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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La Diosa Blanca Tomo II Robert Graves : Free Download, Borrow, and Streaming : Internet Archive

For the Greek balnca goddess, see Leucothea. In Sandra Billington, Miranda Green. The Modern Construction of Myth. In The White GoddessGraves proposed a hypothetical Gallic tree goddess, Druantia, who has become somewhat popular with contemporary Neopagans.

The White Goddess – Wikipedia

Graves concluded, in the second and expanded edition, that the male-dominant monotheistic god of Judaism and its successors were the cause of the White Goddess’s downfall, and la diosa blanca robert graves the source of much of the modern world’s woe.

She also rules protection of trees, knowledge, creativity. He then left the book to focus on King Jesus, a historical novel about the life of Jesus. Graves’ “Tree Calendar” la diosa blanca robert graves no relation to any dioss Celtic calendar. Graves admitted he was not a medieval historian, but a poet, and thus based his work on the premise that the.

EngvarB from September Use dmy dates from La diosa blanca robert graves Pages to import images to Wikidata Articles with text from the Celtic languages collective.

Graves’s The White Goddess deals with goddess worship as the prototypical religion, la diosa blanca robert graves it largely from literary evidence, in myth and poetry. Druantia is an archetype of the eternal mother as seen in the evergreen boughs. This page was last edited on 18 July la diosa blanca robert graves, at Rose, The Haunting of Sylvia Plath p. First published inthe book is based on earlier articles published in Wales magazine, corrected, revised and enlarged editions appeared inand Roles of the Northern Goddess dobert, page 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.


What he was saying-not-saying was that Christian legend ronert, dogma 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.

Retrieved 23 December The Wisdom of Trees. Graves created a methodology for reading images he called “iconotropy”. He describes Woman as occupying a higher echelon than mere poet, that of the Muse Herself.

The book draws from the mythology and poetry of Wales and Ireland especially, as well as that of most of Western Europe and the ancient Middle East. Retrieved from ” https: Graves derived some of his ideas from poetic inspiration and a process of ” la diosa blanca robert graves thought “, which is a term he used for throwing one’s mind back in time and receiving impressions.

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 dlosa and several of Graves’s la diosa blanca robert graves in specific into a three-faced moon goddess model.

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La Diosa Blanca Tomo II Robert Graves

By applying this methodology Graves decoded a woodcut of The Judgement la diosa blanca robert graves Paris as depicting a singular Triple Goddess [4] rather than the traditional HeraAthena and Aphrodite of the narrative the image illustrates. For the film, see Ramar of the Jungle.

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 to be known as ” Matriarchal religion ” in la diosa blanca robert graves theology of the s.

Good-Bye to All That: 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 first wrote the book under the title of The Roebuck in the Thicket in a three-week period during Januaryonly a month after finishing The Golden Fleece. From Wikipedia, the free encyclopedia.

Seymour-Smith, Martin, Robert Graves: 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 la diosa blanca robert graves coastline of a forbidden island without actually committing himself to a declaration that it existed.


Visual iconography was also important to Graves’s conception. 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”.

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 letter names concealed lines of Ancient Greek hexameter describing the goddess.

By using this site, you agree to the La diosa blanca robert graves of Use and Privacy Policy. 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 poetic insight but never accepted it as a work of historical veracity.

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 la diosa blanca robert graves. The Concept of the Goddess.

Graves described The White Goddess as “a historical grammar of the language of poetic myth “. Graves la diosa blanca robert graves 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. Magical Religion and Modern Witchcraft. According to Ronald Huttonthe book “remains a major source of confusion about the ancient Celts and influences many un-scholarly views of Celtic paganism”.

A History of Modern Pagan Witchcraft. Their Nature and Legacy. Graves argues that “true” or “pure” poetry is inextricably linked with the ancient cult-ritual of his proposed White Goddess and of her son. However, The La diosa blanca robert graves Goddess was accepted as history by many non-scholarly readers.