Mythology - Science topic

I suggest you use Campbell's The Hero's Journey.

Oral health is one of an important part of health concern of the community. The community give attention for this health as it is one of the indicator of good health of a given person. For example, in Ethiopia if somebody's oral odor is bad, that is not acceptable and the person is criticized as to clean his oral.

0) How likely do the Yacuruna in Amazonian Myths Represent Europeans?

1)Europeans generally are more hairy then Native Americans. In myths, the Yacuruna sometimes disguise themselves as hairy people.

2)The Yacuruna come from the sea like European sailors did.

3) Similar to the Yacuruna, MAYBE Europeans have been worshipped as gods by the Amazonian people.

4)When a Yacuruna and an indigenous Amazonian reproduce the child would sometimes become more Yacuruna. Similarly, Castizos(75% European and 25% Native American) are sometimes as privileged as just pure Europeans.

1) https://www.researchgate.net/post/Did_the_Yacuruna_represent_European_colonists

2)One of the main points of religion is survival heuristics thus supporting this theory.

3)https://en.m.wikipedia.org/wiki/Yacuruna#:~:text=The%20Yacuruna%20are%20a%20mythical,runa%20(%22man%22)

4)References

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Beyer, Stephan (2009). Singing to the Plants. Albuquerque: University of New Mexico Press. pp. 318–321. ISBN 978-0-8263-4730-5.

Luna, L.E. "Vegetalismo: Shamanism among the mestizo population of the Peruvian Amazon". Stockhold Studies in Comparative Religion. 27.

Pantone, Dan James. "Iquitos News and Travel Guide". Iquitos Legend: Yacuruna. Retrieved 30 August 2021.

Tindall, Robert (2008). The jaguar that roams the mind. Rochester, VT: Park Street. pp. 210–211. ISBN 978-1594772542.

Bear, J. (2000). Amazon magic: The life story of ayahuasquero and shaman don Agustin Rivas Vasquez. Taos, New Mexico: Calibri. p. 140. ISBN 978-0967425504.

5)"In 1876, Oscar Peschel wrote that North Asiatic Mongols, Native Americans, Malays, Hottentots and Bushmen have little to no body hair, while Semitic peoples, Indo-Europeans, and Southern Europeans (especially the Portuguese and Spanish) have extensive body hair.[13]"(Wikipedia)

13(ultimate source):

6)

We are not clad fish but clad apes. Though the Deep Ones are known among the lost tribes, who are worshipping the elder gods. For further reference, read up on the works of Abdul Alhazred.

Demeter gets my vote. De-meter. The mother. She is goddess of earth's fertility, distinct from Athena, goddess of "wisdom" as practiced by warrior Athenians. (Athena's also goddess of war, as is evident from the helmet she wears, and her spear). Athena is no sweetie pie. She's a virgin (anti-fertility?) obedient to her father-mother Zeus, from whose "mind" she was born, via another godly act of parthenogenesis. Demeter is a much more "measured" goddess, as are the seasons she is linked to "naturally."

Apollo also does not get my vote, despite his priestly philosophical posturing. He's a killer of the feminine in nature (Python, symbol of primitive female), and one thing he doesn't really want to discuss (or perhaps know about himself) is his 19 episodes with lover boys. Yes, boys. Not men.

It's all very...complex....

So. we need the Holy Spirit, which is the substance of man's soul.

The question you address seems interesting to me : which is the relationship between "logical" structures and wisdom expressed in form of myths. Stated as this the topic is very old and it would be useful to have a look at the dialogues of Plato to be reminded of how this relationship was understood at early times. It would not expect a logical formalism like category theory to be able of rendering what myths express, for the reason that formalization has a very limited set of principles whereas human wisdom makes use of a far broader panel of dialectical methods. To take a fairly central example which is biblical wisdom (since the encyclical letter Divino afflante Spiritu) biblical exegesis has recognized the existence of different literary genres.

Other cultural environments, by the fact that they do not use our western rationality have a fairly different approach (think of Yin an Yang duality which is quite foreign in my opinion to a formalization by categorical means).

Even if the question has not been stated in terms of category theory it very likely that in modern philosophical literature (Edmund Husserl ?) you will find references to this interaction between logic and human perception. A categorical analysis could enrich or sharpen, I don't expect to be plausible that myths fit well in a categorical environment.

Hello! Sure! There are references to such (then) SF beings in most mythologies.

