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Journal articles on the topic 'Animals, Mythical, in literature'
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Kolpakova, Yulia. "Bestiary of Pskov Chronicles Of XV–XVII Centuries: Images of People, Enemies, Wealth and Favorite Curses of Pskov Chroniclers." Metamorphoses of history, no. 29 (2023): 0. http://dx.doi.org/10.37490/s241436770027150-5.
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The article deals with the meanings and contexts of animal name mentions in the allegorical way in the text of Pskov chronicles and narratives. Allegorical mentions of domestic, wild, and exotic animals, as well as the use of epithets associated with animals are analyzed. The sources of literary borrowings referring to exotic and mythical animals such as asp, crocodile, camel, are investigated. The author concludes that chronicles and literary texts are not sufficiently informative to identify historical realities of everyday life associated with animals. At the same time, the sources provide rich ground for the study of expressive expressions in Pskov political rhetoric, historical and moral literature, and vividly characterize the worldview and figurative world of the inhabitants of the borderlands.
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Van Ooijen, Erik. "Beröring och begränsning." Tidskrift för litteraturvetenskap 51, no. 1-2 (December 10, 2021): 172–84. http://dx.doi.org/10.54797/tfl.v51i1-2.1750.
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Touch and Restriction: On the Human-Animal Interface Climate crisis and mass extinction show the need to reshape our understanding of human culture in relation to non-human lifeforms. The article considers touch as a point where the border between humans and other species may be renegotiated. Three supplementary modes of human thought, which combine explanation, speculation, and imagination, are interrogated in terms of how they each deal with the tactility of cross-species interaction: philosophy, mythical representations in literature and art, and documentary film. Interface is used as a common concept for how bodies remain distinct from each other while also being able to connect with each other. First, I present how the interface is conceptualized in general by philosophers like Derrida, Nancy and Harman, and between humans and animals in particulars by thinkers like Wood and Michaux. Then, I relate the discussion to how two mythical motifs, focusing on instances of erotic touch across species lines, have been represented in literature and visual art: Leda and the swan, and Pasiphaë and the bull. Finally, I move on to two documentary films: Robinson Devor’s Zoo (2007) and Nikolaus Geyrhalter’s Unser täglich Brot (2005). The idea of zoosexual intercourse is contrasted to the distanced violence of the industrial keeping of animals. I suggest how touch show the possibility of a cross-species communion otherwise negated by late-modern industrial capitalism.
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Lawrence, Elizabeth Atwood. "The Mythical Zoo: An Encyclopedia of Animals in World Myth, Legend, and Literature Boria Sax." Anthrozoös 16, no. 3 (September 2003): 282–86. http://dx.doi.org/10.2752/089279303786992080.
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Norkaitienė, Milda. "Ethnological Background of the Sheep’ Names." Tautosakos darbai 54 (December 20, 2017): 91–105. http://dx.doi.org/10.51554/td.2017.28527.
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The subject of analysis comprises 287 Lithuanian sheep’ names. According to the author, traditionally the naming of sheep rests on somatic motivation (204 names, or 70.7 percent), including the animal’s color, its inborn or acquired bodily peculiarities or shortcomings, height, complexion, and age. Along with visible features, tactile appreciation of the wool’s quality and audible perception of the animal’s sounds are also important. 25 names (or 8.7 percent) of ethologically motivated zoonyms are related to denotative sphere, being influenced by the animal’s character, habits and manner. 53 (or 18.5 percent) names of evaluative and 5 names (1.7 percent) of subjective motivation reflect not only emotional, but also pragmatic relations between humans and animals. In order to emphasize belonging of the animal as a tangible property to a certain person, the sheep may acquire its owner’s name, surname or a metaphorical denomination of a specific mark that is exclusive to the owner and is tied onto the animal, or cut out on it, etc.Comparison of the motivation and metaphoric character of the names with broader linguistic, ethnological and folkloric context (including stable epithets, parallels, paremias, nicknames, zoomorphisms, the devil’s names and other mythical denominations, endearing names of the animals, customs of herding, relics of folk magic, etc.) shows that naming of animals is such a sphere, research of which enables experiencing vitality of the ancient beliefs, customs, and the mythical worldview. In terms of ethnology, the mythological contents of motivation for the name Rasa (‘dew’) seems particularly fascinating. The name has a magical function, as its etymon relates to the notion of water, thus naming of the sheep aims at ensuring and enhancing the quantity of its milk. In addition, this onomastic situation is far from accidental: a goat is known of having acquired a similar name (in diminutive, Raselė) for similar reasons. Besides, cows are also frequently given names deriving from appellatives or hydronyms related to water, e. g.: Banga (Lith. banga ‘wave’), Upė (Lith. upė ‘river’), or Agluona, Šešupė (Lithuanian hydronyms). Therefore, such phenomenon may be considered a systematic quality of the Lithuanian zoonyms.
