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The Cosmological Origins of Myth and Symbol (Anglais) Broché – 24 septembre 2010


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Descriptions du produit

Revue de presse

“Following up and synthesizing his last two books, The Science of the Dogon, and Sacred Symbols of the Dogon, Laird Scranton’s latest book makes a good case that what we call today the myths and symbols of ancient peoples have not only cosmology as their basis but they originated from one “parent” cosmology. . . most fascinating study. . . ” (New Dawn Magazine, May 2011)

“An inspiring journey through cosmology.” (Nexus Magazine, August 2011)

“Pursuing the powerful quest began in The Science of the Dogon, Laird Scranton provides . . . another compulsive read for those wishing to get to the heart of the ancient mysteries.” (Andrew Collins, author of Beneath the Pyramids: Egypt’s Greatest Secret Uncovered)

“Laird Scranton’s groundbreaking new research is a major piece of the puzzle that will forever change the way we view the knowledge of the ancients.” (Edward G. Nightingale, author of The Giza Template)

“Looking at many ancient cultures and looking for their influences, The Cosmological Origins of Myth and Symbol proposes many unique ideas and makes for a solidly recommended read.” (The Midwest Book Review, December 2010)

Présentation de l'éditeur

Great thinkers and researchers such as Carl Jung have acknowledged the many broad similarities that exist between the myths and symbols of ancient cultures. One largely unexplored explanation for these similarities lies in the possibility that these systems of myth all descended from one common cosmological plan. Outlining the most significant aspects of cosmology found among the Dogon, ancient Egyptians, and ancient Buddhists, including the striking physical and cosmological parallels between the Dogon granary and the Buddhist stupa, Laird Scranton identifies the signature attributes of a theoretic ancient parent cosmology--a planned instructional system that may well have spawned these great ancient creation traditions. Examining the esoteric nature of cosmology itself, Scranton shows how this parent cosmology encompassed both a plan for the civilized instruction of humanity as well as the conceptual origins of language. The recurring shapes in all ancient religions were key elements of this plan, designed to give physical manifestation to the sacred and provide the means to conceptualize and compare earthly dimensions with those of the heavens. As a practical application of the plan, Scranton explores the myths and language of an obscure Chinese priestly tribe known as the Na-Khi--the keepers of the world’s last surviving hieroglyphic language. Suggesting that cosmology may have engendered civilization and not the other way around, Scranton reveals how this plan of cosmology provides the missing link between our macroscopic universe and the microscopic world of atoms.

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Amazon.com: HASH(0x92c4939c) étoiles sur 5 15 commentaires
36 internautes sur 38 ont trouvé ce commentaire utile 
HASH(0x92ca9228) étoiles sur 5 all myths and symbols appear to come from one "parent" cosmology 22 juin 2011
Par Alan S. Glassman - Publié sur Amazon.com
Format: Broché
Following up and synthesizing his last two books, The Science of the Dogon, and Sacred Symbols of the Dogon, Laird Scranton's latest book makes a good case that what we call today the myths and symbols of ancient peoples have not only cosmology as their basis but that they originated from one, "parent" cosmology. Investigating and comparing the African Dogon tribe's cosmology, language, and symbols to those of the ancient Egyptians, the Buddhists, the Hindus, the Na-khi-Dongba of China, and to contemporary physics and biology, we are shown strong similarities between them.

Scranton begins by reminding us of the alchemists' famous phrase, "As above, so below." He posits that "no single culture could be designated as having invented the classic symbols and myths" that show us relationships between what astronomers now see, how human civilizations function, and what modern science is finding to be the building blocks of matter.

For instance, he takes great patience to illustrate for us the strong correspondences between the traditional aligned Buddhist ritual shrine called a stupa with the structure of the Dogon granary, the Egyptian glyph for the sun, the DNA molecule as seen from on end, and the shape of an E8 figure-- a mathematical conception of the wrapped-up dimensions of string theory. He calls the similar shapes of all these the "egg-in-a-ball" symbol representing "the first conceptual stages in which existence emerges from non-existence." It is shown in two dimensions as a circle or in three dimensions as a sphere divided into 4 equal quadrants (recognized in some traditions as denoting water, fire, wind, and earth) with a small ball in the very center.
Amma, the creator god of the Dogon of Mali, considered to be very tiny and hidden from view, possesses the same "egg-in-a-ball" shape. This symbol is known in numerous cultures as the "womb of the world" representing a fertilized egg on it's way to becoming an embryo. Scranton mentions similarities of this to concepts held by the Maori of New Zealand and the Tibetan Bon.

He stresses the importance of discrete multiple meanings of a multitude of symbols and glyphs. They may consist of individual cosmological concepts, word pronunciations, pictures or shapes, and/or specifically defined relationships to stages of creation. We are shown correspondences relating symbols and concepts of astrology and astronomy on one scale to sub-atomic particles on another scale. But, in each culture, we see the overriding theme of vibratory waves condensing into individual particles of matter.

