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Η ύπαρξη και φύση της ψυχής αποτελεί ένα από τα σημαντικότερα θέματα θεολογικής, φιλοσοφικής και καλλιτεχνικής αναζήτησης του Ανθρώπου. Διότι, μέσα από την αναζήτηση της ουσίας και της αλήθειας που κρύβονται πίσω από το μυστήριο της ψυχής αναζητούνται η ουσία και η αλήθεια της ίδιας της ζωής, του θανάτου, των εννοιών της ύπαρξης και της δημιουργίας. Πλείστοι λαοί ανά την ανθρώπινη Ιστορία ταυτίστηκαν με τα ψυχοκεντρικά χαρακτηριστικά των αρχαίων θρησκειών τους. Τούτη η ανιμιστική φύση της θρησκείας που μεταβαίνει στην ευρύτερη νοοτροπία και φιλοσοφία ενός λαού, χαρακτηρίζει τους Ιάπωνες, των οποίων η παραδοσιακή θρησκεία Σίντο, οι πεποιθήσεις της και η κοσμοαντίληψη που πηγάζουν από αυτή μεταπηδά σε πτυχές της πολιτισμικής τους έκφρασης όπως η παραδοσιακή τους τέχνη εμψύχωσης (animation), το άνιμε. Η σχέση του, ριζωμένου στη Σίντο, ανιμιστικού τρόπου σκέψης των Ιαπώνων με τις αφηγήσεις της τέχνης του άνιμε, μελετάται, επί του παρόντος κειμένου, δια του παραδείγματος της ταινίας του Χαγιάο Μιγιαζάκι «Ταξίδι στη χώρα των θαυμάτων». &nbsp, The existence and nature of the soul is one of the most important topics of theological, philosophical and artistic search of Man. For through the search for the essence and truth behind the mystery of the soul, humans are seeking the essence and truth of life itself, death, the concepts of existence and creation. Throughout human history, many countries and tribes have been related with the psycho - centric characteristics of their traditional, ancient religions. This animistic nature of the religion that crosses over into the broader mentality and philosophy of a region’s people characterizes the Japanese whose Shinto religion, its beliefs and the worldview that spring from it, jumps into aspects of their cultural expression such as their traditional animation art, anime. The relationship between the, Shinto-rooted, animistic way of thinking of the Japanese with the narratives of the art of anime is studied, in the present text, through the example of Hayao Miyazaki's film “Spirited away”. &nbsp

Peygamberimiz’in Mescid-i Haram’dan Mescid-i Aksa’ya yolculuğu, oradan da Allah katına çıkarak Mekke’ye geri dönmesi mucizesini genelde didaktik bir tarzda ve müstakil olarak anlatan Mirâciyeler, bazen de Divânlar veya Hz. Peygamber’i konu edinen edebi türler içinde (Nat, Mevlid, Hilye vs.) yer almıştır. 9. yüzyıldan itibaren edebiyatımızda manzum/mensur olarak yer almaya başlayan bu eserler, Kaside ve Mesnevî tarzında karşımıza çıkarlar. Çalışmamıza konu olan Mirâciye’nin de içinde bulunduğu Divân 1280(1863) yılında İstanbul’da taşbaskıyla basılıp yayınlanmıştır. Bir nüshası Süleymaniye Kütüphanesi Tahirağa 522/4 numaradadır. Manzum ve mensur olarak 12 eser kaleme almış olan Kâmî Efendi’nin Divânı’nda yer alan Mirâciye Esleme’l-Minhâc İlâ Selleme Evsâfi’l-Mi‘râc başlığıyla Toplam 130 beyit tutarında ve Kaside şeklinde kaleme alınmış olup, aruzun Mefâ‘îlün Mefâ ‘îlün Mefâ‘îlün veznindedir. Kâmî Efendi eserini yazarken ağdalı denilebilecek bir üslup kullanarak, Arapça ve Farsça kelimeleri, tamlamalar ve terkipleri sıklıkla kullanmaktan kaçınmamıştır. Bazıları neredeyse bütün mısraı kaplayan bir terkip manzumesidir: “Naġam-sāz-ı ḥarı̇̄m-i bezm-i ḫacle Zühre-i zehrā, Şehen-şāh-ı kerem-fermā rumūz-āmuz-ı mā-evḥā, Şehen-şāh-ı serı̇̄r lı̇̄-ma‘allāh mazhar-ı levlāk, O med‘uvv-i tecelli-gāh Ḥażret-i tav‘-ı fermān-ber” Eserde mirâciye konusunu içeren genel bilgiler özellikle mucizelerden bir kaçı (şakka’l-kamer, gittiği her yerde O’na gölgelik olan bulutlar ve Hz. Ebubekir’le beraber sığındıkları mağara girişine güvercinin yuva yapması) sanatkârane bir üslup içerisinde fakat çok da fazla detaya inilmeden aktarılmıştır. Manzumenin son iki beytini Farsça olarak kaleme aldığı görülen Kâmî’nin zaten Farsça ve Arapça dillerine vakıf olduğu bilinmektedir.