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Bello, Mercedes Salvador. "La pantera, el unicornio y la sirena: la evolución de tres motivos zoológicos a través de la literatura inglesa del periodo medieval temprano." Cuadernos del CEMyR, no. 31 (2023): 357–77. http://dx.doi.org/10.25145/j.cemyr.2023.31.15.
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This article provides the results of a research of the impact that a group of English works have had on the reception of the knowledge of exotic and fantastic animals in the literature and culture of the Early Middle Ages in Europe. For this purpose, a series of descriptions of mythical or imaginary animals and beings is analyzed through a selection of texts: on the one hand, the Physiologus in the versions found in the Exeter Book (Exeter, Cathedral Library, MS. 3501) and in Cambridge, Corpus Christi College, MS 448; on other, Aldhelm’s Enigmata and the Liber monstrorum. In doing so, we examine, on the one hand, the idea of the exotic animal with the case of the panther and, on the other, the representation of fabulous creatures such as the unicorn or the mermaid in the early medieval period.
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Segarra, Marta. "Performing Centaurs and the Debasement of Masculinity." Men and Masculinities 23, no. 5 (November 17, 2020): 872–88. http://dx.doi.org/10.1177/1097184x20965456.
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This article examines, in its first part, the symbolic aspects of the relation between horses and men, and the mythical figure of the centaur, most often assimilated to virility and male sexual drive, but also to women and their sexuality. In its second and central part, it focuses on Bartabas and Ko Murobushi’s performance, The Centaur and the Animal (2012) while raising ethical issues relating to performing animals. The essay analyzes how this play deconstructs the opposition between masculinity and femininity, as well as between animal and human, among other oppositional pairs such as reason vs. instinct, activity vs. passivity, verticality vs. horizontality or “inclination,” immunity vs. vulnerability, life vs. death, animate vs. inanimate, among others. It posits that Bartabas’s performance opens the possibility of a posthuman and postanimal perspective on the relation between human and nonhuman animals.
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Cheng, Shuangting. "Mythical images in the novel “The Great Wang” by N. A. Baykov." Litera, no. 9 (September 2021): 89–96. http://dx.doi.org/10.25136/2409-8698.2021.9.36348.
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This article analyzes the mythical images in the novel “The Great Wang” by N. A. Baykov. In this work, the writer depicts such mythical images as the tiger – Great Wang, the wise old man – Tong Li, and the lotus flower. The tiger is assigned a significant role in many works by N. A. Baykov – the novels “The Great Wang”, “Tigress”, “The Black Captain”, “On The Hills and Woods of Manchuria”, as well as the scientific articles “The Manchurian Tiger”, “Tigers in The Far East”, "Tiger Hunting" , etc. The unique peculiarity of the novel under review lies in combination of the expressive techniques of Western literature with the exotic themes of Eastern nature, simple natural worldview of inhabitants of the East. The specifics of the novel lies in the fact that the idea “The Great Wang” is based on the Chinese folk myths and legends, which attach a rather mystical and mythical hue. All forest animals anthropomorphized by the writer have their own thoughts and emotions. The conclusion is made that using mythical images, the well versed in the Chinese culture and folklore writer, combined mythical images with his narrative, and expressed his opinion on the man – nature relations. N. A. Baykov was against anthropocentrism, and advocated for the harmonious coexistence of man and nature. In the current context of deterioration of environmental situation, the reflected in “The Great Wang” ecological problems deserve attention of each one of us. The name of N. A. Baykov should be inscribed in the history of the world ecological literature.
