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Bos and Bubalus are important Bovini resources worldwide and were widely exploited on the Central Plains of China during the Neolithic and Bronze Ages. However, distinguishing between Bos and Bubalus remains were challenging due to their similar morphological traits, which leaves the interaction between them poorly understood. This study is the first to combine Zooarchaeology by Mass Spectrometry (ZooMS) with zooarchaeological methods to identify Bos and Bubalus in China at the Tuchengwang (5600–4300 cal. BP), and Pingliangtai (4200–3900 cal. BP) sites. This was accompanied by carbon and nitrogen isotope analyses of bone collagen to discuss their diets on the Central Plains. Our findings indicate that these exploitation strategies are dynamic. Aurochs ( Bos primigenius ) and water buffaloes ( Bubalus mepistopheles ) were exploited before the introduction of cattle ( Bos taurus ), and this exploitation continued into the Bronze Age. The exploitation of local wild Bovini resources may have influenced the adoption of cattle during the End Neolithic. By this time, cattle predominated in Bovini remains at most sites, but the adoption of cattle was not a phenomenon of unison, and their exploitation strategies became more diverse, especially in ritual practices. Wild water buffaloes had evolved into privilege goods by the Bronze Age, especially during the late Shang. This study contributes to a deeper understanding of human-animal-environment relationships between Bovini and ancient people.

Prerogative of what Jung calls visionary art, the aesthetics of German Expressionist cinema is “primarily expressive of the collective unconscious,” and – unlike the psychological art, whose goal is “to express the collective consciousness of a society” – they have succeeded not only to “compensate their culture for its biases” by bringing “to the consciousness what is ignored or repressed,” but also to “predict something of the future direction of a culture” (Rowland 2008, italics in the original, 189–90). After a theoretical introduction, the article develops this idea through the example of three visionary works: Arthur Robison’s Warning Shadows (Schatten, 1923), Fritz Lang’s The Weary Death aka Destiny (Der müde Tod, 1921), and Paul Leni’s Waxworks (Wachsfigurenkabinett, 1924).

We live in a world so obsessed with individuality and self-affirmation that all ties with the world of the dead have been severed. Gone are the dead from our horizon and, with them, all that they silently stand for: our past, our roots, our shared human and cosmic identity. Yet the living call we have been so intent on heeding is proving more and more deadly by the day, not only to ourselves but also to the planet we call home. Through their work and life experience, both Jung in the twentieth century and Dante in the fourteenth century, deliberately chose to respond to the needs of the living by following an altogether different path. They pursued their own individuation by traveling the ancient, lonely road of the dead. This article retraces some of the salient moments of Jung's and Dante's encounters with the dead. It highlights the role the dead played in both Jung's and Dante's hard-won inner realization of the importance of becoming aware of the dead's call and heeding their teachings. It also considers why both Jung and Dante followed to its end that forlorn path of self-realization and what we would gain, individually and collectively, were we willing to accept the gifts of liberating insight that, thanks to Jung's and Dante's mediation, the dead may share with our world: a dying world, whose only hope of survival paradoxically rests with the undying input that the dead have to offer us.

This article analyses the figure of the Devil and the different characters that are covered under this term, such as Satan, Lucifer, Belial, Samael and Mephistopheles. Also, it explores his appearance in literature, mainly in those works that deal with the Faustian myth, as is the case in the books of Christopher Marlowe, Johann Wolfgang von Goethe and Thomas Mann. Then, it analyses the legal aspects of the Faustian pact both in its form and content. Finally, we approach the literary presence of the Devil in the arbitration field, through the analysis of Giacomo Paladino's Liber Belial of 1382.

The Satan of Paradise Lost has fascinated generations of readers. This book attempts to explain how and why Milton’s Satan is so seductive. It reasserts the importance of Satan against those who would minimize the poem’s sympathy for the devil and thereby make Milton orthodox. Neil Forsyth argues that William Blake got it right when he called Milton a true poet because he was \"of the Devils party\" even though he set out \"to justify the ways of God to men.\" In seeking to learn why Satan is so alluring, Forsyth ranges over diverse topics--from the origins of evil and the relevance of witchcraft to the status of the poetic narrator, the epic tradition, the nature of love between the sexes, and seventeenth-century astronomy. He considers each of these as Milton introduces them: as Satanic subjects.

Although Goethe was not only a literary writer, but also a lawyer and a statesman, his views on how law and why law advances have not been considered. Through a reading of Faust and the Wahlverwandtschaften, this dissertation shows that the two components of legal advancement in Goethe’s mind were narrative and gränzunbewußte arbitration [arbitration unconscious of borders]. Narratives shape the way we think, and thus affect laws and legal outcomes. As the legal significance of borders diminishes – as the legal order becomes more gränzunbewußt – narratives cross borders more easily, and their effect becomes more global. A focus on legal advancement in Goethe’s works opens a novel understanding of them. For instance, it is unclear whether Gretchen killed her child – even though she has become one of literature’s most famous child-killers. The evidence against her consists merely of contradictory narratives. The dominant narrative of infanticide in Goethe’s time dictated that only the mother could kill the child, and that is why Gretchen has been deemed guilty. The resolution of the pact between Faust and Mephistopheles can also be understood in a novel way. Mephisto’s defeat has been understood with reference to the terms of the written pact. However, it is better understood in terms of the legal advancement that has taken place since Faust I: in the gränzunbewußte legal order at the end of Faust II, Mephisto’s pact to claim Faust’s soul is no longer enforceable. The tragic ending of the Wahlverwandtschaften can be seen as the failure of legal advancement to materialize – for divorce fails to occur in spite of the fact that it has become legally possible – because the right narratives are missing, and the legal order is not gränzunbewußt.