Odnos mitologije i ljudi može se vidjeti i na način na koji su stari Grci i Japanci gradili hramove bogovima, štovali ih i pisali priče. Mitologija ovih civilizacija objašnjava prirodne katastrofe, postanak svijeta i smrt. Obje su kulture prakticirale politeizam, a bogovi su imali moć nad ljudskim svijetom te su izazivali veliko strahopoštovanje. U japanskoj mitologiji svijet nastaje spajanjem božanstava Izanami i Izanagi, dok u grčkoj mitologiji boginjom Eurinomom i zmijom Ofionom. I u grčkoj i u japanskoj mitologiji svijet nastaje iz kaosa, no razlika je u dominantnosti spolova. Obje mitologije, kroz bogove i postanak svijeta, uključuju nastanke novih elemenata žive i nežive prirode. Motiv odlaska u podzemni svijet u grčkoj mitologiji može se vidjeti u mitovima poput otmice Perzefone, smrti Euridike i Tartarove otmice Helene. Motiv odlaska u podzemni svijet u japanskoj mitologiji može se uočiti u mitovima poput smrti boginje Izanami te bijegu boga Okuninushija. Obje mitologije uključuju kušanje voća kao prepreku odlaska u svijet živih, orfejevski motiv kršenja zabrane, povezanost bogova i prirodnih nepogoda. Međutim, grčki mitovi su bogatiji detaljima podzemnog svijeta te se više štuje ženski spol. The relationship between mythology and people can also be seen in the way the ancient Greeks and Japanese built temples to the gods, worshiped them and wrote stories. The mythology of these civilizations explains natural disasters, the creation of the world and death. Both cultures practiced polytheism, and the gods had power over the human world and caused great awe. In Japanese mythology, the world was created by the union of the deities Izanami and Izanagi, while in Greek mythology by the goddess Eurynome and the snake Ophion. In both Greek and Japanese mythology, the world emerges from chaos, but the difference is in the dominance of the sexes. Both mythologies through the gods and the creation of the world include the emergence of new elements of animate and inanimate nature. The motif of going to the underworld in Greek mythology can be seen in myths such as the abduction of Persephone, the death of Eurydice, and the abduction of Helen by Tartarus.The motif of going to the underworld in Japanese mythology can be seen in myths such as the death of th goddess Izanami and the escape of the god Okuninushi. Both mythologies include tasting the fruit as an obstacle to going to the world of the living, the Orpheus motif of breaking the prohibition, the connection between the gods and natural calamities. However, Greek myths are richer in details of the underworld and the female gender is more revered.

The ancient religious tradition of the Japanese, the Shintoism, by another words Kami-no miçi, has a structure shaped by the religious beliefs and practices of the Japanese people. This tradition is essentially a national religion unique to the Japanese. As an expression of the Japanese folk religion tradition, Shintoism emphasizes the ancestral cult; It is a religion that includes politeist, naturalist and anthropomorphic characters. For the Japanese, believing in the Kami is actually acting in accordance with their will. This is a situation that can be explained by spirituality beyond the tradition for the Japanese. Indeed, the “Kami Cult” for the Japanese is a phenomenon in all areas of life. Therefore, believing in the families and leading a life as they want is the greatest ideal. At the end of this ideal, of course, it is possible to be as great as a Kami or as respected as extraordinary beings. In this study, the "Kami cult" in the Japanese folk religion tradition has been handled and examined in some ways. In this context, it was especially focused on how the Japanese understood and how they made sense of the Kami that they respect with fear. Because the Kamis or the Kami’s social realms contain elements that will amaze and amaze human beings. However, Kami’s are the central figure of mysterious phenomena, terrible natural phenomena that attract people's curiosity. At the same time, for Japanese people, Kami’s are another name for respect, devotion, tabasbus and worship, beyond being primitive and supernatural beings.