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Džekčioriūtė-Medeišienė, Vita. "Mythical Notion of Mushrooms in Lithuanian Culture." Tautosakos darbai 52 (December 30, 2016): 119–14. http://dx.doi.org/10.51554/td.2016.28870.
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According to the founders of ethnomycology Valentina and Gordon Wasson, it is possible to discern the mycophobic and mycophilic countries. Lithuania belongs to the mycophilic ones along with Russia, which these researchers have investigated (see Wasson and Wasson 1957: 4). In these countries, mushrooms and mushroom picking are important both economically and culturally.The article focuses on the mythical notion of mushrooms in Lithuanian culture and employs the mythical explanations of the origins of mushrooms, the perception of mushrooms as mythical beings, the mythical level and the ritual aspects of the mushroom picking to elucidate it.It is possible to discern two main reasons for mythologizing of mushrooms. First, they are important practically, therefore can acquire cultural meanings. Second, mushrooms are peculiar organisms, occupying the intermediate spot between plants and animals, and therefore characterized by certain mysteriousness.There are two mythical explanations for the origins of mushrooms. According to the first one, mushrooms are chthonic organisms, embodying fertility of the earth (mushrooms as flowers of the earth) and close to the Lithuanian devil and his mythical associates: fairies, sprites. By employing also the dream-readings and other connections of the devil with death and hidden treasures, or money, it is possible to discern several mythical complexes comprising associations between mushrooms and the devil as mythical being in the Lithuanian worldview, namely, mushrooms – earth – the devil; mushrooms – death – the devil; mushrooms – money – the devil. The second mythical explanation of the mushrooms’ origins appears in the etiological legends depicting mushrooms as the God’s gift to the poor people that emerged from the grain or bread spit out by the God or St Peter. This parallel between mushrooms and bread is important to the mythical thinking as well as to the use of mushrooms for nutrition.It is possible to identify mushrooms with mythical beings and people. This aspect is clearly visible in the Lithuanian riddles, according to which mushrooms have human body parts (feet, head), items of dress (hat, pants), or human denominations (uncle, girl). Besides, just like humans or animals, mushrooms allegedly suffer from the evil eye. According to the popular belief, well known across the whole of Lithuania, the sighted mushroom stops growing. The segregation of mushrooms into male and female genders is also important. This is especially vivid in the Lithuanian folksongs depicting war or wedding of the mushrooms.There are beliefs of the mushrooms behaving as agile, sensitive beings or as peculiar forest spirits. They can hear the approaching mushroom pickers and hide from them. According to some Lithuanian legends and the comparative Slavic material, it is possible to assume that boletus (Boletus edulis) – considered the “proper” mushroom in the southeastern Lithuania – could personify the guardian spirit of the forest – the master of the forest. The mushroom picking also has connections with the mythical notion of mushrooms. This activity depends on the mythical principle of the mushroom fortune as the most important one.The mushroom fortune manifests in successful picking, or mushrooms are the embodiment of success. This principle defines the amount of mushrooms that one is able to pick in the forest and the number and kind of mushrooms belonging to each individual picker. The mushroom fortune also involves having and carefully hiding one’s own picking places. The pickers may transfer the knowledge of these places to somebody else only as an inheritance. Mushroom picking may involve certain ritual practices: uttering of special prayers or performing peculiar magic actions aimed at securing the successful picking (throwing of shoes at the leaving mushroom picker, spitting on the first spotted mushroom, and occasional cases of offering). The mythical notion of mushrooms is rather similar in the mycophilic cultures. Numerous mushroom-related Lithuanian legends and beliefs have parallels in the neighboring Slavic countries (Belarus, Russia, and Ukraine). In turn, the ethnographic data from these countries fills in some blank spots in the mythical notion of mushrooms in the Lithuanian culture. In Lithuania, the mushroom picking is not only a means of enriching the food provisions or securing some income. This is a meaningful phenomenon accompanied by ritual and magical actions and representing the traditional Lithuanian mythical worldview.