I usually work on more ‘domestic’ mythological concepts, but your topic sounds really interesting, and I am looking forward to seeing it published! Here is what comes to mind, besides what you mentioned:

The identity of mythical and legendary characters are archetypal. See the know recurrent features in cultural media in my paper Blueprint. Your suspect is likely to express a cluster of meanings in mixed categories, that would reveal its number, one of the 16 regulars. The character's episodes are also likely to involve recurrent features, look them up in the ATU catalogue.

Diogenes or Διογένης ( ῍Family of Zeus") versus Διονυσος ( "born from the knee of Zeus" on Mount Nysa either in Asia Minor or Afghanistan.

Both are related to Zeus, meaning either that they are descendants from Zeus or that they are important people.

My knowledge comes from attending high school in Greece and have a passion for history. I did not attend classical studies at university.

The Quechua word Yacuruna (yacu-water; runa=people) is normally reported to identify "fish people" living in bodies of water. Photographs of Native folks depicting Yacuruna show various fish-like morphology (fins, scales, etc) and are described as frightening. They are thought to kidnap women & children through transformative disguises as handsome men and river dolphins. They may also benevolently reward fishers with success in capturing aquatic game. I am unaware of the characterization of them as hairy beings. It seems unlikely that these oral literature descriptions would have been derived from early encounters with Europeans.

All religions have mythology which often gets completely absorbed and becomes accepted as historical. The mythology varies. But what all religions do have are narratives that can be seen as either mythologies or invention. Religions are often little more than literature or constructed upon literature.

The early Sumerian religion was based on natural forces, storms, floods, sun, etc, but soon became individualised. This was achieved by scribes who communicated with each other, building up the god's they'd invented personalities and life stories. These grew to become overarching mythologies and remain evident, as does the process, in the present day.

The story of Shiva saving Markandeya from Yama is a popular one in Hindu mythology, and it appears in various forms in different texts. While it is true that the story is not detailed in most Puranas, it is possible that the story was transmitted through oral traditions and later incorporated into literary works.

It is interesting to note that the story of Shiva saving Markandeya from Yama is prominently featured in Tamil literature, particularly in the hymns of the Nayanars, a group of 63 Tamil saints who were devoted to Shiva. The hymns, collectively known as Thevaram, were composed between the 6th and 9th centuries CE, and they are considered to be an important part of Tamil cultural heritage.

In the Thevaram hymns, the story of Shiva saving Markandeya is described in detail, and it is often presented as a metaphor for the power of devotion and the triumph of good over evil. While it is not clear where the Nayanars got their version of the story, it is possible that they drew from oral traditions or from earlier Tamil literary works.

In summary, while the story of Shiva saving Markandeya from Yama is not detailed in most Puranas, it appears in various forms in different texts, including the Bhagavatha Purana and the Shiva Purana. The story is also prominently featured in Tamil literature, particularly in the Thevaram hymns of the Nayanars. The exact source of the story in Tamil literature is not clear, but it is possible that it was transmitted through oral traditions or earlier literary works.

Martin McNamara

It seems to me that it is not so much a matter of insufficient evidence but of the impossibility of a plausible answer. Hence it appears an assessment along the lines of what Stanley Wilkin appears to be suggesting is most likely — just a story element borrowed, for propaganda purposes, from practices associated with the birth of literal kings.

I suggest you the following books:

Clark, Peter (ed.). The Oxford Handbook of Cities in World History. Oxford: Oxford University Press, 2013

MacEvedy, Colin. The Penguin Atlas of Ancient History. New York: Penguin Books, 1979.

MacEvedy, Colin. Cities of the Classical World An Atlas and Gazetteer of 120 Centres of Ancient Civilization. New York: Penguin Books, 2011.

Maisels, Charles Keith Maisels. Early Civilizations of the Old World. The formative histories of Egypt, the Levant, Mesopotamia, India and China. London-New York: Routledge, 2005.

Woolf, Greg. The Life and Death of Ancient Cities: A Natural History. Oxford: Oxford University Press, 2020.

Yoffee, Norman. Myths of the Archaic State Evolution of the Earliest Cities, States, and Civilizations. Cambridge: Cambridge University Press, 2004.

The cause of racism is not skin color, but human thinking. Therefore, healing from racial prejudice, xenophobia and intolerance should be sought primarily in rescuing from misconceptions that for centuries have been a source of misconceptions about the benefits or, conversely, the lower position of various groups among mankind.