Purification in the Shinto religious tradition, It is an act of cleansing from any material and spiritual pollution before any communication and contact with the holy. In Shintoism, the Kamis are at the center of divinity. So they are pure and clean. Those who will approach the Kami and Kamis areas must also be purified. Purification ritual has both physical and psychological dimensions. According to Shintoists, purification actions such as Oharae, Misogi and Temizu in the Kamis sphere facilitate the purification of the soul's passions as well as the manifestation of the sacred, as well as body pollution. The main purpose of this research is to reveal the understanding and actions of purification in Shinto religion; as well as information from the sources based on our observations is to pass on to the reader.

El sintoísmo es el sistema de mitos, rituales y creencias nativo de Japón, lo que lo ha convertido en símbolo de la tradición más puramente japonesa. Durante cientos de años, se mantuvo una relación entre éste y la Familia Imperial Japonesa al declarar que la diosa del sol Amaterasu fue un antepasado de ésta. Aun así, perdió gran parte de su legitimidad al final de la Segunda Gue rra Mundial puesto que el Emperador Hirohito se vio obligado a admitir su humanidad, recha zando públicamente esta relación. Por otra parte, por esta época la industria del anime y el manga vivían una época de auge en el territorio nacional y, más tarde, internacional. En otras palabras y relacionando ambos conceptos, mientras el sintoísmo perdía popularidad, el anime la ganaba. Aun así, durante los últimos años, el anime ha servido como medio para representar los seres y costumbres presentes en el sintoísmo, lo que ha atraído de nuevo atención a esta filoso fía. Tomando en consideración este dato, es interesante plantear la cuestión de si hubo una in tención previa de popularizar la tradición japonesa nacional o internacionalmente, o si tenían otro objetivo. El presente trabajo se dedica a analizar los elementos sintoístas representados den tro del anime, explicando de qué forma aparecen y las posibles razones para ello. Los resultados muestran diferencias entre animes de distintas épocas, apreciándose más interés y respeto por la mitología shinto en animaciones antiguas, mientras que series modernas usan estas ideas de forma más comercial. Shintoism is the system of myths, rituals, and beliefs native to Japan, which has made it a sym bol of the most purely Japanese tradition. For hundreds of years, a relationship was maintained between it and the Japanese Imperial Family by declaring that the sun goddess Amaterasu was their ancestor. Even so, it lost much of its legitimacy at the end of World War II as Emperor Hi rohito was forced to admit his humanity, publicly rejecting this relationship. On the other hand, at the mentioned point in time, the anime and manga industry were experiencing a boom in the national territory and, later, internationally. In other words, and relating both concepts, while Shinto lost popularity, anime gained it. Still, in recent years, anime has served as a medium to represent the beings and customs present in Shintoism, which has brought new attention to this philosophy. Taking this fact into consideration, it is interesting to raise the question of whether there was a previous intention to popularize the Japanese tradition nationally or internationally, or if they had another objective. The present work is dedicated to analyzing the Shinto elements represented within the anime, explaining how they appear and the possible reasons for it. The results show differences between anime from different periods, showing more interest and re spect for Shinto mythology in old animations, while modern series use these ideas in a more commercial way. Universidad de Sevilla. Grado en Estudios de Asia Oriental

En este trabajo de investigación, nos acercaremos al concepto de religión sintoísta en Japón, y lo que ésta ha supuesto para la creación de lo que hoy llamamos el estado japonés, indagando en el propio término de “religión” y cómo el sintoísmo tuvo que adaptarse a éste con la llegada de la influencia occidental en Japón. También se añadirá una visión histórica del sintoísmo, su evolución y sus diferentes influencias desde los inicios de éste, y cómo el sintoísmo es un estilo de vida en Japón más que una religión, haciendo hincapié en su inevitable unión con el budismo y la dificultad que hay para diferenciarlos debido a su mutua influencia. Además, se hablará del concepto de “estado” desde una perspectiva occidental y se discutirá sobre desde qué momento se puede decir que Japón se convirtió en un Estado como tal, añadiendo la perspectiva de diferentes historiadores y arqueólogos sobre el tema, incluyendo un breve estudio sobre la línea