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Džekčioriūtė, Vita. "Intimidating, Cruel and Violent Motives of the Traditional Lithuanian Lullabies." Tautosakos darbai 65 (July 24, 2023): 145–57. http://dx.doi.org/10.51554/td.23.65.07.
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Lithuanian folk lullabies, as well as lullabies in general, are commonly regarded as a folksong type intended to soothe babies and small children. However, the lullabies’ lyrics occasionally contain intimidating, cruel and violent motives that create a kind of semantic field which might cause anxiety and tension for the children rather than calming them down. The article focuses on precisely such lullabies. It consists of three parts analyzing different texts of the Lithuanian lullabies. In the first part, the author presents texts by which the children are threatened, intimidated, or which mention some dangerous mythical creatures and animals. In the second part, lullabies containing elaborate cruel and violent motives are discussed. In the third part, lullabies conveying a depreciatory attitude towards the child are presented. They reveal the indifference of the adults to the child. In this part, lullabies in which the child is symbolically brought to death are discussed as well.
As revealed by the study, the purpose of the intimidating lullabies is scaring and didactics, while the frightening motives convey the traditional Lithuanian mythical worldview. The occurring violent motives reflect already existing cultural plots. Violent motives in the lullabies are transferred to the animal world using a form of humor. The lullabies can also perform a protective function: either by calling the child “useless” or “about to die”, or by driving away the creatures that could harm it.
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Szántó, Péter-Dániel. "Asbestos and Salamander in India." Indo-Iranian Journal 63, no. 4 (November 11, 2020): 335–70. http://dx.doi.org/10.1163/15728536-06304002.
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Abstract The present paper, an homage to B. Laufer’s “Asbestos and Salamander” (1915), adds South Asia to the story of a remarkable Eurasian cultural meme meant to explain the presence of fire-proof cloth after its manufacturing technology was forgotten, namely that asbestos was the fur of a mythical animal. I argue that none of our Sanskrit dictionaries contain the correct meaning of the term agniśauca, which does indeed mean asbestos. The widely shared motif explains why in Sanskrit literature too we have animals (a nondescript mṛga) by the same name. I examine textual passages from kāvya, purāṇas, as well as Buddhist sūtras and śāstras, to elucidate this topic. I also cite some evidence that in the period between the 9th and the 11th c. some areas of India still possessed knowledge of asbestos manufacturing. However, as for where and when the correlation was first made, I must leave the question open.
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González Cea, David Mª. "Teratología de los vicios en la Emblemática hispánica." JANUS. Estudios sobre el Siglo de Oro, no. 11 (July 18, 2022): 192–211. http://dx.doi.org/10.51472/jeso20221110.
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RESUMEN: La tradición emblemática declara los vicios con símbolos monstruosos. Los emblemas usan con frecuencia motivos teratológicos para expresar las deformaciones producidas por el mal en el organismo social. Es un saber antiguo, mítico y práctico, al servicio de los gobernantes. Mediante esta plástica pedagogía se enseñan las virtudes a través de figuras de nobles animales y los vicios mediante representaciones de monstruos. En nuestro Siglo de Oro, numerosos autores representan los malos hábitos con imágenes de seres irracionales. En este sentido, exponen la caída del orden natural y los graves desórdenes que el pecado original produjo en la creación. ABSTRACT: The emblematic tradition shows the vice by monstruous symbols. Emblem books usually use some teratology motifs to show how evil produces several deformations in society. It is an ancient, mythical and practical knowledge which is at the service of rulers. By means of this artistic pedagogy, virtues are taught through noble animals figures and, on the other hand, vices through monsters. In our Spanish Golden century, several authors of emblems represent vices by irrational creatures. In this way, they express the breach of the natural order and serious deformations which were introduced by the original sin into the creation.
