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By Malgorzata Oleszkiewicz-Peralba

A cultural icon, the Black Madonna is a mix of the Virgin Mary and historical mother-goddesses from Eurasian, local American, and African cultures. She is worshipped and loved by way of hundreds of thousands of individuals all over the world. during this exam of the darkish mom archetype, Oleszkiewicz-Peralba explores the Black Madonna's services within the assorted cultures of Poland, Mexico and the yank Southwest, Brazil, and Cuba. In those 4 geographic settings, the Black Madonna has develop into an emblem of nationwide id, resistance opposed to oppression, and empowerment for the feminine inhabitants. the hole bankruptcy considers the Black Madonna in early East-Central ecu well known spirituality, folklore, and symbolism. bankruptcy discusses the Virgin of Guadalupe and the production of nationwide mestizo id in Mexico. The 3rd bankruptcy follows up with a examine of Afro-Indo-European syncretism related to the Black Madonna in Brazil and the Caribbean. The fourth and ultimate bankruptcy discusses the Madonna within the type of the Virgin of Guadalupe in larger Mexico and the Latino usa. As proven within the Black Madonna in Latin the US and Europe, this respected snapshot has been a logo of motherhood, security, and identification in public ceremonies and personal devotions, whereas subtly turning into a visual manifestation of the mixing of cultures and spiritual ideals through the years and position.

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Extra resources for The Black Madonna in Latin America and Europe: Tradition and Transformation

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Thus, the Orthodox Church stresses motherhood and not virginity, unlike the Roman Catholic Church. 45 A good illustration of the perception of Mary in the Orthodox Church is the Novogrodian painting In Thee Rejoiceth (O Tebie raduietsia). According to Lazarev: “the image of the Virgin [Bogomater’ or God Birth-Giver] is rendered here in its cosmic significance, as the ‘joy of every living thing’” (43). 46 The “Poem about a Beautiful Queen” is a valid indicator of the way Mary is perceived in Russian literature: Beautiful Queen God Birth-Giver!

4 Cross-cultural dressing and other hybrid practices, where multilayered identities are negotiated, are idiosyncratic of postcolonial societies, such as those of Latin America and the Caribbean I describe in the following chapters. Summary My book examines the phenomenon of the Black Madonna, a fluid syncretic blend of the Virgin Mary and ancient Mother Goddesses from Eurasian, Native American, and African cultures who is worshipped and adored by millions of people around the world. In Mexico, Greater Mexico,5 Poland, and Brazil, the Black Madonna, manifested in the figures of the Virgin of Guadalupe, Matka Boska Cze˛stochowska, and Nossa Senhora Aparecida/Iemanjá, has been a symbol of identity and resistance against oppression and the subject of curious iconographic transformations.

In the quintessential Russian folktale “Vasilisa prekrasnaia” (Vasilisa the Fair) (Afanasiev, “Vasilisa prekrasnaia” 159–65), all of the above elements are present. There is the triune old woman represented by the bad stepmother, the dual Baba Yaga, and the good old woman. In the good old woman’s house, the beautiful orphan girl Vasilisa performs all the tasks of a life creatrix, represented by spinning flax, weaving cloth, and sewing shirts. The czar, impressed by her beauty and skills, falls in love and marries her.

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