These beings are part human but under certain conditions transform into formidable creatures that prey upon humans and animals. This is a reference to these entities.

    They are the cast of a vast, complex mythology that encompasses two religions, three cultures, and three millennia, one whose ancient deities are still hard at work today. Handbook of Japanese Mythology makes it easy to travel this vast yet little-known mythological landscape. The book reveals the origins of Japan's myths in the very different realms of Buddhism, Shinto, and folklore, and explores related mythologies of the Ainu and Okinawan cultures and recentmyths arising from Japan's encounters with modernization. It then offers vivid retellings of the central Shinto and Buddhist myths, plus descriptions of major historical figures, icons, rituals, and events. For students or long-time enthusiasts, it is the ideal guide for investigating Japanese reverence for the sun, the imperial family, and the virtues of purity and loyalty. Readers will also learn why sumo wrestlers stomp before each match, how a fussy baby creates thunder, why Japan has a godfor soccer, and much more.

    Come face to face with modern-day dinosaurs, extraterrestrials, dragons, lizard men, giants, and flying humanoids. This illustrated collection includes more than 250 monsters and cryptids that will make your hair stand on end when you hear something go bump in the night.From Alabama to Wyoming and everywhere in between, these enigmatic abominations lurk in the darkest corners and the deepest shadows. This eye-opening book details the origins, appearance, and behaviors of these bizarre creatures so that if you should come across a terrifying beast in the wild, you'll know exactly what you're dealing with.Praise: "Jason Offutt does a special service to the field of cryptozoology with this new book Chasing American Monsters. By keeping all of us up-to-date and incredibly informed--beyond the scope of lesser guidebooks--we have a better head start on knowing where to look for these cryptids. Highly recommended."--Loren Coleman, author of Cryptozoology A to Z and director of the International Cryptozoology Museum

    In every culture and in every epoch in human history, from ancient Egypt to modern Hollywood, imaginary beings have haunted dreams and fantasies, provoking in young and old shivers of delight, thrills of terror, and endless fascination. All known folklores brim with visions of looming and ferocious monsters, often in the role as adversaries to great heroes. But while heroes have been closely studied by mythologists, monsters have been neglected, even though they are equally important as pan-human symbols and reveal similar insights into ways the mind works. In Monsters: Evil Beings, Mythical Beasts, and All Manner of Imaginary Terrors, anthropologist David D. Gilmore explores what human traits monsters represent and why they are so ubiquitous in people's imaginations and share so many features across different cultures.Using colorful and absorbing evidence from virtually all times and places, Monsters is the first attempt by an anthropologist to delve into the mysterious, frightful abyss of mythical beasts and to interpret their role in the psyche and in society. After many hair-raising descriptions of monstrous beings in art, folktales, fantasy, literature, and community ritual, including such avatars as Dracula and Frankenstein, Hollywood ghouls, and extraterrestrials, Gilmore identifies many common denominators and proposes some novel interpretations.Monsters, according to Gilmore, are always enormous, man-eating, gratuitously violent, aggressive, sexually sadistic, and superhuman in power, combining our worst nightmares and our most urgent fantasies. We both abhor and worship our monsters: they are our gods as well as our demons. Gilmore argues that the immortal monster of the mind is a complex creation embodying virtually all of the inner conflicts that make us human. Far from being something alien, nonhuman, and outside us, our monsters are our deepest selves.

    In 1985, under the editorship of Margaret Drabble, the text was thoroughly and sensitively revised to bring it up to date.The sixth edition, published in 2000, was extensively revised, expanded, and updated. Almost 600 new entries covered new writers, genres, and issues, and existing entries were reworked to incorporate the latest scholarship. In addition to the extensive coverage of writers, works, literary theory, allusions, and characters, there are sixteen featured entries on key topics including black British literature, fantasy fiction, and modernism. The Companion remains an unrivaled work that places English literature in its widest context: no other book offers such extensive exploration of the classical roots of English literature, and the European and non-European works and writers that have influenced its development.The sixth edition has now been revised to ensure that it remains absolutely up to date: the invaluable appendices - the chronology, and lists of winners of major literary awards - have been updated, as have many of the entries. Informed by the latest scholarly thinking, and comprehensively cross-referenced to guide the reader to topics of related interest, the Companion retains its position as the best guide to English literature available.