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DIAMOND, CATHERINE. "Human No-Go Zones: Theatricalizing Unintentional and Intentional Wildlife Sanctuaries." Theatre Research International 45, no. 2 (June 24, 2020): 160–78. http://dx.doi.org/10.1017/s0307883320000073.
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Some recent performances have addressed events that created ‘human no-go zones’ such as Chernobyl (CEZ), Fukushima (FEZ) and the Korean DMZ. In the wake of the destruction that results in the absence of humans, non-human residents begin the process of recuperation, and the ‘no-go zones’ become inadvertent sanctuaries for wild and abandoned domestic animals. Each of the following productions takes a different view of what occurs when both the norms of nature and the practices of human societies and economies are profoundly disrupted. In addition, one play has depicted a community exercising a new restraint to establish an intentional ‘no-go zone’ to ensure its own survival. When confronted with catastrophes that threaten the existence of all life, as well as the surprising possibilities of renewal, dramatists employ heightened poetic diction and resort to mythical precedents in the attempt to capture the immensity of both the event and its aftermath.
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Džekčioriūtė-Medeišienė, Vita. "Scaring of Children in the Traditional Lithuanian Worldview." Tautosakos darbai 51 (June 27, 2016): 177–94. http://dx.doi.org/10.51554/td.2016.28890.
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By scaring, the author means short phrases uttered by the grown-ups in order to encourage acceptable behavior of kids, e.g. ‘If you walk by the rye field, rusalka will come out and take you away’ (LII ES 508/77 p. 153). This phenomenon of Lithuanian folklore, pedagogics and culture in general has hitherto attracted not enough scholarly attention; therefore, this article aims at elucidating its most important features and forms of expression.It is not entirely clear, to what folklore genre these forms of scaring should belong. They are close to folk beliefs in terms of their typical structure and manifestations of mythical worldview. However, the scaring presents reaction to certain situations and circumstances, thus being similar to situational sayings. Quite frequently, such occurrences stem from a broader social and mythological background, therefore being capable of evolving into folk legends or ritual-like imitation practices.The scaring of children functions on a twofold basis. Since scaring describes the surroundings and the applicable rules of behavior, it embodies the sensual experience. Children can experience some scary subjects directly (seeing them), while perceiving others through their mythical dwelling places (darkness, reflection in the well, the wavy rye, etc.) or sounds. The diminished possibilities of sensual experience and the obscurity determine the mythical code present in the scaring of children. The opposition between one’s own vs. foreign also plays an important role here: the foreign things tend to be more mythologized and frightening. The relation to reality makes scaring effective here and now, while mythical level encourages children’s imagination and curiosity, making the scaring remarks very catchy.The scaring very much depends on the situation and changes easily; therefore, classifying these instances according to a single criterion is difficult. This article lists four ways of classifying the scaring of children: according to form (the way of presenting the scary things to kids), to the scary subject (what the kids are intimidated with), to the space (how scary things are located in the living surroundings), and to the purpose (what scaring is meant to achieve). Formally, children can be scared with songs (phrases inserted into the lyrics of lullabies), rhymed situational phrases or simple verbal warnings. According to the subject, the material falls into four groups: scaring with no subject (threatening children with physical destruction or some unpleasant physical consequences); threatening with really existing, although mythologized persons (foreigners, beggars, wizards); threatening with mythologized animals; and threatening with mythical beings. According to space, there are also four groups of scaring instances, i.e. those associated with home, yard, close extraneous space, and distant extraneous space. Such scaring reflects psychophysical development of children and their range of spatial movement. The purpose of scaring may include appropriate everyday behavior of children or their ritually meaningful conduct. In the first case, children have to behave appropriately in terms of physiology or social meaning. Besides, by use of such scaring children are kept away from dangerous places (like wells, water pools, forests) or places important to the social welfare are safeguarded from them (including orchids, gardens, crops). The ritually meaningful scaring depends either on the stage of the child’s development or on the festive periods that require certain norms of behavior.The scaring of children constituted an inherent part of the Lithuanian peasant life in the second half of the 19th – the first half of the 20th century. Its prime purpose was forming appropriate social behavior of children. The secondary, although no less important, function was shaping their practical knowledge and mythical worldview. The patterns of scaring altered along with the child’s development, adjusting to the circumstances and the child’s physiologic capacities, yet in turn stimulating the psychophysical development of children as well.
