The Separation between State and Religion

In time we will realize that Democracy is the entitlement of individuals to every right that was in its times alloted to kings. The right to speak and decide, to be treated with decency, to serve and be served by people in a State of “love” that is, to serve with one’s work for the development of ‘life’. To belong to the Kingdom of Human Beings without racial, national, social or academic separations. To love and be loved. To die at the service of the whole and be honored in one’s death, for one’s life and work was legitimately valued. To be graceful and grateful. To have the pride and the humility of being One with the Universe, One with every realm of Existence, One with every living and deceased soul. To treat with dignity and be treated with dignity for One is dignified together with All others and Life itself. To walk the path of compassion, not in the sorrow of guilt but in the pride of being. To take responsability for one’s mistakes and sufferings and stand up again and again like a hero and a heroine and face the struggle that is put at one’s feet and in one’s hands. Millions of people, millions and millions of people might take many generations to realize the consciousness of our humaneness but there is no other dignified path for the human being.

The “work” as I conceive it is psychological and political. Psychology is the connection between the different dimensions within one’s self and Politics is the actualization of that consciousness in our practical lives. Religion is the ceremony that binds the connectedness between the individual and the Universe. The separation between religion, politics and science, the arts and sports is, in the sphere of the social, the reflection of the schizophrenia within the individual and the masses. The dialogue between individuality and the "human" belongs to consciousness. The tendency to develop cults resides in the shortcomings we’are finding in life as it is structured today. “Life” has become the private property of a few priviledged who cannot profit from it because as soon as it is appropriated it stops to be “life” or “life-giving”.

We are all the victims of our own invention and each one is called upon to find solutions. The only problem is believing our selves incapable of finding them. We are now free to use all Systems of knowledge objectively, sharing them without imposing our will on each other. To become objective about our lives means to understand that the institutions that govern its experience are critically important. That we are one with the governments, one with the religious activities that mark its pace, that the arena’s in which we move our bodies and the laboratories in which we explore our possibilities are ALL part and parcel of our own personal responsibility. That WE ARE ONE WITH EACH OTHER AND EVERYTHING AROUND US and acknowledge for ourselves a bond of love in conscious responsibility. That we human beings know ourselves part of each other and are willing and able to act on our behalf for the benefit of each and every individual. That we no longer allow governments, industries, universities or any other institution to run along unchecked by the objective principles of humaneness. That we do not allow gurus to abuse their power or governors to steal the taxes and use them to their personal advantage in detriment of the whole. That we do not allow abuse from anyone anywhere because life is too beautiful to do so and that we are willing to stop the rampant crime with the necessary compassion Conscious knowledge is every individual's right. Conscious action is every individual's duty.

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Wednesday, 20 October 2010

Hero


Hero

From Wikipedia, the free encyclopedia
For other uses, see Hero (disambiguation).
"Heroism" and "Heroine" redirect here. For the film, see Heroism (film). For other uses of Heroine, see Heroine (disambiguation).
Sir Galahad, a hero of Arthurian legend, detail of a painting by George Frederic Watts
A hero (heroine for females) (Ancient Greek: ἥρως, hḗrōs), in Greek mythology and folklore, was originally a demigod, their cult being one of the most distinctive features of ancient Greek religion.[1] Later, hero (male) and heroine (female) came to refer to characters who, in the face of danger and adversity or from a position of weakness, display courage and the will for self sacrifice—that is, heroism—for some greater good of all humanity. This definition originally referred to martial courage or excellence but extended to more general moral excellence.
Stories of heroism may serve as moral examples. In classical antiquity, hero cults—veneration of deified heroes such as Heracles, Perseus, and Achilles—played an important role in Ancient Greek religion. Politicians, ancient and modern, have employed hero worship for their ownapotheosis (i.e., cult of personality).

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[edit]Etymology

Coined in English 1387, the word hero comes from the Greek "ἥρως" (heros), "hero, warrior",[2] literally "protector" or "defender"[3] and it is thought to be cognate with the name of the goddess Hera, the guardian of marriage; the postulated original forms of these words being *ἥρϝως, hērwōs, and *ἭρFα, Hērwā, respectively. It is also thought to be a cognate of the Latin verb servo (original meaning: to preserve whole) and of the Avestan verb haurvaiti (to keep vigil over), although the original Proto-Indoeuropean root is unclear.
According to the American Heritage Dictionary of the English Language, the Indo-European root is *ser meaning "to protect". According to Eric Partridge in Origins, the Greek word Hērōs "is akin to" the Latin seruāre, meaning to safeguard. Partridge concludes, "The basic sense of both Hera and hero would therefore be 'protector'."

