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Search results for: celestial in all categories
1315 results found.
132 pages of results.
51. Celestial Events in the Iliad [Velikovsky Archive Website]
... Celestial Events in the Iliad The eighth century, starting with -776, was together with the beginning of the seventh a period of great natural upheavals. Populations migrated, partly to Asia Minor, and other populations descended from the north. The siege of Troy might therefore have been an effort of the Greeks to plant a foothold on the coast of Asia Minor. The true time of the events recounted in the Iliad was the second half of the eighth and the beginning of the seventh centuries before the present era. In Worlds in Collision an effort was made to recognize in the description of theomachy and of the natural phenomena that accompanied the battle of the gods, the events that took place in the sky and on earth between -747 and -687. 1 The Trojan War was waged to the accompaniment of blows exchanged by the planetary gods Earth (Hera), Moon (Aphrodite), Venus (Athene), Mars (Ares) and Jupiter (Zeus). These celestial phenomena could not have taken place in the sky over Troy alone: the entire ...
52. The Orbits of Venus [Pensee]
... ) "Immanuel Velikovsky Reconsidered III" Home¦ Issue Contents The Orbits of Venus C. J. Ransom and L. H. Hoffee Copyright 1972 by C. J. Ransom and L. H. Hoffee Dr. Ransom is a plasma physicist at the Electro-optics and Reconnaissance Group of General Dynamics, Convair Aerospace Division, Fort Worth, Texas. Hoffee is an optical engineer. In 1950, Immanuel Velikovsky suggested that several orbital changes had occurred among members of the solar system (1). These changes resulted in near-collisions between celestial bodies and a reordering of the solar system. In the following paragraphs, known changes in the orbits of comets, commonly considered not to be possible, will be discussed. In addition, calculations which provide approximate orbital parameters for the celestial bodies which Velikovsky contends were involved in these collisions are presented. In Worlds in Collision, the term "comet" often arises with respect to Venus. This is a result of the ancient definition of a comet as a celestial object with an extended atmosphere, and in fact the word ...
53. On Thundergods and Thunderbolts [Maverick Science Website]
... . As to the popularity of this motif, Frazer remarks that "it is a common notion with the American Indians that thunder and lightning are caused by the flapping of the wings and the flashing of the eyes of a gigantic bird." Similar beliefs are also to be found amongst aboriginal peoples of South America. Thus, the Desana of the Colombian rain forest hold that lightning is "a glance the Sun casts upon the earth." How are we to understand this widespread belief whereby lighting is thought to emanate from a celestial eye? The aforementioned Desana tradition offers an important clue: for strange as it must appear to the modern mind, lightning is intimately connected with the ancient sun-god, as we will discover. But why should this be? In the current solar system, needless to say, lightning does not emanate from the sun. That cultures around the world associated the ancient sun-god with an "eye" is well known. In a recent study of the sun in ancient rock art, Miranda Green documented the prevalence of this motif: ...
54. Dark Matter [The Velikovskian $]
... From: The Velikovskian Vol 1 No 2 (1993) Home¦ Issue Contents Dark Matter Charles Ginenthal Just as the medieval astronomers added epicycle after epicycle to Ptolemy's spheres in order to match his geocentric theories with observed planetary movement, so today cosmologists add dark matter to cosmic strings as inflation papering over the yawning crevices in their theory. (1) Nothing so disturbs or infuriates the astronomical community as the concept proposed by Velikovsky, that gravity may not be the only fundamental force governing celestial motion. When Velikovsky proposed this, he asserted a belief that the foundation stone of all astronomical and cosmological thought was in error and brought upon himself unending rage and furor. Velikovsky had questioned that which had always been assumed to be beyond question and settled for all time. Harlow Shapley, nurtured in the Newtonian tradition, expressed his disgust and anger sarcastically because Velikovsky was, apparently, genuinely sorry that I and the likes of me had been misled by Isaac Newton, La Place Lagrange, Simon Newcomb....But it is hard to quarrel with differential equations, ...
55. Saturn's Cosmos [The Saturn Myth] [Books]
... an abstraction. It simply records what the ancients originally saw. It is a literal drawing of the polar sun, passed down from earliest antiquity: the image of Saturn, the Universal Monarch. Rarely do archaeologists, seeking to interpret the widespread "sun" symbols, consult ancient mythology. Yet the myths explain the symbols, and the symbols illuminate the myths. Largely overlooked by archaeologists are the hundreds upon hundreds of myths and liturgies focusing on the cosmic images,, and. Ancient sources reveal a world-wide concern with a concrete celestial form-- an ideal configuration identified as the great god and his heavenly dwelling. The subject is not the present world order, but the former. The symbols, legends, and sacred hymns attempt to preserve a memory Saturn and the primeval Cosmos. THE ENCLOSED SUN When Saturn appeared alone in the cosmic waters, a brilliant band congealed around the god as his celestial "island." This band was the original Cosmos, often portrayed as a revolving egg, a coil of rope, a belt or a shield enclosing ...