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Vaitkevičienė, Daiva. "The Sacred Coexistence: Wild Animals in the Peasant Homestead." Tautosakos darbai 56 (December 20, 2018): 31–58. http://dx.doi.org/10.51554/td.2018.28471.
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The subject of the article are the grounds of the harmonious relationship between humans and the wild animals living in the traditional Lithuanian peasant homestead. As a point of departure, the author chooses the question from the sphere of deep ecology: on what cultural and worldview grounds do humans construct their connections with other living beings? Although the notion of coexistence comes from the natural sciences and defines relations between different species in the same ecological system, this article deals with coexistence as a phenomenon primarily conditioned by culture – i. e., by the human view of the animals and attitude towards them.The author analyzes folk narratives and popular beliefs in order to establish the character of relationship between humans and four kinds of animals living in the homestead – namely, the grass snake (Natrix natrix), the weasel (Mustela nivalis), the white stork (Ciconia ciconia), and the swallow (Hirundo rustica). In the first part, the author investigates the natural and economical prerequisites for the ecological coexistence of these animals and humans. Having paid much attention to the development of agriculture and formation of the agrarian landscape, she explains timing and causes for the wild animals to settle in the Lithuanian peasant homesteads. The second part of the article reveals the religious causes that lead humans to keep the suitable living conditions for the animals in question, not only protecting and safeguarding them, but also considering them sacred. Until the middle of the 20th century, Lithuanians regarded the grass snake, the weasel, the stork and the swallow to be the guardians of the home, ensuring good fortune with livestock and plentiful harvests. Besides, images of these animals became part of the concept of the soul, finding their way into the stories of birth, death, and afterlife. The grass snake (as perhaps also the weasel) had connections with the souls of the ancestors, while the swallow and particularly the stork were in charge of the reincarnation, since these birds allegedly were able to transport the souls back from the celestial afterworld.The coexistence of humans and animals in the homestead not only joins the different kinds of life and their mythical meanings, but also incorporates deities into this system. The birds embody the atmospheric forces governed by the Thunderer, while the grass snake and weasel are manifestations of the sacred earth. Therefore, we can define the harmonious coexistence of humans and animals in the homestead as sacred.
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Bálint, Péter. "Dialogues of judgement and dream interpretation in folk tales." Boletín de Literatura Oral 11 (July 19, 2021): 117–45. http://dx.doi.org/10.17561/blo.v11.6041.
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Some of the kings in the narrative actually follow Kantian orientation in their judgment and allow the right of necessity to enter into their thinking: they listen to others or (the good sense of) the truthful heart because of their limited or deficient knowledge. Others, delighted with their self-belief and mania for power, throw scorn on the law, on mercy, pardon, and forgiveness, and let themselves be led by anger, stupidity, complacency, stigma and desire for exclusion. In the tale narratives, they are further represented as scholars/wisemen, fortune-tellers, the ‘foresighted’, ancient old men, old women, wizards, taltoses (in the words of folklorist Ilona Nagy “mysterious people of fate”), doubles/doppelgangers, or animals with extraordinary abilities (the ability to speak human languages, or to transfigure themselves), prestigious kings from another country, ministers, advisors, witches who deceive the king (not uncommonly Gypsy women), depending on whether the intention is to link the giver of advice and the meaning of what he says to the sacred (biblical) or the profane (sometimes mythical), as it illuminates his/her existential character.