[edit]Classical hero cults

Main article: Greek hero cult
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Hero cults could be of the utmost political importance.[original research?][clarification needed] When Cleisthenes divided the ancient Atheniansinto new demes for voting, he consulted the Oracle of Delphi about what heroes he should name each division after. According toHerodotus, the Spartans attributed their conquest of Arcadia to their theft of the bones of Orestes from the Arcadian town of Tegea.
Heroes in myth often had close but conflicted relationships with the gods. Thus Heracles's name means "the glory of Hera", even though he was tormented all his life by Hera, the Queen of the Gods. Perhaps the most striking example is the Athenian king Erechtheus, whomPoseidon killed for choosing Athena over him as the city's patron god. When the Athenians worshiped Erechtheus on the Acropolis, they invoked him as Poseidon Erechtheus.
In the Hellenistic Greek East, dynastic leaders such as the Ptolemies or Seleucids were also proclaimed heroes. This was an influence on the later, Roman apotheosis of their emperors.[citation needed]

[edit]Analysis

The classic hero often came with what Lord Raglan (a descendant of the FitzRoy Somerset, Lord Raglan) termed a "potted biography" made up of some two dozen common traditions that ignored the line between historical fact and mythology.[citation needed] For example, the circumstances of the hero's conception are unusual; an attempt is made by a powerful male at his birth to kill him; he is spirited away; reared by foster-parents in a far country. Routinely the hero meets a mysterious death, often at the top of a hill; his body is not buried; he leaves no successors; he has one or more holy sepulchres.
The first Hero:
Hero (mythical priestess), in Greek mythology, priestess of Aphrodite, goddess of love, at Sestos, a town on the Hellespont (now Dardanelles). Hero was loved by Leander, a youth who lived at Abydos, a town on the Asian side of the channel. They could not marry because Hero was bound by a vow of chastity, and so every night Leander swam from Asia to Europe, guided by a lamp in Hero's tower. One stormy night a high wind extinguished the beacon, and Leander was drowned. His body was washed ashore beneath Hero's tower; in her grief, she threw herself into the sea.

[edit]The validity of the hero in historical studies

portrait of "La Galana", spanish heroine.
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Further information: Philosophy of history and Great man theory
The philosopher Hegel gave a central role to the "hero", personalized by Napoleon, as the incarnation of a particular culture's Volksgeist, and thus of the general Zeitgeist. Thomas Carlyle's 1841 On Heroes and Hero Worship and the Heroic in History also accorded a key function to heroes and great men in history. Carlyle centered history on the biography of a few central individuals such as Oliver Cromwell or Frederick the Great. His heroes were political and military figures, the founders or topplers of states. His history of great men, of geniuses good and evil, sought to organize change in the advent of greatness.
Explicit defenses of Carlyle's position were rare in the second part of the 20th century. Most philosophers of history contend that the motive forces in history can best be described only with a wider lens than the one he used for his portraits. For example, Karl Marx argued that history was determined by the massive social forces at play in "class struggles", not by the individuals by whom these forces are played out. After Marx, Herbert Spencer wrote at the end of the 19th century: "You must admit that the genesis of the great man depends on the long series of complex influences which has produced the race in which he appears, and the social state into which that race has slowly grown....Before he can remake his society, his society must make him."[4]
As Michel Foucault pointed out in his analysis of societal communication and debate, history was mainly the "science of the sovereign", until its inversion by the "historical and political popular discourse".
The Annales School, led by Lucien Febvre, Marc Bloch and Fernand Braudel, would contest the exaggeration of the role of individual subjects in history. Indeed, Braudel distinguished various time scales, one accorded to the life of an individual, another accorded to the life of a few human generations, and the last one to civilizations, in which geography, economics and demography play a role considerably more decisive than that of individual subjects. Foucault's conception of an "archeology" (not to be confused with the anthropologicaldiscipline of archaeology) or Louis Althusser's work were attempts at linking together these various heterogeneous layers composing history.[clarification needed]

