Eve

"The Virgin Mary and Eve constitute two opposite sexual poles in the way
Chritian discourse has approached women since the time of the church
fathers. This stems from a predicament faced by the human male throughout
hominid evolution, namely, paternal uncertainty. Because the male is potentially always at risk of unwittingly raising the offspring of another male, two (often complementary) male sexual strategies have evolved to counter this genetic threat: mate guarding and promiscuity. The Virgin Mary is the mythological expression of the mate guarding strategy. Mary is an eternal virgin, symbolically allaying all fear of paternal uncertainty. Mary makes it possible for the male psyche to have its reproductive cake and eat it too: she gives birth (so reproduction takes place) and yet requires no mate guarding effort or jealousy. Eve, the inventor of female sexuality, is repeatedly viewed by the church fathers, e.g., Augustine and Origen, as Mary's opposite. Thus, Eve becomes the embodiment of the whore: both attractive in the context of the promiscuity strategy and repulsive in terms of paternal uncertainty: "Death by Eve, life by Mary" (St. Jerome). The Mary-Eve dichotomy has given a conceptual basis to what is known in psychology as the Madonna-Whore dichotomy: the tendency to categorize women in terms of two polar opposites.
This paper will explore the way mythology reflects biology, i.e., human psychological traits that have evolved over millennia.

Keywords Evolutionary psychology _ History of religion _ Paternal uncertainty
Misogyny _ Virgin Mary _ Eve _ Church fathers _ Madonna-Whore Dichotomy _
Approach-avoidance conflict"

O presente artigo é fruto de minha pesquisa de pós-doutoramento financiada pela FAPESP e aborda as relações existentes entre Pandora, herdeira das Grandes Deusas, e Eva, bem como as transformações ocorridas na figurativização do tema. A abordagem é feita com base, na antropologia, na helenística e na semiótica greimasianaO presente artigo é fruto de minha pesquisa de pós-doutoramento financiada pela FAPESP e aborda as relações existentes entre Pandora, herdeira das Grandes Deusas, e Eva, bem como as transformações ocorridas na figurativização do tema. A abordagem é feita com base, na antropologia, na helenística e na semiótica greimasiana.
The present article is a result of my post-doctorate research financed by FAPESP and it presents the existing relations between Pandora, Great Goddesses’ heiress and Eve, as well as the transformations occurred in the theme figurativization. The approach is made by taking as a basis the Anthropology, the Hellenism and the Greimas Semiotics

Robert Johnson
Cross Road Blues lyrics
By Robert Johnson
Recording of November 27, 1936
San Antonio, Texas

I went to the crossroad, fell down on my knees
I went to the crossroad, fell down on my knees
Asked the lord above "Have mercy, save poor Bob, if you please"
Mmmmm, standin' at the crossroad, i tried to flag a ride
Standin' at the crossroad, i tried to flag a ride
Didn't nobody semm to know me, everybody pass me by
Mmmm, the sun goin' down, boy, dark gon' catch me here
Oooo, eeee, boy, dark gon' catch me here
I haven't got no lovin' sweet woman that love and feel my care
You can run, you can run, tell my friend-boy Willie Brown
You can run, tell my friend-boy Willie Brown
Lord i'm standin' at the crossroad, babe, i believe i'm sinkin' down

Статья посвящена анализу появления, формирования и развития образов дочерей Евы во французском искусстве второй половины XIX в. Рассматривая трансгрессивное поведение, контрмифы и контрдискурсы как подрывные стратегии, автор анализирует влияние медицинских учреждений на модификацию сюжета о грехе Евы и змее-искусителе во второй половине XIX в., а также литературные тексты, газетные статьи и визуальные произведения Франции второй половины XIX в. о сюжете о Еве. Помимо этого, переосмысливается художественный образ змея-искусителя как освободителя женщины и роль Евы как положительная для развития человечества на примере художественных образов французского искусства второй половины XIX в. Анализируя эти образы и заметки, можно заметить, что сама Ева и ее дочери рассматриваются с негативной перспективы: как соблазнительницы, грешницы, искусительницы, которые вредят человечеству, несут в себе скрытые опасности и болезни (Фернан Кнопф, Фелисьен Ропс, Альфонс Муха). Это привело к острой потребности переоценки образов Евы и ее дочерей, что можно было проследить в произведениях Одилона Редона, а впоследствии к перелому в отображении женщин второй половины XIX в.-«дочерей Евы» в забытой монументальной живописной работе художницы Мари Кассатт «Современная женщина». В итоге можно прийти к выводу, что образы дочерей Евы взаимозаменяют и в то же время противоречат друг другу, выступая своего рода антиномиями, объединяющими единство противоположностей, что позволяет раскрывать все новые контексты и особенности художественного образа.