imperial japonesa y el vínculo de ésta con los orígenes del Estado. Por último, veremos la creación del “sintoísmo de Estado” que surge durante la restauración Meiji, la estrecha relación que tiene la religión con el Estado, y los cambios que esto supuso tanto para el gobierno japonés como para el propio sintoísmo. In this investigation thesis, we will approach the concept of Shinto religion in Japan and what it has meant for the creation of what we call the Japanese State nowadays, inquiring into the very term of ‘religion’ and how Shinto had to adapt to this concept at the arrival of Western influence in Japan. A historical point of view of Shinto, its own evolution and the different influences since its origins will be explained, as well as how Shinto in Japan is more like a way of living than a religion as such, stressing the fact that Shinto and Buddhism have a very strong union that makes it difficult to distinguish one from the other because of the mutual influence. In addition, the concept of “state” from a western perspective will be discussed, along with the debate of the moment when we can say that Japan became a State as such, adding the point of view of different historians and archeologists and including a brief study of the Japanese imperial line and its link with the origins of the State. Lastly, we will see the creation of “State Shintō”, that emerged during Meiji restoration, the close relationship between religion and State, and the changes this brought both to the Japanese government and shintō itself. Universidad de Sevilla. Grado en Estudios de Asia Oriental

Arran de la pandèmia viscuda els dos últims anys i els confinaments domiciliaris que se'n van derivar, les universitats van haver d'adaptar la seva docència presencial per una alternativa telemàtica. Això va comportar haver de canviar tot un sistema d'ensenyament molt ben estructurat, a un sistema alternatiu poc o gens conegut, com varen ser les classes online. Els equips docents, de tots els àmbits educatius, varen haver d'utilitzar aplicacions de software que potser mai havien utilitzat, per a poder fer les classes virtuals el més semblant a la docència presencial. Aquest treball profunditzarà al coneixement de les eines existents de més renom, analitza l'eina més usada per la UAB durant aquesta època, com els professors i alumnes han respost a aquesta situación i totes les seves capacitats i possibilitat tècniques. Tanmateix, s'analitza l'ecosistema actual pel que fa a aquestes aplicacions, les alternatives de més potencial, com les administracions varen reaccionar i què varen fer per ajudar l'àmbit educatiu. Finalment, es fa una mirada al futur explorant el què podrà ser o serà l'educació. Following the pandemic of the last two years and the resulting home confinements, universities have had to adapt their face-to-face teaching to an online alternative. This meant switching from a very well-structured education system to a little-known alternative system, such as online classes. Teaching teams in all areas of education had to use software applications that they may have never used before, in order to make virtual classes more like face-to-face teaching. This work will deepen the knowledge of the most renowned existing tools, analyzes the tool most used by the UAB during this period, how teachers and students have responded to this situation, all its capabilities and technical possibilities, However, it is analyzed the current ecosystem in terms of these applications, the most potential alternatives, how administrations reacted and what they did to help the educational environment. Finally, we look at the future by exploring what education can be or will be. A raíz de la pandemia vivida en los dos últimos años y los confinamientos domiciliarios que se derivaron, las universidades tuvieron que adaptar su docencia presencial por una alternativa telemática. Esto supuso tener que cambiar todo un sistema de enseñanza muy bien estructurado, a un sistema alternativo poco o nada conocido, como fueron las clases online. Los equipos docentes, de todos los ámbitos educativos, tuvieron que utilizar aplicaciones de software que quizás nunca habían utilizado, para poder dar las clases virtuales lo más parecido a la docencia presencial. Este trabajo profundizará en el conocimiento de las herramientas existentes de más renombre, analiza la herramienta más usada por la UAB durante esta época, como los profesores y alumnos han respondido a esta situación y todas sus capacidades y posibilidad técnicas. Sin embargo, se analiza el ecosistema actual en cuanto a estas aplicaciones, las alternativas de mayor potencial, cómo las administraciones reaccionaron y qué hicieron para ayudar al ámbito educativo. Por último, se da una mirada al futuro explorando lo que podrá ser o será la educación.

