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.

    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.

    From all across the continent come tales of creation and love, of heroes and war, of animals, tricksters, and the end of the world. Alfonso Ortiz, an eminent anthropologist, and Richard Erdoes, an artist and master storyteller, Indian voices in the best folkloric sources of the nineteenth century to make this the most comprehensive and authentic volume of American Indian myths available anywhere.With black-and-white drawings throughoutPart of the Pantheon Fairy Tale and Folklore Library

    A comprehensive collection of creation stories ranging across widely varying times and cultures, including Ancient Egyptian, African, and Native American.

    Based on the author's own experiences and on stories passed down from generation to generation, the book chronicles the disappearing world—and courageous rebirth—of this little-understood people.Kayano describes with disarming simplicity and frankness the personal conflicts he faced as a result of the tensions between a traditional and a modern society and his lifelong efforts to fortify a living Ainu culture. A master storyteller, he paints a vivid picture of the Ainus' ecologically sensitive lifestyle, which revolved around bear hunting, fishing, farming, and woodcutting.Unlike the few existing ethnographies of the Ainu, this account is the first written by an insider intimately tied to his own culture yet familiar with the ways of outsiders. Speaking with a rare directness to the Ainu and universal human experience, this book will interest all readers concerned with the fate of indigenous peoples.

    Designed to give essential background on the current study of folklore and some of the basic concepts and questions used when analyzing folklore, this short, coherent, and approachable handbook is divided into five chapters: What Is Folklore?; What Do Folklorists Do?; Types of Folklore; Types of Folk Groups; and, finally, What Do I Do Now?Through these chapters students are guided toward a working understanding of the field, learn basic terms and techniques, and learn to perceive the knowledge base and discourse frame for materials used in folklore courses. Folklore Rules will appeal to instructors and students for a variety of courses, including introductory folklore and comparative studies as well as literature, anthropology, and composition classes that include a folklore component.

    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.

    With advice that is direct, prescriptive, and detailed, it takes the guesswork out of travel by unambiguously rating and ranking everything from hotels, restaurants, and attractions to rental car companies.With an Unofficial Guide in hand, and authors Bob Sehlinger and Len Testa as guides, find out what's available in every category, from best to worst, and use step-by-step detailed plans to help make the most of your time at Walt Disney World.

    Parable, paradox, anecdote, dream, and autobiography blend into an exuberant world view and affirmation of human possibility.

    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.

    "I'm powerful! I'm the most powerful super villain in the WORLD!" "Of course you are," Rochester says. "She is?" Sam asks with a look of unbelief. "I am!" I say, giving him a dark look. "She is," Doris agrees in a dry tone. "She's not the most evil, or bloodthirsty, or violent, or even ... well, villainous, but she's probably the most powerful." Cape High Villainy: A Side Story includes short stories about Panther, Skye and her Deadly Darlin's, Phoebe Woods, Shadowman, Cubby, and various other side character villains from the Cape High Universe.

    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.

    Poems from the 1600s to the present day are beautifully illustrated with images from the unrivaled collection of Japanese paintings and prints in the British Museum. The majority of the poems come from the Tokugawa period (early seventeenth to mid nineteenth centuries) and include works from the best-known Japanese classical authors, female poets and a number of contemporary writers. Nearly all are newly translated by Alan Cummings.From the tender and the melancholy to the witty and the ribald, the poems and images in Haiku Love comment on the most universal of human emotions.

    My easy to use, simple ideas and techniques have become my trademark. I write easy to use books so people will read them and use the information they contain. The ideas in This Is Your Life, Not A Dress Rehearsal are not theory. They have been used by me and countless others to change our lives.

    The myths collected here, originally written in cuneiform on clay tablets, include parallels with the biblical stories of the Creation and the Flood, and the famous Epic of Gilgamesh, the tale of a man of great strength, whose heroic quest for immortality is dashed through one moment of weakness. Recent developments in Akkadian grammar and lexicography mean that this new translation--complete with notes, a glossary of deities, place-names, and key terms, and illustrations of the mythical monsters featured in the text--will replace all other versions.