many things that we can buy.

At the time, I did not realize that Homo Religiosis is a theory, not an essay, so if I find the work that this was inspired by or you happen to recognize it, please comment or link. This was written in 2011, and interestingly, after completely forgetting about it, I realize the content of a biology essay I wrote this year is very similar. My ideas have changed and developed since and I think it might be interesting to compare the two, so the other may be published in the future…

Thanks for reading,
-thebookybunhead

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