    But to David Leeming, myths are more than stories of deities and fantastic beings from non-Christian cultures. Myth is at once the most particular and the most universal feature of civilization, representing common concerns that each society voices in its own idiom. Whether an Egyptian story of creation or the big-bang theory of modern physics, myth is metaphor, mirroring our deepest sense of ourselves in relation to existence itself.Now, in The World of Myth, Leeming provides a sweeping anthology of myths, ranging from ancient Egypt and Greece to the Polynesian islands and modern science. We read stories of great floods from the ancient Babylonians, Hebrews, Chinese, and Mayans; tales of apocalypse from India, the Norse, Christianity, and modern science; myths of the mother goddess from Native American Hopi culture and James Lovelock's Gaia. Leeming has culled myths from Aztec, Greek, African, Australian Aboriginal, Japanese, Moslem, Hittite, Celtic, Chinese, and Persian cultures, offering one of the most wide-ranging collections of what he calls the collective dreams of humanity.More important, he has organized these myths according to a number of themes, comparing and contrasting how various societies have addressed similar concerns, or have told similar stories. In the section on dying gods, for example, both Odin and Jesus sacrifice themselves to renew the world, each dying on a tree. Such traditions, he proposes, may have their roots in societies of the distant past, which would ritually sacrifice their kings to renew the tribe.In The World of Myth, David Leeming takes us on a journey not through a maze of falsehood but through a marvellous world of metaphor, metaphor for the story of the relationship between the known and the unknown, both around us and within us. Fantastic, tragic, bizarre, sometimes funny, the myths he presents speak of the most fundamental human experience, a part of what Joseph Campbell called the wonderful song of the soul's high adventure.

    They includes stories set down in travelers' reports and plantation journals from the early nineteenth century, tales gathered by collectors such as Joel Chandler Harris and Zora Neale Hurston, and narratives tape-recorded by Roger Abrahams himself during extensive expeditions throughout the American South and the Caribbean.

    In this book, an eminent Jungian analyst examines the recurring motifs that appear in creation myths from around the world and shows what they teach us about the mysteries of creativity, the cycles of renewal in human life, and the birth of consciousness in the individual psyche. Among the topics discussed are:    •  Why the creative process is often accompanied by anxiety, depression, loneliness, and fear of the unknown.    •  The meaning of creation motifs such as the egg, the seed, the primordial being, the creative fire, the separation of heaven and earth, and the four stages of creation.    •  Creation symbolism in the alchemical opus of medieval tradition.    •  How creation-myth motifs appear in the dreams of people who are on the verge of a leap forward in consciousness.

    For the first time, detailed accounts of the vampire and how its tradition developed in different cultures are gathered in one volume by eminent folklorist Alan Dundes. Eleven leading scholars from the fields of Slavic studies, history, anthropology, and psychiatry unearth the true nature of the vampire from its birth in graveyard lore to the modern-day psychiatric patient with a penchant for drinking blood.    The Vampire: A Casebook takes this legend out of the realm of literature and film and back to its dark beginnings in folk traditions. The essays examine the history of the word “vampire;” Romanian vampires; Greek vampires; Serbian vampires; the physical attributes of vampires; the killing of vampires; and the possible psychoanalytic underpinnings of vampires. Much more than simply a scary creature of the human imagination, the vampire has been and continues to haunt the lives of all those who encounter it—in reality or in fiction.

    Martin West investigates their traditional mythologies, religions, and poetries, and points to elements of common heritage. In The East Face of Helicon (1997), West showed the extent to which Homeric and other early Greek poetry was influenced by Near Eastern traditions, mainly non-Indo-European. His new book presents a foil to that work by identifying elements of more ancient, Indo-European heritage in the Greek material. Topics covered include the status of poets and poetry in Indo-European societies; metre, style, and diction; gods and other supernatural beings, from Father Sky and Mother Earth to the Sun-god and his beautiful daughter, the Thunder-god and other elemental deities, and earthly orders such as Nymphs and Elves; the forms of hymns, prayers, and incantations; conceptions about the world, its origin, mankind, death, and fate; the ideology of fame and of immortalization through poetry; the typology of the king and the hero; the hero as warrior, and the conventions of battle narrative.

