Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Mythology in the world
Creation stories
A reflection on indigenous story telling
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Williams Paden discusses the world building character of myths and their capacity to shape time and delineate scared and profane space for the communities that believe and transmit them. In William Paden, “Myth,” in Religious Worlds: The Comparative Study of Religion, he explains that within religious worlds, myths set a foundation that advance to shape a person’s way of life. Subsequently, they shape their belief and conscience. His theory relates to an element an indigenous story which is the creation story precisely the story of the turtle island. For the Ojibway and Anishinaabe people, the creation story was used as a grounding prototype to shape their belief and their outlook on how the world was created. The story shows how myth is being …show more content…
It also shows how different animals come together in harmony to create a new land that was once destroyed. The creation story teaches about different animals such as the loon who catches its food by diving underwater yet floated to the top weak and nearly unconscious, the hell diver who tried but also failed, suddenly the little muskrat came forward and accomplished what they all failed. This helps us understand the text’s social role and importance as the legend teaches about courage of all the animals to volunteer; bravery displayed by the muskrat as he disregards the more powerful and bigger animals as they taunted him, yet he strived to prove to them that he can do it. Ultimately muskrat resurfaces very weak from air and a few minutes later his spirit passed on to the spirit world; in his paw was a smallball of earth. The animals are regarded as one that people should posses such as bravery and courage. The theory makes the text more understandable as it creates a base on how the world and the people in it should
The books author, James (Sákéj) Youngblood Henderson came to write this book as a result of living with his wife, Marie Battiste (a celebrated Mi’kmaw scholar and educator) in her Mi’kmaq community of Eskasoni (10). It was the community of Eskasoni that compelled Henderson to compile their histories in a form that would not disrupt the Mi’kmaq worldviews, culture and spirituality they represent but as well easily conveyable to non-Aboriginal peoples.
In Thomas King’s “’You’ll Never Believe What Happened’ Is a Great Way to Start,” a battle of stories can be seen in how different cultures tell the story of creation. These stories and the manner in which they are told are at the core of different possible belief systems, one Christian and the other more “traditional”. Each story suggests a different framework for viewing the world in its entirety. In some ways they may be interpreted as the root of such framework; in other ways these stories can be seen as small embodiments of a larger meta-narrative. It is within the larger narrative of colonialism that I will attempt to dissect several examples of this battle of stories.
As children, we are often told stories, some of which may have practical value in the sense of providing young minds with lessons and morals for the future, whereas some stories create a notion of creativity and imagination in the child. In Karen Armstrong’s piece, “Homo Religiosus”, a discussion of something similar to the topic of storytelling could translate to the realm of religion. Armstrong defines religion as a, “matter of doing rather than thinking” (17) which she describes using an example in which adolescent boys in ancient religions, who were not given the time to “find themselves” but rather forced into hunting animals which ultimately prepares these boys to be able to die for their people, were made into men by the process of doing.
Duane Champagne in Social Change and Cultural Continuity Among Native Nations explains that there has never been one definitive world view that comprises any one Native American culture, as there is no such thing as one “Native community” (2007:10). However, there are certain commonalities in the ways of seeing and experiencing the world that many Native communities and their religions seem to share.
Many Native American tribes share different spiritual and cultural views on the aspect of life. Belief in God and the things he created depend on what tribe you belong to. Tribes like the Onondaga and the Modoc have several stories that inform us regarding their religious customs and beliefs. The origin myths were written to point out the beliefs among tribes. “The Earth on Turtle’s Back” and “When Grizzlies Walked Upright” provides us with examples of what the Onondaga and Modoc tribes believed in. Since September, we have been learning about the different views of God that tribes have and all the different customs that take place within their cultures. The origin myths that have been chosen along with the “Song of the Hiawatha” and the Part- Time Indian teach us the cultural aspect of the Native Americans.
Through studies such as comparative mythology, researchers and philosophers have discover hundreds of parallels between the myths that make up every culture, including their creation myths. As most are deeply rooted in religion, comparisons based on geographic area, themes, and similar story lines emerge as religions form and migrate. Campbell recognized these similarities an...
“Labeling theory,” which states that our self-identity and behavior can be altered by the names or terms that people use to describe or classify us. Labeling is using descriptive terms to categorize or classify something or someone. Sometimes these labels can have positive impacts on our life or as Amanat’s mentioned that these labels can limit our full potential to do anything by believing that people’s expectation about us is how we should define ourselves. In doing so, we act against our true nature because we’re trying to live up to others expectations or deny their assumptions.
