However you perpetuate and elaborate the assumption that close similarities in myths, calendars, ritual behaviour, and star maps, are due to diffusion by contact and persuasion; to the extent that such similarities could even map out cultural diffusion routes.
You incidentally list many of the known archetypal attributes of type 2 Builder or Taurus, which all cultures also express on the natural calendric canvas in the sky as the Pleiades, under the legs of Perseus, on the same ecliptic meridian as the star Algol (half-type 2c) that Perseus holds behind his back. But cultural media, including myth, calendar, ritual, art, and building site layout, do not come from the sky; nor do they illustrate the sky. The sky has some of its own logic and limitations.
Here is the list of known features of type 2, and the adjacent half-type 2c, each feature with the average frequency of their occurrence in artworks and building sites (and probably similar to their average occurrence in myths and star lore):
Type 2 Builder or Taurus Pleiades; (twisted 48%, tower 22%, bovid 19%, cluster 14%, pit 13%, bird 10%, book 6%, cave).
Type 2c Basket or Taurus Algol; (secret 17%, container 13%, woven texture 13%).
Here are some occurrences: Pleiades as Wyoming Devil’s TOWER was named Bear House, with a CAVE. Mayan ancestors came from seven CAVES in a MOUNT. The seven planets stand on the Rosicrucian CAVE mount. Seven tribes of the Sioux tell of White BUFFALO (bovid) Calf Woman from Wakan Tanka, Great MYSTERY, at Bear House where a warrior prays with a BUFFALO (bovid) skull (decapitated, like Algol), he dreams (legends of seven sleepers, as at Ephesus and elsewhere, usually express type 2), and finds a CAVE of a bear. And more examples follow below.
Regarding Denisovan adhesive used to fix the broken bracelet, archaeologists have found and partly replicated a complex, processed adhesive technology, to haft spear points to shafts in Stone Age southern Africa. This does not imply cultural contact. Nor do similar myths and star lore.
You cite songlines as oral ”cultural memory”, which it is, in the short term, but the concept of multi-media structure in landscape, and the content that fills that structure, is a universal, subconscious, compulsive impulse (its modern version playing out in archaeo astronomical landscape correspondence theory, including a schoolboy’s overlay of a star map over parts of America, with the usual absurd interpretation as 'ancient science').
Regarding comets, the annual Taurid meteor shower is one of many comet remnants, and singled out to expresses the theme of LIGHTNING (1) and heavenly impacts as part of archetype 1 Taurus and 2 Taurus. There are many other meteor showers, but the Taurids have an eternal hold on the imagination. See my criticism of the Gobekli ‘zodiac’ and supposed astronomical 'dating' by Sweatman and Tsikritsis here;
You conclude that the Seven Sisters is “an orally-spread, hunter-gatherer tradition of Middle to Upper Palaeolithic antiquity, accounting for the pervasive identity of Ursa as a bear”. But Babylonia and Egypt have Ursa as a bull foreleg of seven stars, and later an Ursa Minor foreleg with its single hoof at Polaris, where the celestial pole was slowing moving towards.
Regarding female teachers, Moon, seven days, goddesses caught undressed, cloak of swan feathers, see Tarot trump 17, Star; a naked woman kneeling, twisting, decanting two water jugs, at a bird on a tree, under seven stars surrounding an eighth (compare to the type 2 attributes listed above, remembering that it comes from myth, and it also to some extent imprinted in the sky). Emblematic sets such as the Tarot trumps, could be interpreted as ‘illustrations’ of star lore, yet most of the 22 trumps have since their re-formatting in the 1300s, been linked to many different constellations, months, letters and myths (erroneously identified with Sirius in Masonic lore). Isolation of the sixteen archetypes, and the second magnitude of types 1, 2, 3, 4, 5a and 5b, now reveals type 2 and its magnitude 17, as expressions of the same type, which in the sky is Taurus Pleiades (female, watery, near the ecliptic, notional spring marker). Tarot trumps carry archetypal numbers (not from the sky) and many other features not from the sky, but closer to myth, ritual, etc.
