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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EngvarB from September La diosa blanca robert graves dmy dates from September Pages to import images to Wikidata Articles with text from the Celtic languages collective. Pharand, though quoting earlier criticisms, rebutted, “Graves’s theories and conclusions, outlandish as they seemed to his contemporaries or may appear to uswere the result of careful observation.

Graves described The White Goddess as “a historical grammar of the language of poetic myth “.

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.

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 la diosa blanca robert graves of a single goddess under many la diosa blanca robert graves, an idea that came to be known as ” Matriarchal religion ” in feminist theology of the s.

In The White GoddessGraves proposed a hypothetical Gallic tree goddess, Druantia, who has become somewhat popular with contemporary Neopagans.

Retrieved 23 December Views Read Edit View grzves. In Sandra Billington, Miranda Green. The White Goddess represents an approach diosq the study of la diosa blanca robert graves from a decidedly creative and idiosyncratic perspective. Druantia is an archetype of the eternal mother as seen in the evergreen boughs. Graves’s The White Goddess deals with goddess worship as the prototypical religion, analysing it largely from literary evidence, in myth and poetry.

According to Graves’ biographer Richard Perceval GravesLaura Riding played a crucial role in the development of Graves’ thoughts when writing The White Goddessdespite the fact the two were estranged at that point.

La Diosa Blanca Tomo II Robert Graves

According to Ronald Huttonthe book “remains a major source of confusion about the ancient Celts and influences many un-scholarly views of Celtic paganism”. Visual iconography was also important to Graves’s conception. Graves admitted he was not a medieval historian, but a poet, and thus based his work on the premise that the. Graves also argues that the names of the Ogham letters in the alphabet used in parts of Gaelic Ireland and Britain contained la diosa blanca robert graves calendar that contained la diosa blanca robert graves key to an ancient liturgy involving the human sacrifice of a sacred kingand, further, that these letter names concealed lines of Ancient Greek hexameter describing the goddess.


The Concept of the Goddess. For the film, see Ramar of the Jungle.

He adds “This fraves not to say that a woman should refrain from writing poems; only, that she should write as a woman, not as an honorary man. The Wisdom of Trees. He describes Woman as occupying a higher echelon than mere la diosa blanca robert graves, that of the Muse Herself.

Graves concluded, in the gravess and expanded edition, that the male-dominant monotheistic god of Judaism and its successors were the cause of the White Goddess’s downfall, and thus the source of much of the modern world’s woe. Their Nature and Legacy. He lz left the book to focus on King Jesus, a historical novel about the life of Jesus. From Wikipedia, the free encyclopedia.

Good-Bye to All That: The book draws from the mythology and poetry of Wales and Ireland especially, as well as that of most of Western Europe and la diosa blanca robert graves ancient Middle East.

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”. First published inthe book is based on earlier articles published in Wales magazine, corrected, revised la diosa blanca robert graves enlarged editions appeared inand Some Neopagans have been bemused and upset by the scholarly criticism that The White Goddess has received in recent years, [17] while others have appreciated its la diosa blanca robert graves insight but never accepted it as a work of historical veracity.

Rose, The Haunting of Sylvia Plath p. Graves first wrote the book under the title of The Roebuck in the Thicket in a three-week period during Januaryonly a month gtaves finishing The Golden Fleece.

The White Goddess – Wikipedia

Magical Religion and Modern Witchcraft. 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 roberh general and several of Graves’s lovers in specific into a three-faced moon goddess model.


Eliot called “A prodigious, monstrous, stupefying, indescribable book” [12] — and Graves himself was disappointed that his work was “loudly ignored” la diosa blanca robert graves many Celtic scholars. 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.

Sir James Frazer was able to keep his beautiful rooms at Trinity CollegeCambridge until his death by carefully and methodically sailing all around his dangerous subject, as if charting the coastline of a la diosa blanca robert graves island without la diosa blanca robert graves committing himself to a blahca that it existed.

By using this site, you agree to the Terms of Use and Privacy Policy. However, The White Goddess was accepted as history by many non-scholarly readers.

Kroll, Chapters in a Mythology p.

robet Graves derived some of his ideas from poetic inspiration and a process of ” analeptic thought “, which is a term he used for throwing one’s mind back in time and receiving impressions. On reviewing the book, Riding was furious, saying fraves once I reigned, now a la diosa blanca robert graves abomination has sprung to life, a Frankenstein pieced together from the shards of my life and thoughts.

Graves argues that “true” or “pure” poetry is inextricably linked with the ancient cult-ritual of his proposed White Goddess and of her son.

Graves’ “Tree Calendar” has no relation to any historical La diosa blanca robert graves calendar. A Robrrt of Modern Pagan Witchcraft. Seymour-Smith, Martin, Robert Graves: Graves created a methodology for reading images he called “iconotropy”. Blancca the Greek sea goddess, see Leucothea. This page was last edited on 18 Julyat She also rules protection of trees, knowledge, creativity. The La diosa blanca robert graves Construction of Myth. 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.

Roles of the Northern Goddesspage