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Leone, Massimo. "Nature and culture in visual communication: Japanese variations on Ludus Naturae." Semiotica 2016, no. 213 (November 1, 2016): 213–45. http://dx.doi.org/10.1515/sem-2015-0145.
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AbstractThe neurophysiology of vision and cognition shapes the way in which human beings visually “read” the environment. A biological instinct, probably selected as adaptive through evolution, pushes them to recognize coherent shapes in chaotic visual patterns and to impute the creation of these shapes to an anthropomorphic agency. In the west as in the east, in Italy as in Japan, human beings have identified faces, bodies, and landscapes in the bizarre chromatic, eidetic, and topologic configurations of stones, clouds, and other natural elements, as though invisible painters and sculptors had depicted the former in the latter. However, culture-specific visual ideologies immediately and deeply mold such cross-cultural instinct of pattern recognition and agency attribution. Giants and mythical monsters are seen in clouds in the west as in the east; both the Italian seventeenth-century naturalist and the Japanese seventeenth-century painter identify figures of animals and plants in stones. And yet, the ways in which they articulate the semantics of this visual recognition, identify its icons, determine its agency, and categorize it in relation to an ontological framework diverge profoundly, according to such exquisitely paths of differentiation that only the study of culture, together with that of nature, can account for.
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Ghabool, Ehsan, and Mina Ravansalar. "Imagology of Iranians in One Thousand Nights and One Night." European Journal of Language and Literature 4, no. 1 (April 30, 2016): 74. http://dx.doi.org/10.26417/ejls.v4i1.p74-80.
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Imagology is a branch of comparative literature which explores the image of one nation in the literature of another nation. One Thousand Nights and One Night is among the important books which can show the image of different nations and people such as Indians, Iranians and Arabs. Since the oldest version of the book is in Arabic, it is considered an Arabic literary work though it was translated from a Persian tale in the first place. On this basis the study of the image of Iranians in One Thousand Nights and One Night can be included under the definition of imagology. In this article, first we explain, analyze and study the image of Iranians in the book One Thousand Nights and One Night with respect to 1. anthropology (including entertainments, personification of animals, disapprobation of lies and betrayal of spouses), 2. religious and mythical beliefs (including the belief in daevas and jinnis, magic, fire-worshipping and similar plots), 3. politics (emphasizing the position of vizier and his family in government), 4. economics (emphasizing economic prosperity), then we will compare the collected information with the image of Iranians in credited works and in this way we will identify the similarities and differences of Iranians’ image in One Thousand Nights and One Night and the above-said literary works. Finally we come to this conclusion that the similarities belong to the real image of Iranians in the pre-Islamic days and that differences show the image of post-Islamic Iran which is added through Arabic translation.
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Berkley, Karen J. "Female vulnerability to pain and the strength to deal with it." Behavioral and Brain Sciences 20, no. 3 (September 1997): 473–79. http://dx.doi.org/10.1017/s0140525x97591497.
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Sex is one of biology's, that is, life's most potent experimental variables. So, are there sex differences in pain? And are these sex differences applicable clinically? The answer to both questions is decidedly yes, of course. But we still have a long way to go. We have much to learn from the study of females, making use of the lifelong changes in their reproductive conditions as experimental variables. We also have much to learn from animals, especially if we apply what we know about their social lives. However, the challenge in all of these studies is not first to look for some mythical neurological entity called pain experience and then to learn how sex modulates it, but rather to seek to understand the rules by which sex influences all of biology's mutually modulatory factors – social, psychological, physiological, cellular, molecular, and genetic – that collectively create the motivating circumstances we designate as pain. It appears almost beyond doubt that on the one hand these factors interact to make women more vulnerable to these circumstances than men, but on the other hand that women have more varied mechanisms for balance. Happily, the details of these sex differences at all levels biological (social to genetic) are now emerging in a rapidly growing body of literature that promises new insights into and applications for the individual person, male or female, in persistent pain.