The stolen cloak and rice-making pot or granary, expresses the half-type 2c Basket, usually a container, or woven texture, involving secret power, revelation, and concretion. Such as the wigwam tent. Its myths include the severed head of the kneeling, twisting Gorgon, kept in a cloth to hide its petrifying gaze (though I think some correspondence theorists have gazed on it too long). In the sky it is identified with the star Algol. Hollywood movies such as the Percy (Perseus) Jackson series are good at recycling myths. The complicated scripting and production process speeds up the process. Archetype loves committees. Where several creative minds collaborate, archetype finds the means to imprint its details in the story, aided by the narrow range of how viewers could perceive it.
A rocky island is more typical of adjacent type 1 Builder or Taurus Auriga (on a section of the galactic equator, above Orion); tower, adolescence, coming of age, honey, spider, weaving.
Anthropology should leave the simplistic correspondence theory of Frolov and others behind. JG Frazer came closer to the truth of culture, by using variants of the same myths worldwide to complete and interpret one another. Jung came closer still, by returning to the ancient philosophical concept of archetpe (a set of eternal potential contents, not shaped by individual or collective experience).
There is no “original” version tucked away in an Ice Age cave. Every version is “original” subconscious expressions of archetypes, and none is complete. Types are optional by nature. They are either/or, as probabilistic as nuclear particles in protons.
You conclude that “nothing suggests the Pleiades stars are women, and their total of seven is not perceived by all.” That does not imply that their identification as women, or watery, or a cluster, or seven, or kneeling, or twisting, or spring, or any particular attribute, is invented once, or diffused. Some of these briefly are, but there is no way to isolate diffused elements from re-expressions. All expressions of this part of the myth cycle, art programme, calendar dates, star map, ritual cycle, and building sites, all re-express one or two or three of the same group of attributes. This is archetype at work. Or us working for archetype.
The stack of similarities between their cultural media, including art, tools, rituals, calendar, myth, clothing, technology (needles, buttons, jewellery, cosmetics), and in the rest of the world (including Southern Africa, Australia and the Americas), in all the millennia, is more likely due to the behavioural repertoire of the human species, than to cultural missions, or imitation of imported fads.
Occasional enforcement and imitation of near identical cultural content, along with some stylistic markers (as in some of the examples of star lore you cite), camouflages the real source of culture, adding styling to appropriate it as “ours, not theirs”. When cultural contact is rare, or does not seem to threaten local resources or hierarchies (as in trade), there is little impetus to mutate the styling of cultural media, thus loaned elements are easily patched into the already identical repertoire. Renamed and re-styled.
Co-incidences of migration and trade routes with cultural elements form a circular argument that reveals nothing about culture or humanity, unless it is studied in the archetypal paradigm.
You come closer to the truth by noting that the Seven Sisters “likely stem from very deep, archaic sources of observation” and “vision-quested skies.”
Regarding Flood myths, “male waters met female waters,” this is eternal cosmology, also in ecliptic and celestial equators, crossing at equinoxes. And “two holes in the sky where God had removed stars from the Pleiades, stopped by two stars borrowed from the Bear,” are the two poles, in Ursa and Ursa Minor. The Pleiades are in this story, since they are seven, like Ursa and Ursa Minor have seven main stars; and since Pleiades have long been the notional position of spring, while the poles and thus summer was under Ursa. These are among the few astronomical details in myth. There are also some quirks of calendar, ritual, and language that enter other media, but they do not prove that culture is one big correspondence theory. Disturbance of obliquity came with the Flood. This cosmic and calendric logic does not imply that myth operates by analogy, or that myth is coded history. Correspondence theory tends to distract researchers into dead ends of apparent causes and effects.
Edited 2 time(s). Last edit at 07-Aug-19 15:07 by Edmond.
|Comment on Denisovan stars, Pleiades, and Alistair Coombs||2834||Edmond||24-Dec-17 07:15|
|Re: Comment on Denisovan stars, Pleiades, and Alistair Coombs||387||Alistair27||04-Jan-18 17:45|
|Re: Comment on Denisovan stars, Pleiades, and Alistair Coombs||377||Alistair27||08-Jan-18 12:36|
|Re: Comment on Pleiades, and Ice Age example of archetypal expression||421||Edmond||10-Jan-18 14:24|
|Re: Comment on Denisovan stars, Pleiades, and Alistair Coombs||318||Alistair27||19-Jan-18 08:56|
|Re: Comment on Denisovan stars, Pleiades, and Alistair Coombs||354||Alistair27||23-Jan-18 12:44|
|Re: Comment on Denisovan stars, Pleiades, and Alistair Coombs||387||Edmond||22-Apr-18 13:18|