[edit]Heroic myth

The four heroes from the Chinese classic Journey to the West
The concept of a story archetype of the standard "hero's quest" or monomythpervasive across all cultures is somewhat controversial. Expounded mainly byJoseph Campbell in The Hero with a Thousand Faces, it illustrates several uniting themes of hero stories that hold similar ideas of what a hero represents, despite vastly different cultures and beliefs.[citation needed]

[edit]Folk and fairy tales

Vladimir Propp, in his analysis of the Russian fairy tale, concluded that a fairy tale had only eight dramatis personæ, of which one was the hero,[5]:p. 80 and his analysis has been widely applied to non-Russian folklore. The actions that fall into a such hero's sphere include:
  1. Departure on a quest
  2. Reacting to the test of a donor
  3. Marrying a princess (or similar figure)
He distinguished between seekers and victim-heroes. A villain could initiate the issue by kidnapping the hero or driving him out; these were victim-heroes. On the other hand, a villain could rob the hero, or kidnap someone close to him, or, without the villain's intervention, the hero could realize that he lacked something and set out to find it; these heroes are seekers. Victims may appear in tales with seeker heroes, but the tale does not follow them both.[5]:36

[edit]The modern fictional hero

Hero or heroine is sometimes used to simply describe the protagonist of a story, or the love interest, a usage which can conflict with the superhuman expectations of heroism. William Makepeace Thackeray gave Vanity Fair the subtitle A Novel without a Hero.[6] The larger-than-life hero is a more common feature of fantasy (particularly sword and sorcery and epic fantasy) than more realist works.[7]
In modern movies, the hero is often simply an ordinary person in extraordinary circumstances, who, despite the odds being stacked against him or her, typically prevails in the end. In some movies (especially action movies), a hero may exhibit characteristics such as superhuman strength and endurance that sometimes makes him nearly invincible. Often a hero in these situations has a foil, the villain, typically a charismatic evildoer who represents, leads, or himself embodies the struggle the hero is up against. Post-modern fictional works have fomented the increased popularity of the antihero, who does not follow common conceptions of heroism.

[edit]Hero as self

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It has been suggested in an article by Roma Chatterji[citation needed] that the hero or more generally protagonist is first and foremost a symbolic representation of the person who is experiencing the story while reading, listening or watching; thus the relevance of the hero to the individual relies a great deal on how much similarity there is between the two. The most compelling reason for the hero-as-self interpretation of stories and myths is the human inability to view the world from any perspective but a personal one. The almost universal notion of the hero or protagonist and its resulting hero identification allows us to experience stories in the only way we know how: as ourselves.
One potential drawback of the necessity[citation needed] of hero identification means that a hero is often more a combination of symbols than a representation of an actual person.[citation needed] In order to appeal to a wide range of individuals, the author often relegates the hero to a "type" of person which everyone already is or wishes themselves to be: a "good" person; a "brave" person; a "self-sacrificing" person. The most problematic result of this sort of design is the creation of a character so universal that we can all identify with somewhat, but none can identify with completely.[citation needed] In regard to the observer's personal interaction with the story, it can give the feeling of being "mostly involved," but never entirely.

[edit]See also

Wikimedia Commons has media related to: Hero
Look up hero in Wiktionary, the free dictionary.
Wikiquote has a collection of quotations related to: Heroes

[edit]References

  1. ^ See Heros, Henry George Liddell, Robert Scott, 'A Greek-English Lexicon', at Perseus and Plato, 'Cratylus'
  2. ^ ἥρως, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus Digital Library
  3. ^ Hero: Online Etymology Dictionary, entry "Hero"
  4. ^ Spencer, Herbert. The Study of Sociology, Appleton, 1896, p. 34.
  5. ^ a b Vladimir Propp, Morphology of the Folk Tale, ISBN 0-292-78376-0
  6. ^ Northrop Frye, Anatomy of Criticism, p 34, ISBN 0-691-01298-9
  7. ^ L. Sprague de Camp, Literary Swordsmen and Sorcerers: The Makers of Heroic Fantasy, p 5 ISBN 0-87054-076-9

[edit]Further reading

[edit]External links

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