Şinto dininin belirgin bir kurucusu veya peygamberi yoktur. Genel anlamıyla bir kutsal metni ve dinî Amentüsü de yoktur. Belirgin dini bir yapı oluşturmamasına rağmen Şinto'nun bu denli toplum ve kültürlerine bağlı milli bir dini oluşturmasının arka planında yer alan kaynakların yaşam kurallarına etkisinin incelenmesi esas alınmıştır. Bu amaçla çalışmada, Şinto'nun tarihsel boyutu dikkate alınarak Şinto dininin tarihsel süreçleri, yaşayış ve inanışları işlenmiştir. Geleneksel Japon dini Şinto'nun tarihsel süreç içerisinde yaşam ve ölüm hakkındaki bilgilerinin ve uygulamalarını sunmayı hedefleyen bu çalışma; giriş, iki bölüm, sonuç ve fotoğraflar bölümlerinden oluşmaktadır. Birinci Bölümde genel anlamda Şinto dini hakkında genel bilgililere yer verilerek Şinto pratiklerinin anlaşılması amaçlanmıştır. Mitolojik ve tarihsel boyutun Şinto dininin oluşmasındaki etkisi incelenmiştir. İkinci Bölümde Şinto'nun günlük yaşam kuralları incelenerek dinin pratiğe dönüştürülmüş uygulamaları ve inanırların bu uygulamaları ne derece hayata yansıttıklarına dair incelemeler hakkında bilgi verilmiştir. Ayrıca Şinto'da yaşam ve ölüm olgusunun günlük hayattaki iz düşümleri incelenmiştir. Tezimizde kullanımı çok yaygın olmayan fotoğraflar bölümüne yer vermemizin nedeni Japon dini uygulamaları ve günlük yaşam ritüellerinin somutlaştırarak anlaşılmasının kolaylaştırılmasıdır. Bu nedenle tezin sonuna konu ile ilgili fotoğraflar eklenmiştir. Geçmişten günümüze fazla değişikliğe uğramadan varlığını devam ettiren Şinto dinini güçlü bağları mitolojik kaynaklıdır. Şinto dini; Japon insanının geçmişteki inançları, düşünce yapıları, Kamilerin insanlar üzerindeki etkisi ve Japonların dünya anlayışlarının tam olarak anlaşılmasıyla anlaşılması mümkün olacaktır. Üç kutsal olarak ifade edilen Japonlar, Japonya ve İmparatorluk Şinto din anlayışının özünü oluşturmaktadır. The Shinto religion has no distinct founder or prophet. In general, it does not have a sacred text and religious creed. Although it does not create a clear religious structure, it is based on the examination of the effects of the sources in the background of Shinto's formation of a national religion that is so dependent on its society and culture. For this purpose, in this study, the historical processes, lifestyles and beliefs of the Shinto religion have been studied, taking into account the historical dimension of Shinto. This study, which aims to present the knowledge and practices of the traditional Japanese religion Shinto about life and death in the historical process; consists of introduction, two parts, conclusion and photographs. In the first chapter, it is aimed to understand Shinto practices by giving general information about Shinto religion in general. The effect of the mythological and historical dimension on the formation of the Shinto religion has been examined. In the second part, Shinto's daily life rules are examined and information is given about the practices of religion that have been transformed into practice and the studies on how believers reflect these practices to life. In addition, the projections of the phenomenon of life and death in Shinto in daily life were examined. The reason why we have included the photography section, which is not widely used in our thesis, is to facilitate the understanding of Japanese religious practices and daily life rituals by embodying them. For this reason, photographs related to the subject have been added at the end of the thesis. The strong ties of the Shinto religion, which has survived without much change from the past to the present, are of mythological origin. Shinto religion; It will be possible to understand the past beliefs of the Japanese people, their mentality, the influence of the Kamis on people and the Japanese understanding of the world. The Japanese, Japanese and Imperial Shinto, which are expressed as three sacred religions, form the essence of religion.

