Blood Power: Mimetic Rivalry and Patrilineal Descent of Sacrificial Ritual
PERFORMANCE NOTES
This piece includes three movements. Each movement depicts a mythic or ritual relationship between women’s blood and sacrifice. I have adapted each of these myths/rituals in some of my own words to create a narrative.
In the first story, the sacrifice is not explicit, but has become a part of the ritual that reenacts the myth. The bloodletting that comprises the ritual reenactment does not result in death, but functions as a rite of passage for young boys and functions as a cathartic experience for communities of men, much as a ritual sacrifice is said to bond a community. [1] The ritual reenactment of this creation myth involves men making incisions on their arms and penises to simulate menstruation. The synchronicity of this action is key and is depicted not only in the group aspect of the ritual but in the process of shaking their bodies to spread blood on their own and others adjoining limbs.
The rite of passage involves adult men entering the women’s area, where many generations of women are tending the children and working, snatching the young boys from their mother’s arms and taking them to the men’s camp, where they are covered in their own blood and that of other, elder men as well as red ochre only to be returned to their mother’s gaze, but not to their custody. This ritual takes place not only as a rite of passage, but also as a catalyst for group solidarity, before a hunt, or to bring the rains. [2]
Movement I : A tale of the Wawilak Sisters and the Rainbow Snake
This Aboriginal Australian creation myth is found predominantly in the northern and western regions of the country. There are many variations of this myth. The version you are about to read comes from Blood Relations: Menstruation and the Origins of Culture, by Chris Knight [3] .
The Wawilak Sisters and the Rainbow Snake
At the beginning of time, two sisters were traveling across the landscape giving names to the features of a previously unnamed world. One carried a child; the other was pregnant. They had both committed incest in their own country, the country of the Wawilak.
Ebó is a ritual offering or sacrifice as dictated by divination. Ebó is one of the cornerstones of the Santeria religion, and it is the tool that we have been given by the Orishas to change our fate and return our lives to a balanced and healthy state.
The author of this article aims to show how Sor Juana defended women’s right and links female suffering with the acquisition of knowledge. At the same time, the author also redefines female body, which is always excluded power structures. Apart from this, Krik discusses how Sor Juana uses references from Katherine of Alexandria and Lucretia in her works, since they are emblems of the female knowledge and defended their dignity as women in Antiquity.
Clashing swords, miraculous survivals, pain of loss, and heroic sacrifice are all terrifying yet thrilling moments in a battle. The strong possibility of death and the frailty of human life add into the suspense of battle. Yet the reasons behind the wars, death, and suspense can be overlooked. The stories behind the warriors who have died will not be told again, but the stories of warriors still alive are what give the men strength to continue fighting against impossible odds. Ultimately, the reason of why a man would risk his life in battle is for someone, or something, he loves. Like in Gilgamesh and the Iliad, women help encourage and influence the protagonists to be the heroes and protectors they are meant to be.
Often times in literature the body becomes a symbolic part of the story. The body may come to define the character, emphasize a certain motif of the story, or symbolize the author’s or society’s mindset. The representation of the body becomes significant for the story. In the representation of their body in the works of Marie de France’s lais “Lanval” and “Yonec,” the body is represented in opposing views. In “Lanval,” France clearly emphasizes the pure beauty of the body and the power the ideal beauty holds, which Lanval’s Fairy Queen portrays. In France’s “Yonec,” she diverts the reader’s attention from the image of the ideal body and emphasizes a body without a specific form and fluidity between the forms. “Yonec” focuses on a love not based on the body. Although the representations of the body contradict one another, France uses both representation to emphasize the private and, in a way, unearthly nature of love that cannot be contained by the human world. In both lais, the love shared between the protagonists is something that is required to be kept in private and goes beyond a single world into another world.
The beasts form an inherent and essential part of the narrative because of the excitement and terror that they add to Dante and Virgil's journey, as well as reinforcing Dante's classification of sin. They also illustrate the traditional motifs of Otherworld visions, whilst simultaneously expanding and developing previous representations of the afterlife in order to form original and exciting creations. This shows the importance Dante placed on the inclusion of these beasts as they not only express the influence of other works on Inferno, but also his own spectacular creativity and fantasy.
Violence against women is not a new social issue and Pamela Copper-Whites’ book The Cry of Tamar does well in bringing this to light not only as a social issue but as a religious issues as well. Tamar’s story sheds light on the violence and degradation of women in the biblical times.
...ards monstrous figures and sympathy towards those who seem to be tortured unjustly. In his perverse education, with instruction from Virgil and the shades, Dante learns to replace mercy with brutality, because sympathy in Hell condones sin and denies divine justice. The ancient philosopher Plato, present in the first level of Hell, argues in The Allegory of the Cave that truth is possible via knowledge of the Form of the Good. Similarly, Dante acquires truth through a gradual understanding of contrapasso and the recognition of divine justice in the afterlife. Ultimately, Dante recognizes that the actions of the earthly fresh are important because the soul lives on afterwards to face the ramifications. By expressing his ideas on morality and righteousness, Dante writes a work worth reading, immortalizes his name, and exalts the beliefs of his Christian audience.