Other studies analyze the four important conferences on the medieval church and the two dedicated to nineteenthand twentieth-century Italian church history.The last section of the book offers papers about three other Italian journals dedicated to religious history. Franco Bolgiani, editor of Rivista di Storia e Letteratura Religiosa (first issue 1965), describes that journal and how it differs from RSCI in admirably clear prose. Mario Fois describes the Archivum Historiae Pontificiae (first issue 1963), and includes the sad information that it has only thirty North American subscriptions. And Alberigo describes Cristianesimo nella storia (first issue 1980).

This article is devoted to the study of the medical institutions' influence on the modification of the plot about the Eve's sin in the second half of the XIXth century. In 1896, the inventor of the graphic pun, Henri Avelot, created the caricature "Four arts", singling out "serpentinisme" among artistic trends (such as symbolism). Using this neologism, the cartoonist criticized contemporary art of his time that borrowed physical manifestations of pathologies (for example, hysteria) to create "innovative" art concepts and works. Analyzing major masters' artworks of this period with "serpentine" movements, it can be traced how the development of the health cult and the strengthening of the disciplinary power of hospitals started the process of aestheticizing diseases. As a result, three new iconographic types appeared in French culture: the snake woman; the "Eve's daughter"; the woman and the "phallic serpent", in which the serpent appears as an allegorical embodiment of a doctor. The snake woman image became an aesthetic ideal that permeated all aspects of culture, which was expressed in the neologism "serpentinisme", which ironically brought this trend closer to the artistic direction.

Background: Mandatory fortification of bread with iodised salt is proposed to address the re-emergence of iodine deficiency in Australia and New Zealand. The impacts of fortification require baseline data of iodine status among vulnerable sectors of the population. Objective: To assess the iodine status of healthy women and to investigate consumer understanding and attitudes related to the proposed mandatory iodine

This presentation focuses on a case study, Chapelle Saint-Gabriel, a Romanesque church in the outskirts of Tarascon in Provence. I will first present an overview of the chapel’s site and history, and then move to the iconographical analysis of its sculptural program, where Eve is central.

Armenian Apocrypha Relating to Abraham
Michael E. Stone

This volume introduces a cycle of stories about Abraham as preserved in fifteen unpublished, late medieval manuscripts in Armenian, published here in English for the first time with commentaries, annotations, and critical apparatus. The texts present embroidered Abraham stories dealing with his youth, his life in Egypt, the binding of Isaac, the story of Melchizedek, and other tales. Embedding Jewish, Christian, Islamic, and other ancient traditions, these texts demonstrate mutual borrowing and influence over centuries.

Paper $38.95 • 290 pages • ISBN 9781589837157 • Early Judaism and Its Literature 37

The dichotomy between Sarah and Eve in the Zohar evokes the well-known dichotomy between Mary and Eve in medieval Christianity. Though many rabbinic texts posit that the nonagenarian Sarah never menstruated until three angels arrived to announce the birth of Isaac, the Zohar interprets Sarah’s amenorrhea as a mark of her sanctity and unique status among women. Untainted by menstruation, Sarah is able to achieve a level of sanctity denied Eve and her other descendants. Sarah was free of the stain of impurity, just as Mary was free of the stain of concupiscence. This notion of Sarah emerges among Kabbalists at the same moment that the Immaculate Conception became popular in Catalonia and Castile. Maria Immaculada was a prominent symbol in thirteenth-century religious polemic, Castilian poetry, and Gothic sculpture. Jewish Mystics acculturated this newly ubiquitous symbol to create a Jewish heroine with features that bring an essential difference between medieval Judaism and Christianity into high relief.

... change the meaning. Fischer (1973) may have been the first to observe this. Battison (1978: 54) notes that “... signs which require at least two beats have no absolute limit on the actual number of iterations... the [only] difference ...

... change the meaning. Fischer (1973) may have been the first to observe this. Battison (1978: 54) notes that “... signs which require at least two beats have no absolute limit on the actual number of iterations... the [only] difference ...

... At various times Professor Sai attended the Universities of London. ... was one of those who founded the Ghana Family Planning Association and helped develop Ghana's population policy. ... those on adolescent reproductive health and improvement in the role and status of women ...