Interrelated by the author are such subjects as the numbers 7 and 8, the "branes" of string or torsion theory, the Fibonnaci spiral, the various gods and goddesses of the Egyptian pantheon, Hebrew words and letters, the "illusion" of the world we think of as reality, simple acts of everyday life, religious ritual, the stages of creation, concepts of time and space, the big bang theory, and the concepts of "the Word of God" and the fish.

Scranton explains that within Dogon, Egyptian, and other cosmologies, "...the component stages of matter are correlated to classes of creatures in the animal kingdom. These classes begin with insects, then progress to fish, then to four-legged animals, and finally to birds."

In the case of insects, we find spiders in the Vedic tradition as well as the Dogon spider Dada, meaning "mother", that spins the web on which it centers itself, and the Egyptian scarab, a beetle that rolls dung ahead of itself as it walks and is associated with the mother goddess Neith. Similar analogies to those two insects exist in other teachings as well.

The prevalent cosmological principle in the cultures presented is that non-existence (the first stage of matter) in a wavelike state like water is woven or balled up by an insect into existence (the second stage of matter) and represented by the symbol of a fish. Then, beyond the third stage of matter (the four-legged animal) is the "flying" bird, representing the fourth stage of existence in its completed form--the atomic structure. Accordingly, Pau is the Egyptian god of existence, and "po" is the Dogon word for atom with electrons "flying" around its nucleus.

In Chapter 15, we are introduced to the world's only surviving hieroglyphic language of the Na-khi-Dongba people of southwest China whose glyphs are compared to those of both Egypt and the Maya. It is a priestly language, "and is preserved in hundreds of thousands of ancient religious texts" dealing primarily with cosmology. It focuses on "the processes of creation for all things, including humanity." It "includes elements that are thought to reflect influences that likely came from India and Nepal."

Scranton details a number of correspondences in the Dongba language to African symbols, not the least of which are the spider and fish glyphs of the Dogon. He also tells us the Dongba's mythical ancestors are called the "Mu". (I perked up reading that, of course associating it with Lemuria.)

Chapter 16, "As Above, So Below", is subtitled "The Chariot of Orion." It references an obscure, almost invisible cosmic structure called Bernard's Loop, a part of the Orion nebula that Scranton came upon when analyzing the relationship of the Giza pyramids to the belt stars in the Orion constellation. Amazingly, it is in the shape of a spiral encircling the Belt.

Bernard's Loop "constitutes a stellar bubble, a structure that is formed when a stellar wind causes matter to become circular and form a much larger kind of egg. This egg, like the po pilu (of the Dogon), is also calculated to eventually burst." And, in fact, this region of space is thought to have been produced by a supernova and is a region where new stars are spawned.

He adds: "The notion of Bernard's Loop as an astronomic structure in the form of either a wheel or a chariot and as being associated with light measures, dying stars, and the birthplace of suns is one that is also specifically upheld in the Vedic tradition."

Scranton concludes this most fascinating study of symbolic correspondences by suggesting that we "...grasp the inexplicable commonality in form and meaning of mythological ancient symbols that has been demonstrated worldwide---not as an outgrowth of parallel development or inbred psychology, but rather as a precious artifact of mutual instruction by a commonly revered set of teachers."

- This review first appeared in New Dawn magazine issue #126
12 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0x92bad438) étoiles sur 5 big disappointment 27 octobre 2014
Par monkey mind - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
My first exposure to Laird Scranton was through a podcast interview on Where Did the Road Go (highly recommended podcast, by the way). It was so fascinating I listened to it twice. I then rushed to Amazon to order one of his books. So you can see that I really wanted to like this book. I came away thoroughly disappointed though. I have little expertise regarding the Dogon and ancient Egypt, which constitutes most of the material in the book. So while I can't criticize his data in this area, I found the writing poorly organized and highly repetitive. More importantly, the reasoning comes across as circular: he argues at the beginning that we need an interpretive framework when analyzing his data, and then claims that the data support the framework. My suspicions about his loose use of reason, his limited use of sources and the tenuous connections he draws in his arguments were confirmed when he turned his discussion to Buddhism and ancient India, an area where I do have some expertise. Here some of his assertions are simply factually incorrect. He tends to throw in lines like "and this applies to Buddhism to" without any further elucidation or citation. While I appreciate his obvious effort in trying to weave many strands together into a grand picture of ancient cosmology, and I remain open to many of his theories, the book itself is unconvincing at best and I found it a chore to get all the way to the end.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x92ce9fe4) étoiles sur 5 Great detective work 2 septembre 2014
Par C. Wilson - Publié sur Amazon.com
Format: Broché Achat vérifié
Great detective work. A must have reading for the scholarly. I proves that there's a lot more than the eye can see at priory and what we have been historically taught on the true meaning of certain symbols. This book you can buy and not feel that you lost your money.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x92c49960) étoiles sur 5 My new bible 15 juillet 2014
Par Amazon Customer - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
Extremely well written
0 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x92ce4648) étoiles sur 5 INTERESTING 17 février 2014
Par John F. Wehler - Publié sur Amazon.com
Format: Broché Achat vérifié
Very interesting book from a writer whose theories bear further examination. Unfortunately, at times the writing was less than clear (or else I'm just not that intelligent). Some sections kind of lost the narrative in the writer's forays into esoterica.
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