56. The Crescent [The Saturn Myth] [Books]
... to present terrestrial observers with two semicircles of light and shadow. The concept of a half-illuminated band immediately places in a new perspective the universal image: is it possible that the famous sun-in-crescent represented not a contrived "conjunction" of the solar orb and new moon (the conventional explanation), but rather the primeval sun Saturn resting over the illuminated portion of his polar enclosure? Certainly the overlapping images and imply that the enclosed sun and sun-in-crescent pertain to a single astral configuration. When O"Neill claimed that the sign symbolized the celestial pole, he took the sign as a kind of metaphor-- an ancient means of representing the revolution of the circumpolar stars around a fixed centre. Others have identified the band as the illusory atmospheric halo which occasionally surrounds the solar orb, while still others explain the band as an abstract "circle of the sky." But the connection of the band with a crescent would suggest a more tangible character. As a test of this possibility several questions require examination: Is Saturn, the primeval sun, associated with a ...
57. The River of Ocean [SIS C&C Review $]
... 1989 (Vol XI) Home¦ Issue Contents The River of Ocean by Dwardu Cardona Dwardu Cardona is Senior Editor of Kronos and Founding Father (in absentia) of the Canadian Society for Interdisciplinary Studies. His writings have appeared in many publications including Topper, The Ubyssey, Pensee, Kronos, The Sourcebook Project, UFO Report, Frontiers of Science, C&AH, CSIS Newsletter, Workshop and Aeon. 1. The Encircling Ocean Chris Boyles has stated that: "To suggest, for example, that serpents always represent a celestial body such as a comet is demonstrably false. Certainly a serpent may sometimes symbolize a comet; but it was also used to represent the ocean (e.g. the serpent of Midgard), both in the way in which the ocean was thought to encircle the land and as an explanation of the eternal rippling motion of the waves, so similar to that of a snake. Similarly it was used to explain the ructions of the earth's surface during an earthquake: snakes live in holes in the ground so what could be more ...
58. 'Worlds in Collision' After Heinsohn [SIS C&C Review $]
... his predecessors: synchronisation of catastrophic accounts can be used to revise the chronology of ancient civilisations; once its chronology is correctly established, the ancient record enables us to assign specifically datable catastrophes to the irregular motions of specific planets; from the most recent catastrophes the record enables us to reconstruct earlier ones in a causal sequence. In Velikovsky's methodology these three assumptions- 'revised chronology', 'identifiable planets', 'reconstructible sequence'- are inseparable and this is his innovation. Others may have claimed to date ancient catastrophes or to name the celestial agents but no one before him claimed that a correctly revised chronology could yield both identifiable agents and a sequence of causes and effects for all the catastrophes within human memory. Though all three assumptions are essential to Worlds in Collision, that work only attempted to show the fruitfulness of assumption (ii): identifiable planets in datable events. His explorations of the other two remained fragmentary, as the posthumous publication of his manuscripts has revealed. His revision of ancient chronology in the Ages in Chaos series never succeeded in forging a complete ...
59. Senmut and Phaeton [SIS C&C Review $]
... From: SIS Review Vol II No 1 (Autumn 1977) Home¦ Issue Contents Senmut and Phaeton M G READE D.S.C., formerly in the Royal Navy and for many years a marine navigator. The "astronomically objectionable" Senmut ceiling is here inspected: with a new identification of some of the constellations, it is found to give strong support for a past inversion of the earth's axis. It is interpreted, moreover, as pointing to a celestial spectacle of such religious significance that it was mythologised and enshrined in permanent record on Egyptian monuments. Students of Dr Velikovsky's Worlds in Collision will be aware that he cites the astronomical ceiling decoration of the tomb of Senmut, architect to Queen Hatshepshut of Egypt, as part of the evidence that the world was at some time "upside down" by comparison with its present day orientation (1). His comments appear to have been based almost exclusively on the description of this ceiling published by A. Pogo in a 1930 issue of the magazine Isis (2). Pogo's principal relevant comments were that ...
60. Exploring The Saturn Myth [SIS C&C Workshop $]
... From: SIS Chronology and Catastrophism Workshop 1994 No 1 (Jan 1994) Home¦ Issue Contents Exploring The Saturn Myth Evidence from Australian Aboriginal Story, Symbol and Art in support of the Polar Configuration by Allan Beggs Representation of the Polar Configuration (David Talbott, 1991) For several years now I have been studying and researching the Theory of the Saturn Myth, written by North American researcher, David Talbott, and published as a series of essays in the journal AEON. The theory involves an ancient celestial phenomenon termed a 'polar configuration' and its impact on all of the major themes of world myth and symbol. In each of the essays the author challenges his readers to search out the themes and test the ability of his model to 'predict' certain (and very specific) mythological connections and/or associations. However, in five major essays on the key subject, world mythology, no mention had been made of Australian Aboriginal mythology. Not knowing much about the subject, but by then familiar with the broad themes of Talbott's theory, I decided ...
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