Ovaj rad komparativna je analiza određenih aspekata japanske i grčke mitologije. Prilikom izrade rada korištene su metode analize, sinteze, indukcije, dedukcije, generalizacije, kompilacije i komparacije. Važnost mitologije za razumijevanje suvremenog društvenog okvira modernih kultura je neprocjenjiva, od utjecaja na religiju i umjetnost do utjecaja na pravo, filozofiju, itd. Rad stoga pruža uvid u mitologiju Japana i Grčke te otkriva sličnosti, ali i razlike između ovih dviju kultura. Zasebno se pojašnjavaju japanski mitovi proistekli iz Kōjikija i Nihonshōkija. Objašnjava se utjecaj ranih japanskih mitskih predodžbi na kasniji dolazak budizma i kršćanstva u Japan, kao i mitski prikaz prirode, životinja te ljudi. Također se u posebnom poglavlju obrađuje starogrčka mitologija, te njezin bogat utjecaj na kasnija stoljeća u Europi, uključujući 20. stoljeće, u kojem su mitovi ponovno oživjeli na platnu, u stripovima i igraćim konzolama. Naposljetku je dana analiza nekoliko poznatih japanskih i grčkih mitova, te arhetipske sličnosti koje ih povezuju. Autor u radu koristi znanstvenu literaturu, internetske članke i ostale izvore o mitologijama dviju civilizacija. This paper is a comparative analysis of certain aspects of Japanese and Greek mythology. Methods of analysis, synthesis, induction, deduction, generalization, compilation and comparison were used in the preparation of the paper. The importance of mythology for understanding the contemporary social framework of modern states is invaluable, from influencing religion, culture, art to influencing law, philosophy, etc. The paper therefore provides a comparative insight into the mythology of Japan and Greece and reveals similarities but also differences between these two cultures. The Japanese myths derived from Kōjiki and Nihonshōki are explained separately. The influence of early Japanese mythical notions on the later arrival of Buddhism and Christianity in Japan is explained, as well as the mythical depiction of the nature, animals and people. A special chapter also deals with ancient Greek mythology and its rich influence on later centuries in Europe, but also the 20th century in which myths were revived on canvas, books and game consoles. Finally, an analysis of several well-known Japanese and Greek myths and archetypal similarities that connect them is given. The author uses scientific literature, online articles and other sources on the mythologies of individual civilizations.

Japanska mitologija se uglavnom temelji na šintoizmu dok se grčka sastoji od orijentalnih i doseljeničkih dijelova. Grčka su božanstva osvetoljubiva i nepredvidljiva tj. ljudska, dok su kamiji dio prirode. I jedna i druga civilizacija štovale su bogove što se vidi iz primjera danih u radu. Obje civilizacije nisu bježale od brakova brata i sestre već su ti bili česti. Prema japanskoj i grčkoj mitologiji, kaos je isprva bio dominantna sila na svijetu i prvi uzrok svega na svijetu. Takav stav prema početku života na zemlji sasvim je prirodan jer su ljudi mogli jedino pretpostaviti ono što je bilo porijeklo života. I u grčkoj i u japanskoj mitologiji pojavljuju se brojni bogovi koji stvaraju svijet, sudjeluju u životu na zemlji itd. Obje kulture su karakterizirale politeizam, ali ljudski stav prema životu bogova bio je sasvim drugačiji. Potonja civilizacija je, kao što je već spomenuto, gledala na kamije kao na dio prirode, a u grčkoj mitologiji bogovi su više bili okrenuti ljudima. U japanskoj su mitologiji za postanak bili potrebni i muškarac i žena, a u grčkoj vidimo da je žena bila dominantan spol. U Olimpijskom mitu o stvaranju oplođivanje žene se pripisivalo vjetru a smatra se da je moglo uslijediti i slučajnim gutanjem insekata. Postanak čovjeka nije točno definiran u japanskoj mitologiji (više je usmjeren na carsku obitelj), no kao što ima više mitova o postanku, Grčka također ima više mitova o postanku čovjeka. Prometej je stvorio ljude i dao im je vatru kad im je najviše bila potrebna. Njegov sin, Deukalion i njegova supruga Pira su ponovno naselili zemlju nakon Zeusovog potopa. Neljudski oblici života japanske mitologije kao što su, tengu (goblini), oni (demoni) i kappa (vodeni demoni) su često prikazani kao izgubljeni i većinom nisu zli. U grčkoj mitologiji su vrlo poznate nimfe, koje se većinom pojavljuju kao sporedne uloge. Ta božanstva su lijepe djevojke koje su se – iako su malo božanstvo – štovale kao ostali bogovi. Razlikujemo tri vrste nimfa a to su oceanide, nereide i naide. Svaka od njih pripada jednom prirodnom fenomenu. Japanese mythology is mainly based on Shintoism while Greek consists of oriental and immigrant parts. Greek deities are vindictive and unpredictable, ie human, while kami are a part of nature. Both civilizations worshiped the gods as can be seen from the examples given in the paper. Both civilizations did not run away from brother and sister marriages but these were frequent. According to Japanese and Greek mythology, as it was initially the dominant force in the world and the first cause of everything in the world. Such an attitude towards the beginning of life on earth is quite natural because people could only assume what was the origin of life. In both Greek and Japanese mythology, numerous gods who create the world appear, participate in life on earth, etc. Both cultures were characterized by polytheism, but the human attitude toward the life of the gods was quite different. The latter civilization, as already mentioned, looked at kami as a part of nature, and in Greek mythology the gods were more turned to people. In Japanese mythology, both man and woman were needed for creation, and in Greek we see that woman was the dominant sex. In the Olympic myth of creation, the fertilization of women was attributed to the wind and it is believed that it could have been followed by accidental ingestion of insects. The origin of man is not precisely defined in Japanese mythology (it is more focused on the imperial family), but just as there are more myths about the origin, Greece also has more myths about the origin of humans. Prometheus created humans and gave them fire when they needed it the most. His son, Deucalion, and his wife Pira repopulated the land after the flood of Zeus. Nonhuman life forms of Japanese mythology such as, tengu (goblins), oni (demons) and kappa (water demons) are often portrayed as lost and mostly not evil. Nymphs are very well known in Greek mythology, mostly appearing as supporting roles. These deities are beautiful girls who - although they are a small deity - were worshiped like other gods. We distinguish three types of nymphs, namely oceanids, nereids and naids. Each of them belongs to one natural phenomenon.