The Devil, Satan, Lucifer, Mephistopheles - throughout history the Prince of Darkness, the Western world's most powerful symbol of evil, has taken many names and shapes. Jeffrey Burton Russell here chronicles the remarkable story of the Devil from antiquity to the present. While recounting how past generations have personified evil, he deepens our understanding of the ways in which people have dealt with the enduring problem of radical evil.After a compelling essay on the nature of evil, Russell uncovers the origins of the concept of the Devil in various early cultures and then traces its evolution in Western thought from the time of the ancient Hebrews through the first centuries of the Christian era. Next he turns to the medieval view of the Devil, focusing on images found in folklore, scholastic thought, art, literature, mysticism, and witchcraft. Finally, he follows the Devil into our own era, where he draws on examples from theology, philosophy, art, literature, and popular culture to describe the great changes in this traditional notion of evil brought about by the intellectual and cultural developments of modern times.Is the Devil an outmoded superstition, as most educated people today believe? Or do the horrors of the twentieth century and the specter of nuclear war make all too clear the continuing need for some vital symbol of radical evil? A single-volume distillation of Russell's epic tetralogy on the nature and personifcation of evil from ancient times to the present (published by Cornell University Press between 1977 and 1986), The Prince of Darkness invites readers to confront these and other critical questions as they explore the past faces of that figure who has been called the second most famous personage in Christianity.

This thesis documents my process for creating the role of Mephistopheles in Christopher Marlowe's Doctor Faustus. The Introduction identifies potential obstacles and possible solutions. Chapter One consists of research on Marlowe's works and tragic life and analyses. Chapter Two contains textual analysis, including major themes and characters. Chapter Three focuses specifically on analyzing the character of Mephistopheles by utilizing various acting methodologies. Chapter Four documents the creative process by means of journal entries. Chapter Five contains reflections on the success and failure of my process, as well as considerations on how I and others might approach Mephistopheles in future productions. The Appendices contain promotional materials, still photographs, performance reviews, and various other production-related materials.

In the 1930s C. G. Jung embarked upon a bold investigation into childhood dreams as remembered by adults to better understand their significance to the lives of the dreamers. Jung presented his findings in a four-year seminar series at the Swiss Federal Institute of Technology in Zurich.Children's Dreamsmarks their first publication in English, and fills a critical gap in Jung's collected works. Here we witness Jung the clinician more vividly than ever before--and he is witty, impatient, sometimes authoritarian, always wise and intellectually daring, but also a teacher who, though brilliant, could be vulnerable, uncertain, and humbled by life's great mysteries. These seminars represent the most penetrating account of Jung's insights into children's dreams and the psychology of childhood. At the same time they offer the best example of group supervision by Jung, presenting his most detailed and thorough exposition of Jungian dream analysis and providing a picture of how he taught others to interpret dreams. Presented here in an inspired English translation commissioned by the Philemon Foundation, these seminars reveal Jung as an impassioned educator in dialogue with his students and developing the practice of analytical psychology. An invaluable document of perhaps the most important psychologist of the twentieth century at work, this splendid volume is the fullest representation of Jung's views on the interpretation of children's dreams, and signals a new wave in the publication of Jung's collected works as well as a renaissance in contemporary Jung studies.

It is a common article of faith that Mozart composed the most beautiful music we can know. But few of us ask why. Why does the beautiful in Mozart stand apart, as though untouched by human hands? At the same time, why does it inspire intimacy rather than distant admiration, love rather than awe? And how does Mozart's music create and sustain its buoyant and ever-renewable effects? InMozart's Grace, Scott Burnham probes a treasury of passages from many different genres of Mozart's music, listening always for the qualities of Mozartean beauty: beauty held in suspension; beauty placed in motion; beauty as the uncanny threshold of another dimension, whether inwardly profound or outwardly transcendent; and beauty as a time-stopping, weightless suffusion that comes on like an act of grace. Throughout the book, Burnham engages musical issues such as sonority, texture, line, harmony, dissonance, and timing, and aspects of large-scale form such as thematic returns, retransitions, and endings. Vividly describing a range of musical effects, Burnham connects the ways and means of Mozart's music to other domains of human significance, including expression, intimation, interiority, innocence, melancholy, irony, and renewal. We follow Mozart from grace to grace, and discover what his music can teach us about beauty and its relation to the human spirit. The result is a newly inflected view of our perennial attraction to Mozart's music, presented in a way that will speak to musicians and music lovers alike.