The Romans initially copied Etruscan culture, who took theirs mainly from the Greeks.

The Edinburgh Companion to Twentieth-Century Scottish Literature by Ian Brown, Alan Riach

Try with the SVM

I agree with William J. F. Keenan

Your research perspective is very important and makes a lot of sense nowadays. The concrete references that I have in my library are the following:

- DOWLIN, Gerard. "The Liminal Boundary: An Analysis of the Sacral Potency of the Ditch at Ráith na Ríg, Tara. Co. Meath", in: The Journal of Irish Archaeology, Vol. 15 (2006), pp. 15-37.

- MACALISTER, R.A.S. "Temair Breg: A Study of the Remains and Traditions of Tara", in: Proceedings of the Royal Irish Academy. Section C: Archaeology, Celtic Studies, History, Linguistics, Literature, Vol. 34 (1917 - 1919), pp. 231-399.

- MACALISTER, R.A.S. Tara: A Pagan Sanctuary of Ancient Ireland. London: Scribners, 1931.

- MICHAEL J. ENRIGHT, Michael J. "lona, Tara and Soissons: The Origin of the Royal Anointing Ritual. (Arbeiten zur Fruhmittelalterforschung, 17.) Berlin and New York: Walter de Gruyter, 1985.

- PETRIE, Georges. "On the History and Antiquities of Tara Hill", in: The Transactions of the Royal Irish Academy, vol. 18 (1839).

I also remember that in the movie Gone With the Wind the name of the plantation was Tara, and the family probably was from Irish origins. I am not sure, but probably can be an interesting clue for contemporary representations of rituals of repentance and reconciliation.

How Wild Was The American Wild West?

Do you have any good abstract for this topic in your mind? Please feel free and share with us.

Can you elaborate or explain a case of how is it done exactly?

There was a time when people said that radiation from a stone was impossible, that would be magic… they could not belief... Today X-Ray is common known phenomenon…

What is magic? Special skills to elevate over the laws of matter?

Everything is Energy which can be converted so matter can be formed in this way. This is magic, because we do not know the rules of energy, we belief that consciousness is a product of matter (Darwin) so our imagination is already limited and because of that we explain some things as 'magic'. But Levitation or to control the 'chi' is just a skill which can be trained, like playing an instrument as well.

Every skill level deppends on the imagination which depends on the mind set. It is always the following cascade: 1. Conception 2. Perception 3. Action

An Exapmle: Track reading. I you are the first time in your life together with an Indian track reader he can say "...look over there, a fox-track, there the fox stopped a short time an saw a duck flying away…" An you think that this is imposible (magic) because you see nothing on the ground. But you are hungry and the ability of that Indian is important to chase an animal, because there is Nothing else to eat in this great forest. After some day yo decide to belief and you Change your conception (he can see tracks, although you can't, so the track is there). Than you follow the Indian for one year and more and more you learn to see tracks in the snow, in the dirt and within the years yo can detect every little aspect on the ground and so you change your perception. Through all the years in the forest you learned a lot about every animal living there and some day you have the ability to find any animal you want, you are able to act like the Indian... Every other would say that your action-level is magic (like you did it the first time).

To summon an individual ( a deamon or whatever) in the whide sphere of beeings (when you know the rules) is complex bit you just need to know the rules. Than you can force a beeing to do things for you (a lot of people would call that 'magic' as well). This is certainly black magic, because you force and do not respect the will of the summoned individual. This is the general definition of 'black' in this context.

When you do things not in harmony with the will of the absolute AND the will of the beeing, the person, or whoever is involved, you do not respect their free will or the will of the absolute and what you do is 'black'. In this way you can practice black magic, black healing, black regulating, black trading and so on... Black means: NOT in harmony. When you do your stuff in harmony, you do not Need 'magic', and if you need it nevertheless - you will get the magic power suddenly from the absolute. We knor examples of this magic powers when People rescued another for example...

But there are a lot of human inkarnations in the world who belief (god-averted) in "needings" and fear of having too little and sattisfite their starvation by consuming others or the planet - this is black magic as well. And sadly this plays an importand role in the direction of the mass (politics) today, because the black mind-set behind is widespread and popular…

You detect the real motivation at "the fruits" (like it is already remarked in the bible (Mt7/18)). What is their intend? Which reward do they want?