Cilj i svrha ovog rada je prikazati razlike i sličnosti između japanske i nordijske mitologije, kako bismo dobili bolji uvid u načine razmišljanja dviju odvojenih društvenih skupina. "Kojiki" je najstariji korpus japanskih mitoloških priča te čuva zapise o mitološkom nastanku Japana, a poslužio je carevima Yamata da ujedine Japan u doba razjedinjenih klanova. Štovali su različite kamije ili bogove, koji mogu biti skoro pa sve što postoji, ali samo za rijetke i važne kamije grade hramove. U japanskoj mitologiji je sve nastalo iz kaosa, te su onda nastali bogovi Nebeskih ravnica koji su stvarali japanske otoke, ljude i mnogo drugih kamija. Najvažnija božanstva su bila Amaterasu, koja je božica Sunca i glavni predak carske kuće, njezin brat Tsukiyomi, koji je bog Mjeseca, te Susanowo, bog oluja i mora. Mitologija Nordijaca nastaje otprilike u brončanom razdoblju, te su Nordijci vješti moreplovci i kasnije su postali poznati Vikinzi. U nordijskoj mitologiji isto kao i u japanskoj sve nastaje iz kaosa, ali se kozmogonija razvija drugim putem. Iz kaosa nastaje div Ymir, krava Audhumla i onda Buri koji je predak bogova. Burijev sin Bor je imao tri sina, Odin, Villi i Ve, koji su ubili Ymira i iz njega stvorili devet svjetova, a kasnije prve ljude. Odin ili Alfodr smatra se ocem svih ljudi i bogova, te je vrlo ambiciozan bog. Njegov sin, bog munje i oluja Thor imao je moćno oružje Mjollnir po čemu je bio poznat, te je s Lokijem doživio puno pustolovina i zbog njega bio često u nevoljama. Loki je bog vatre i bog varalica, te bio vrlo lukav i snalažljiv. Imao je djecu: vuka Fenrira, zmiju Jormunganda i kćer Hell, koji će mu pomoći prouzrokovati smak svijeta ili Ragnarok. Kod Ragnaroka će s čudovišnom djecom i vojskom podzemnog svijeta napasti sve bogove. Kod komparacije jedne i druge mitologije mogu se vidjeti brojne sličnosti i razlike. Podudarnost je u tome da imaju isti početak, kaos. Nadalje i japanski i nordijski glavni bogovi su očovječeni, te se može zaključiti da su smatrali ljude vrhuncem božje kreacije. Međutim razlika je u tome da stječemo dojam da je japanski narod smatrao sebe vrhom kreacije, jer se sve fokusira samo oko Japana. Jedna od glavnih razlika je u tome da se većina japanskih bogova nalazi na Zemlji, a nordijski bogovi imaju zasebno, za obične ljude "nedohvatno" carstvo. Time se vidi stroga separacija između ljudskog i božanskog. The aim and purpose of this paper is to show the differences and similarities between Japanese and Norse mythology, in order to get a better insight into the ways people were thinking when science and technology did not rule, but things were imagined as they could possibly be. Back then, they relied on religion and magic to explain the world and everything around us. Kojiki is a ancient book where the mythological appearance of Japan is described, and which helped the Yamato emperors to unite Japan when there where many clans. They worshiped many kami or gods, which could be anything that existed, but only for the rare and important kami they build shrines. In Japanese mythology everything appears from chaos, than the gods of the Plain of Heaven which created the Japanese islands, humans, and many other kamis. The most important kami were Amaterasu, the goddess of Sun and the main ancestor of the imperial house, her brother Tsukiyomi, the god of Moon, and Susanowo the god of storms and the see. The mythology of the Norse originated around the Bronze Age, and the Norse were skilled sailors and later became famous Vikings. In Norse mythology, just like in Japanese mythology, everything arises from chaos, but than it continues completely on its own way. Out of the chaos appears the giant Ymir, the cow Audhumla and then Buri who is the ancestor of the gods. Buri's son Bor had three sons, Odin, Willi, and Ve, who killed Ymir and created nine worlds out of him, and later the first