    This seems to have been the case even from the first recognition of the Neanderthals as a species. The first Neanderthal fossil discovery was that of a child’s skull in Belgium in 1829, but it was badly damaged. Another would be discovered in 1856 in a limestone mine of the Neanderthal region of what is present-day Germany, and a skull with differing distinct traits (indicating a different species than the Neanderthals) would be discovered just over a decade later in southwestern France. The latter specimen would come to be recognized as an example of the species Homo Sapiens, and these anatomically modern humans arrived in Europe between 45,000 and 43,000 years ago, around the time the Neanderthals are believed to started going extinct. The Neanderthals are a member of the genus Homo just like Homo sapiens and share roughly 99.7% of their DNA with modern humans (Reynolds and Gallagher 2012). Both species even lived briefly during the same time in Eurasia. However, the Neanderthals evolved separately in Europe, away from modern humans, who evolved in Africa. Physically, the Neanderthal skeleton was much more robust, suggesting that there was more room for muscle attachment. However, while Neanderthals were stronger than modern humans, the average height of the Neanderthal male was shorter, standing at only about 5’5 tall. Other physical characteristics that set the Neanderthals apart from modern humans were certain skull traits. The skull in general was low and elongated, featuring a sloping forehead with an occipital bun (a bone projection at the back of the skull), whereas modern humans have a more vertical forehead with no occipital bun. The cranial capacity of the Neanderthal skull was also greater than the modern human at 1,500–1,740 cc, and it lacked a chin and had more circular eye orbits, in contrast to Homo sapiens, which have a chin and tend to feature more rectangular eye orbits (Wolpoff 1999). Despite these differences, the Neanderthals may have been recognizable enough to interact with Homo sapiens or even blend in with Homo sapiens for the thousands of years they lived together in Europe. The Neanderthals lived in Europe and Asia for nearly 200,000 years and thrived in these regions, but they went extinct between 40,000 and 30,000 years ago, around the same time that modern humans began arriving in Europe. This has prompted much speculation as to the nature of the interactions between Neanderthals and Homo sapiens, especially since some researchers believe they interacted with each other for over 5,000 years before the Neanderthals began going extinct at different times across Europe. One hypothesis is that Homo sapiens displaced the Neanderthals and were better suited for the environment, and it is obviously possible if not likely that these two groups had become competitors for food and other resources, with Homo sapiens being more successful in the end. If such close interactions were taking place, there is also a possibility that the relatively new-to-Europe Homo sapiens brought pathogens from Africa with them that were unknown to the Neanderthal’s immune system. A more recent example of this type of resulting interaction is the European expansion into the Americas, which brought diseases like smallpox that the natives of America had never experienced before, especially diseases resulting from the domestication of animals. It is possible that the domestication of the dog by Homo sapiens may have contributed in spreading foreign diseases among the Neanderthals.

    This, at least, is the popular view of the Minoans. But how far does the later work of archaeologists in Crete support this view?Drawing on his experience of being actively involved in research on landscapes processes and prehistory for the last twenty years, Castleden writes clearly and accessibly to provide a text essential to the study of this fascinating subject."

    

    K. Rowling about a teenage boy named Harry Potter. Since the release of her first novel, Harry Potter and the Sorcerer's Stone in 1997, the books have gained enormous popularity, critical acclaim and commercial success worldwide, spawning films, video games and assorted merchandise. The Unofficial Harry Potter Encyclopedia: Harry Potter A - Z studies each character in Harry's World from his two best friends, Ron Weasley and Hermione Granger to Lord Voldemort to Professor Dumbledore. No Wizard, Witch or Muggle is to be missed in this encyclopedia of characters. Note: This book is an independent and unauthorized publication. It is not endorsed by J.K Rowling, her publishers, copyright or trademark holders.

    Not only does it describe the genre authoritatively, but it redefines it, offering an exciting new analysis of this highly diverse and hugely popular sphere of art. With more than 4,000 entries and over one million words, this volume covers every aspect of fantasy-literature, film, television, opera, art, and comics. Written and compiled by a team of editors with unparalleled collective experience in the field, it is an invaluable reference for anyone interested in the art of the fantastic. This paperback edition includes thirty-two pages of update material obtained since the hardcover when to press.