You find the answers in your threads before! It depends on their worldview and their handling with the world and with themselves, thus the fokus of their consciousness (consumption (needing) vs harmony ("godgiven enough"))

It seems that the fruits in the world (wars, factory raming, hunger,poisoning with Fluorid ANTIbiotics and many more) reveal their motivation (might, manipulation, farming, destruction) because of the mind-set: "I Need, I must regulate, I am in a higher value than other beeings…"

But this phenomenon of "crazy mind set" is not only under the british policy makers. This plague goes around the world since thousand of years… Therefore from Jesus to Sri Caitania - a lot of beeings tried to warn us, showed us the alternative (divine, re-connection with the absolute). But with every day the plant of bad fruits grows...

Therefore it is so important that some of us begin to "shine", try to re-fokus their mind-set on god. This has an important Impact to the world-consciousness. (again the bible: "...where two or three come togehter in my Name (this consiousness) - Mt 20/18).

And the effect is already proven in Quantum Physics. (see your other threads or the Research of Amid Goswami). So: We have all the "keys", which are necessary to "change the world"...

I am sorry, I do not get clearly how your response should be aligned with the question strictly related to the oeuvre of Pier Paolo Pasolini, that is the mainpoint and not the question of gnosis/ortodoxy/heterodoxy/christianity/any other kind of spirituality if not related to Pier Paolo Pasolini. Maybe I just did not understand your point, could you please kindly rephrase or comment on your answer? Thank you.

They need not have that much expertise. If you consider the fact that a major part of Oceania still remains essentially unexplored.

Page of History. The term itself was introduced in 1909. As far as I know, Alexander Maksimov used the term first (Maximow A. Der Lymphozyt als gemeinsame Stammzelle der verschiedenen Blutelemente in der embryonalen Entwicklung und im postfetalen Leben der Säugetiere. Originally in: Folia Haematologica 8.1909, 125—134. Republished in: Cell Ther Transplant. 2009,1:e.000040.01. doi: 10.3205/ctt-2008-en-000040.01

As a follow-up question, Is it possible to use CLC (Genomics workbench) to identify ?

Wel ok, Barthe's "Mythologies" what about them?

Modern mythologies should have had the time to develop until this day.

- Mythologies changing shape?

- New mythologies? - I don't know..

"modern" and "mythology" seems to me a contradiction in terms.. succes anyway! - let's hear what you can make out of it!

These might help:

1-Silvio, Teri (2010). Animation: The New Performance? Linguistic Anthropology. 19: First published: 19:

https://doi.org/10.1111/j.1548-1395.2010.01078.x

2-Condry, Ian (2013). The Soul of Anime: Collaborative Creativity and Japan's Media Success Story. Durham, NC: Duke University Press.

3-Thomas, Jolyon Baraka (2012). Drawing on Tradition: Manga, Anime, and Religion in Contemporary Japan. Honolulu: University of Hawai'i Press.

Have a look at this also

Let me see whar the scholars of the highly developed nations say.

Here are some more:

Chapter 5 of Peter Osborne, ed., Walter Benjamin: Critical Evaluations in Cultural Theory (Routledge, 2005)

I would highly recommend Susanna Clarke's novel Jonathan Strange and Mr. Norrell (2004), an otherwise realist novel about the rediscovery of magic by two very different men in the early nineteenth century.

Since you also seem to be interested in this question from the perspective of world literature, I would also recommend Patrick Suskind's Perfume (1985), in which a young Frenchman is born in the late eighteenth century with an extraordinary sense of smell, while possessing no scent of his own.

Myths are one of the main concerns of the sociological studies of culture. Throughout history, many cultures and societies have seen their base shaped through these figures. The origin of myth has also been explained through the Greek mythologist Euhemerus’ interpretation, which established that gods had developed from the biographies of human beings. In a vast majority of regions around the five continents, mythology is still present today. Gender is and has been a key element establishing the bases of society for long although it has been “marked by power struggles and inequalities”. Gender hierarchies and inequalities are maintained, among other factors by meanings and belief systems and these are in turn generated through representation. Representations are constructed through language, images and social practices and possess a material as well as symbolic dimension. The myth of women pertaining to the household has been widely spread and long established. As Milestone and Meyer state in Gender and Popular Culture, “men are associated with the public domain and the world of work,  women are associated with the private space of the domestic. The media have played a key role in inculcating these gender myths in contemporary society: from magazines to soap operas, romantic novels, books, TV shows, films and advertisements, among others. Thus, they are crucial in the shaping of culture since their products signify and construct meanings through the use of language and images.