humans. Odin or Alfodr is considered the father of all humans and gods, and is a very ambitious god. His son, the god of lightning and storms Thor had the powerful weapon Mjollnir for which he was famous, and he had many adventures with Loki and was often in trouble because of him. Loki is a god of fire and a trickster god, and was very cunning and clever. His children were: Fenrir the wolf, Jormungand the snake, and the daughter Hell, who all would help him cause the end of the world or Ragnarok. When Ragnarok begins he will attack all the gods with his monstrous children and an army of the underworld. When comparing both mythologies, many similarities and differences can be seen, as well as the influence of mythology on the culture. The similarity of these mythologies can be seen in the fact that they have the same beginning, in other words some chaos, which could be said, that they did not have a clear picture of what could be the source of everything, and because of that they explained it by disorganization or chaos. Furthermore, both the Japanese and the Nordic major gods are quite humanized, and it could be concluded that they considered humans as the pinnacle of divine creation. However, the difference is that the Japanese people considered themselves to be the pinnacle of creation, because everything is focused only on Japan. One of the main differences is that most of the Japanese gods are on Earth, when the Nordic gods have their own separate, "unreachable" kingdom for ordinary people. This shows a strict separation between the human and the divine.

The purpose of this text is to propose conceptual ways of approaching the different expressions of Shinto. We departure from the events surrounding the Meiji Restoration (1868) to suggest at least three forms of religion expression: the first as manifestations of supernatural figures and the worship of local deities (神 – kami); the second named Jinja Shintō (神社神道) is understood as encompass local shrines (神社 – Jinja) and the religious institutions linked to the families of priests; the third linked to the Japanese state (国家神道 – Kōkka Shintō). From the theoretical perspective, religiosity is understood from the works of Mircea Eliade (2010), while the concept of religion is approached through the elaboration of Pierre Bourdieu (2005). Theses theoretical approach are relaxed from reflection on what is religion in Japan (SHIMAZONO, 2005) and how the western concept of religion was translated into Japanese (KRAMER, 2013). As a result, we seek to demonstrate the existence of the various Shinto and that, therefore, the approaches to religion should be flexible aiming at particular manifestations of the phenomenon. O objetivo do presente artigo consiste em propor formas conceituais de se abordar as diferentes expressões dos xintoísmos no Japão. Partimos dos eventos em torno da Restauração Meiji (1868) para sugerir pelo menos três formas de expressão da religião: a primeira enquanto manifestações de figuras sobrenaturais e o culto às divindades locais (神 – kami); a segunda chamada de Jinja Shintō (神社神道) é entendida como abarcando os santuários locais (神社 – Jinja) e as instituições religiosas ligados às famílias de sacerdotes; e a terceira ligada ao Estado japonês (国家神道 – Kōkka Shintō). Do ponto de vista teórico a religiosidade é compreendida a partir dos trabalhos de Mircea Eliade (2010), enquanto o conceito de religião é abordado por meio das elaborações de Pierre Bourdieu (2005). Esses corpos teóricos são flexibilizados a partir das reflexões sobre o que é religião no Japão (SHIMAZONO, 2005) e como o conceito ocidental de religião foi traduzido para o japonês (KRAMER, 2013). Como resultado, busca-se demostrar a existência de vários xintoísmos e que dessa forma, as abordagens sobre a religião devem ser flexibilizadas visando particularidades das manifestações do fenômeno.