From before the dawn of civilization as we know it, humanity has formed myths and legends to explain the natural world around them. Whether it is of Zeus and Hera or Izanami-no-Mikoto and Izanagi-no-mikoto, every civilization and culture upon this world has its own mythos. However, the age of myth is waning as it is overshadowed in this modern era by fundamental religion and empirical science. The word myth has come to connote blatant falsehood; however, it was not always so. Our myths have reflected both the society and values of the culture they are from. We have also reflected our inner psyche, conscious and unconscious, unto the fabric of our myths. This reflection allows us to understand ourselves and other cultures better. Throughout the eons of humanity’s existence, the myths explain natural phenomena and the cultural legends of the epic hero have reflected the foundations and the inner turmoil of the human psyche.
The Maori myth is a Polynesian story about the creation of the universe which according to Rosenberg was different from other creation myths because it begins with nothing and then progresses through a process of “nonbeing to thought to the creation of the universe and human beings” (351). Even though it may be different because it goes from “nonbeing to thought” instead of nothingness to a spoken word or action, it has many similarities to other creation myths in how it explains the origins of the Gods and how each one represents a natural event or aspect of nature and humanity. The myth begins with an “idea” that “was remembered” and then “became conscious” and then “a wish to create”, all of which created a “power to live and to grow, even in emptiness” (352). At this point there was still no being, only thought and desire which gives the idea that what is being addressed are the human attributes of feeling, sensing, desire and thought, this is where this story is different from other creation myths.
Ans. Religion and religious beliefs are primarily based on great foundational forces that generate and govern the world. From Ancient Greek times "myth" has had started developing. It actually means anything delivered by mouth. Greek philosophers constructed myth to mean a fanciful tale as opposed to true, others took myth as the word that conveys an original, primal state of things, as opposed to merely superficial, human words. Myth can appear as either merely imaginary or as profoundly true. Although in western culture myth is often used in a negative sense. Anthropologies found within the settings of tribal life that these communities had clear distinctions between stories of entertainment and sacred stories that defined the normative precedents by which their behavior was guided and on which their universe was founded. American Hopi culture, according to the text, Hopi creation is a Native American mythology. It uses some themes, the Spider Woman, The Sun God Tawa, and the division of parents into new creative forms, and creation by thought. Spider woman is associated with the earth. The sun god Tawa is associated with the divine spirit that gives light and life on earth and father of all that shall ever come. And the other is the most common native American theme, creation by thought. Another theme is the creation by song, that involves Ansazi-Hopi ritual song- danc...
Bronislaw Malinowski, considered one of the most important anthropologists of the 20th century, disagreed with the validity of the Freudian method of myth analysis and expressed the importance of truly understanding a culture in order to accurately understand its myths. Empirical knowledge of daily life, rituals and practices, and social norms is required to grasp the true meaning behind the stories, folktales, and fables, and the same goes for myths. This functionalist method of analysis can be applied to the Zuñi Indians, their culture, and their myths.
In her poem "Myth," Natasha Trethewey uses mythology, a unique structure, rhyme pattern, and punctuation to make form and content inseparable. Each of these elements serves to share the stages of grief one goes through one feels at the death of a loved one as well as the feelings of deep loss and longing.
The desire to explain the unknown is deeply rooted in the make-up of humanity. What one does not know evinces fear, but also opens a realm of endless possibility that can be manipulated and explained through individual and societal understandings of the truth. Throughout time the human understanding of the truism and science has changed much like the evolution of existence in terms of thresholds. The beauty of this fact is relevant when exploring the cognizance of the universe through the lens of Japanese myth. The culture of the mythology is an essence entwined with religion, which makes for a spiritual and grounded connection to the land and it’s properties. The Buddhist and Shinto religion combined form an inherent connection to time and space in which the Japanese people honor, reference, and mold their knowledge of history. The myths of Japan are a reflection of not only religious terminology, but also the Gods in which the people pray to and worship in temples and shrines. The teachings of Buddha and living within the means of inviolability are held up through myth and a great respect for nature is vital to the infrastructure of the rich culture and linguistic aspects of the stories. The vast domain of stories braided with religion paints a unique picture of origin and meaning that can be explored and organized into thresholds one through eight plus the future.
According to Joseph Campbell’s The Power of Myth, one archetypal mythic hero appears in diverse cultures in different forms. Two protagonists in Paulo Coelho’s The Alchemist and Thor Heyerdahl’s Kon-Tiki share similar heroic characteristics despite their different backgrounds and cultures.
In “The Beach of Falesa,” the protagonist Wiltshire asserts that the native Kanakas have a natural predisposition for superstitious beliefs. As he explores Case’s “devil’s bush,” Wiltshire tells the reader, “Any poor Kanaka brought up here in the dark, with the harp...