黑社会

Radcliffe G. Edmonds
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引用次数: 18

摘要

在古希腊和罗马的文字和视觉资料中,对地下世界的描绘在不同的文献中有很大的不同,但它们都借鉴了一个共同的传统神话主题。这些主题,如冥府和它的居民,阴间的河流,受祝福的死者的天堂,以及惩罚恶人的地方,在各个时代都发展和改变了它们的所有用途,这取决于作者或艺术家描绘阴间的目的。一些文献通过描述阴间的位置和进入阴间的难度来探讨生者世界与死者世界的关系。相比之下,对地下世界及其存在的讨论往往与来世的想法有关,认为来世是对上世生活的延续或补偿。所有这些描述都使用了相同的基本元素,以自己的方式调整它们来描述地下世界的位置,进入和区域。
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UNDERWORLD
Depictions of the underworld, in ancient Greek and Roman textual and visual sources, differ significantly from source to source, but they all draw on a common pool of traditional mythic motifs. These motifs, such as the realm of Hades and its denizens, the rivers of the underworld, the paradise of the blessed dead, and the places of punishment for the wicked, are developed and transformed through all their uses throughout the ages, depending upon the aims of the author or artist depicting the underworld. Some sources explore the relation of the world of the living to that of the dead through descriptions of the location of the underworld and the difficulties of entering it. By contrast, discussions of the regions within the underworld and existence therein often relate to ideas of afterlife as a continuation of or compensation for life in the world above. All of these depictions made use of the same basic set of elements, adapting them in their own ways to describe the location of, the entering into, and the regions within the underworld.
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FROM SHEKHINAH (1984) Frontmatter FROM TOURIST IN HELL (2010) FROM THE GIRL WITH BEES IN HER HAIR (2004) ACKNOWLEDGMENTS
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