Dante’s Inferno presents the reader with many questions and thought provoking dialogue to interpret. These crossroads provide points of contemplation and thought. Dante’s graphic depiction of hell and its eternal punishment is filled with imagery and allegorical meanings. Examining one of these cruxes of why there is a rift in the pits of hell, can lead the reader to interpret why Dante used the language he did to relate the Idea of a Just and perfect punishment by God.
When it comes to Rossetti’s Goblin Market, numerous critical approaches are offered. Feminists believed that this was an effort to reconstruct women’s roles and visions, they were also convinced that it had a strong message of hero creation. Not so, argued naturalists because Christina has used wide range of natural elements, and they validated this with her early life in the country and some argued she hinted the infiltration of women into capital market as she talks about trade and market. Some critics also speculated that she has incorporated the classic theme of temptation, fall, and redemption, which is quite obvious because Rossetti was a religious female. Her poem was also castigated for the extensive use of sexual language or perhaps it was just a fairy tale. But, if we deeply dig into the poem and her personal life we can find the hidden epic allegory. A profound analysis of her work will reveal the thematic interpretation of christian belief ...
In examination of Dante’s Inferno, I have found that all of these major monsters fulfill their vital role and function perfectly, and there are two substantial viewpoints concerning the involvement of the seven monsters. One viewpoint shows the monsters in their role of the custodians and tormentors of Hell which is a tool to create terrifying atmospheres of Hell. In other words, the narrator Dante presents the monsters as scary creatures for the character Dante, for he considers that this technique is significantly important for the development of the story. Another viewpoint shows the monsters as symbols which reinforce the narrator Dante’s narration, for these monsters directly reflect the human’s sins as they represent the concept of God’s retribution for classification of sins.
“‘I thought, with modern technology,’ said my sister, ‘I could separate our parents from these large groups. I took these pictures to isolate our parents and then have their individual photographs enlarged…The photo studio tried, but it would not work. As the photographs became larger the individual features of their faces became more blurred. It was as if coming closer they became more indistinct. After a while I stopped. I left them with their group. It seemed the only thing to do’” (240-241). The inability to separate the parents from the group photograph shows how imbedded their family values were in their beings. By removing the rest of their family, they became less themselves. The parents become blurry, ambiguous shapes lacking distinct features that identify them as individuals. Family was an integral part of the parents’ lives. By removing their family, the sister is removing the context through which her parents lived and loved. This also shows clan members being valuable and discernible members of the clan when within its confines, but self-worth lessens the further they are from the clan. Once again, modernity collides with tradition. In this passage, it is the modern technology that the sister wanted to use to separate her parents from the rest of her family. This shows the modern
Upon entering hell with Virgil, Dante becomes witness to the true perfection of the justice done to sinners after their earthly life is over. This divine justice inflicted by God chooses to punish the souls in hell in a way very similar or representative to how the souls sinned on Earth. For instance, those guilty of the sin of wrath "tear each other limb from limb" (133), a punishment which directly relates to the actions of the sinners. However, there are also punishments that are more symbolic of the actions of the sinners, such as th...
Christina Rossetti’s poem “Goblin Market” is about two sisters, Laura and Lizzie, who are taunted by goblin men to buy luscious fruits. While Lizzie resist the temptation of the goblin men, her sister Laura succumbs (introduction). Laura gets really sick and seems unable to live without the fruit, so in the end we find Lizzie sacrificing herself to get the fruit to save her sister. This story may just seem like a fairytale but it is considered to be one of Christina Rossetti’s most prolific and controversial work. Many critics argue that it is a Christian allegory while others believe because of the suggestive language that the theme is female sexuality. It is undeniable that Christian imagery and allegory are present within this poem, as seen in the description of goblins and their fruit, as well as the role Lizzie plays in the story (Christian references). Together these aspect strengthen the poem making the theme temptation, sacrifice, and redemptions.
Looking back on the oral storytelling approaches we learned during the first part of the semester, one in particular can be applied to God’s Bits of Wood by Ousmane Sembène. The focus on gender differentiation within rites of passages is very prevalent in this novel. By manipulating a typical rite of passage story, using a woman as opposed to a man, Sembène is able to communicate his personal take on society’s conceptions of gender. He aims to comment on the idea that men need women to work with them to achieve something great. Women can be just as powerful and accomplished as men.
Incest is not such a clear-cut matter as it has been made out to be over millennia of taboos. Many participants claim to have enjoyed the act and its physical and emotional consequences. It is often the result of seduction. In some cases, two consenting and fully informed adults are involved. Many types of relationships, which are defined as incestuous, are between genetically unrelated parties (a stepfather and a daughter), or between fictive kin or between classificatory kin (that belong to the same matriline or patriline). In certain societies (the American Indians or the Chinese) it is sufficient to carry the same family name (=to belong to the same clan) and marriage is forbidden. Some incest prohibitions relate to sexual acts - other to marriage. In some societies, incest is mandatory or prohibited, according to the social class (Bali). In others, the Royal House started a tradition of incestuous marriages, which were imitated by lower classes (Ancient Egypt). The list is long and it serves to demonstrate the diversity of this most universal taboo. Generally put, we can say that a prohibition to have sex with or marry a related person should be classified as an incest prohibition, no matter the nature of the relationship.