Thanks all for your very interesting responses.  Best wishes.

Myths, by their very nature, communicate metaphorically. Perhaps I should have said, "cannot be wrapped explicitly in language." I can say explicitly, "There was a father who had two sons. The younger demanded his inheritance and left home, insulting his father in the process. The other stayed at home, grudgingly doing what he perceived to be his duty. After falling into bad circumstances, the younger son came home, and his father forgave him, but his brother never did." I have eliminated the mythic elements of Luke 15:11-32, and in so doing have lost the elements that speak to the heart. The story was explicitly stated, but the essence of the parable was lost. The original story with its mythic elements communicates elements of human values and emotion that the mere facts cannot.

Thank you so much for your response.

I need to know if it is a publication or just a draft for citation reasons. Is your job? Actually I think it's a straightforward and understandable text. Thanks again.

Hope attached ones are of interest to you. Regards,

Mustafa

Thank you all for your really interesting answers. I agree with most of them. The importance of myth in human life is a fundamental theme and has been studied by many authors that have a profound vision. It is very difficult to present adequately such a theme in so few words. Even though, I want to make a clearer statement about the question.

First of all, I want to say that myth is a live experience and not a static structure. Each person and each society experiences myth, in a very specific way. Either personally or collectively our actions and our imagination are working with myth. In traditional societies, as well as in modern ones, from a personal point of view, we create myths in childhood, in adolescence, and in adulthood: our lives move around them. Jung has demonstrated that.

With human history we have the same: all societies have created their myths and use them in very specific forms, as Joseph Campbell has shown. When I refer to functions, I am speaking of something creative, an experience that is unique, from a personal or an anthropological point of view. Not something static, as Jean Duvignaud has demonstrated when he criticizes Lévi-Strauss. I’m sure that the main focus of psychology and of ethnography should be centered in the particular, the different, the unique and, from there, part to find common patterns, not the other way.

For people who believe, I mean, those who have a deep religious experience, myth is something alive and ever present in their lives.

I agree with Werner and Alison, we, human beings need narratives, as much as we need to breathe and eat. The first human expression of narrative is myth, that’s why language and myth are so deeply interwoven since the beginnings, as Cassirer demonstrated long ago. As Paul Ricoeur has explained, human beings live in time and narratives are the human expression of our experience of time, of life and of action.

The human mind is mythic-poetic, it creates myths as a normal function of our symbolic thinking. That’s one of the reasons there are modern myths, like in literature: Faustus; in cinema: Star Wars or The Lord of the Rings; or in science: the Big Bang Theory. In that sense, Rollo May’s book, The Cry for Myth explores the importance of myth in contemporary American life.

Ernst Cassirer, Gilbert Durand, have demonstrated that myth cannot be understood from a pure rational point of view, it is much more complex and has its own logic, which goes beyond rationalist, functionalist and structural explanations. Myth is embedded in the deep mental layers of human mind. That’s why it is so powerful. Mythical patterns use rhythm, sound, phantasy, images to get into those deep layer of the human mind.

Jim, seek out the scholarly primary resources for various religions. This is hard work and very complex; but it is your task. Remember too that the Ten Commandments on Mt. Sinai when applied to 21st century US are applied in new and different ways because of historical and cultural change.

Hi Sara,

The great Jazz pianist, Charlie Mingus, said "Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that’s creativity."  I applaud your stance as first, researcher, then artist.  As a researcher, you use intentional thoughtful scientific tools to collect your thoughts, explore the background, gaher the information, to arrange your thoughts and direction.  As an artist, you will then interpret your thoughts and information into a tangible, artistic production that brings to bear all of your obvious communication and creative abilities (light, dark, color, texture, composition) to distill and convey in very simple, emotional, and intetional terms, everything you have learned.  To paraphrase the quote from Charlie Mingus, the artist in you will be able to simplify the complex for all of us, those of the diaspora and those who stand outside the diaspora experience, with the compassion to try to understand.  Just as love, hope, and dreams are universal to all mankind,  diaspora, an experience or sense of displacement, is also one of the universal experiences of man.

1) Keep doing your research.  If you are blocked at the moment, there is a fact, a story, or a lesson that your research and your ongoing life experiences will bring, at exactly the right time, to provide a building block, an inspiration, a foundation, or a perspective that you require to complete this project.  Keep doing the work.  The pathway from potential to performance is paved with persistence and perseverance.

2) Look at your history, your culture, your myth, and your experiences, as though examining an expensive and precious jewel.  Look from every conceivable direction, with both eyes open, ready to learn.  Are there other artistic interpreters (sculptors; musicians; actors; speakers; leaders) of the Iranian myths or culture that you admire, and from whom you might draw inspiration, different viewpoints, or fresh perspectives as you seek to share your experiences and distilled findings?

3) After doing the research, you may have to face a monumental decision: will you insert yourself into the story, making it a first person experience and thereby welcoming others into the myth and experience, or will you draw some frame or foundation from the myth, making it a third person experience, to serve as a foundation for the message, the story you wish to show and tell the world?  

4) As the artist, you have the opportunity and the responsibility to make the courageous decision to help us experience, to see, feel, hear, taste, and even smell the essence of the lessons you've learned, and the next steps you want us to take with you in your journey. 

From a biological perspective, the gathering and transmission of knowledge has an intrinsic life value. As Sandra L. Bloom explains in ‘Bridging the Black Hole of Trauma: The Evolutionary Significance of the Arts’, Psychother. Politics. Int. 8.3 (2010): 198-212., human beings are subject to the same “cognitive imperative” that drives other mammals and birds to order the world by differentiating and adapting significant events and sensory elements and unifying them into a cognitive whole (Bloom 2010, 201). Consequently, sharing knowledge about such matters as which plants are edible and which poisonous is crucial for the survival of all species. However, in the case of human beings, this vital cognitive imperative is complicated by our capacity for self-awareness, which involves the perception of our own mortality, for, as Bloom reflects: “How does one place into a meaningful and ordered scheme, the idea of one’s own death?” (ibid., 202). The answer to this question is that “there is a great deal about reality that we simply cannot bear” (ibid.). The function of art is to mitigate the traumatic potential of traumatic though necessary knowledge through metaphor and myth. I would say that here lies the human need to create heroes and gods.

Hello, Emilia:

You can find some data in I. L. Finkel (ed.), 'Ancient Board Games in Perspective: Papers from the 1990 British Museum colloquium with additional contributions', London (British Museum Press), 2008.

Some other references of interest (especially on its archaeological context) are on the website of the British Museum: http://www.britishmuseum.org/explore/highlights/highlight_objects/me/t/the_royal_game_of_ur.aspx

I hope this can help you.

Regards

Try Macrobius, Saturnalia 1.7.19-22:

19 Regionem istam, quae nunc vocatur Italia, regno Ianus optinuit, qui, ut Hyginus Protarchum Trallianum secutus tradit, cum Camese aeque indigena terram hanc ita participata potentia possidebant, ut regio Camesene, oppidum Ianiculum vocitaretur. 20 Post ad Ianum solum regnum redactum est, qui creditur geminam faciem praetulisse, ut quae ante quaeque post tergum essent intueretur: quod procul dubio p52ad prudentiam regis sollertiamque referendum est, qui et praeterita nosset et futura prospiceret, sicut Antevorta et Postvorta, divinitatis scilicet aptissimae comites, apud Romanos coluntur. 21 Hic igitur Ianus, cum Saturnum classe pervectum excepisset hospitio et ab eo edoctus peritiam ruris ferum illum et rudem ante fruges cognitas victum in melius redegisset, regni eum societate muneravit. 22 Cum primus quoque aera signaret, servavit et in hoc p53Saturni reverentiam, ut, quoniam ille navi fuerat advectus, ex una quidem parte sui capitis effigies, ex altera vero navis exprimeretur, quo Saturni memoriam in posteros propagaret. Aes ita fuisse signatum hodieque intellegitur in aleae lusum, cum pueri denarios in sublime iactantes capita aut navia lusu teste vetustatis exclamant.

Apparently there was a Roman tradition connecting the Ianiculus with Ianus.

Existe un libro que se llama: El Tepeyac : Estudios Históricos, que se publicó en el año de 2000, si se pone en contacto electrónico conmigo, puedo proporcionarle una copia digital del mismo, ya que es muy difícil encontrarlo impreso. Mi correo electrónico es: oceloayotl@yahoo.com.mx