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Della Valle, Paola. "Chris Baker’s Kokopu Dreams: A Prophetic View of a Disrupted Post-Pandemic World." Altre Modernità, no. 28 (November 30, 2022): 273–85. http://dx.doi.org/10.54103/2035-7680/19131.
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The global pandemic, with its multiple and far-reaching disruptions, has forced us to rethink and rewrite the world we live in. Chris Baker’s novel Kokopu Dreams (2000) sounds somehow prophetic today in the aftermath of the Covid-19 crisis. His work could be labelled as “speculative fiction” and placed among the umbrella categories of magic realism, science fiction and post-apocalyptic fiction. Set in Aotearoa New Zealand, the story focuses on the life of the few human survivors of a rapidly-spreading deadly illness caused by the rabbit calicivirus, illegally introduced into the country. The calicivirus has mutated and killed almost all the human population, who is now living in a land controlled by animals and spirits. The novel is also a template of transcultural writing, mixing Māori creation stories, Christian and Celtic mythologies, scientific issues and aspects of everyday life. Having grown up in a contact zone of different cultures―Baker is of Polynesian (Samoan), Anglo-Saxon and Celtic origin, but regards himself as a “Pacific” person―he shares that multiplicity of belonging which is a typical condition in the Pacific region today. Baker deals with a physical and cultural collective trauma, and the process of re-signification of the ethos in a bi-cultural country made of people of mixed ancestry, European and Māori. The re-elaboration of the epidemic experience is therefore based on both a Western rational representation and an indigenous mythical one.
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Hrvatin, Klara. "Japanese Artists’ Responses to COVID-19." Asian Studies 10, no. 1 (January 19, 2022): 183–209. http://dx.doi.org/10.4312/as.2022.10.1.183-209.
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Artists are responding very differently to the COVID-19 around the world. In Japan, this has been manifested in artistic production of the mythical creature called Amabie, one of the yōkai. Most often, it appears as a mermaid, with both animal and human features recognizable by its three limbs, long hair, beak-like mouth and body covered by scales. This is a mythical character which, according to legend, allegedly predicted the plague and advised people to share drawings of its image with each other, thus protecting them from diseases. The character was documented for the first time in 1846 in one of the early kawaraban newspapers. This paper presents a new wave of Amabie that overran social media when COVID-19 seriously affected Japan. The author focuses on the world of art, where the character distinctly stepped to the fore, and examines the characteristics of Amabie’s interpretation by selected artists. One of the first to attract special attention in this respect is the artist Shigeru Mizuki (1922–2015), a master of the yōkai genre, whose comic book featuring Amabie was revived in the midst of the pandemic. He was followed by other illustrators, designers and artists or groups of artists. Utilization of the character of Amabie as a talisman, however, is specific not only of the artists’ domain. The mass popularization of the character, including drawings, puppets, paper sculptures, costumes, sweets, tattoos and the like can be followed through all kinds of social media. The paper attempts to lay stress on the phenomenon of the struggle of Japanese society with COVID-19 through the prism of popularizing Amabie folklore, which has become in the last few months an internet meme and mascot of pop culture that has spread around the entire world.
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Alonso-Recarte, Claudia. "“They Stood like Men”: Horses, Myth, and Carnophallogocentrism in Toni Morrison’s Home." MELUS 46, no. 2 (June 1, 2021): 87–110. http://dx.doi.org/10.1093/melus/mlab019.
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Abstract Toni Morrison’s fiction has frequently attracted critical attention on account of her strategic use of myth (whether classical or Afrocentric) and symbols. This paper examines the role that horses have, as rhetorical constructs, in strengthening the mythical and symbolic unity of her tenth novel Home (2012). Horses have figured widely in the articulation of African American history and letters, often serving as symbols of the abused slaves upon whose bodies the equipment and instruments of oppression and bondage were violently placed. Within Morrison’s cornucopia of animal imagery, their presence is essential for an understanding of the rituals that are so much a part of the novel’s exploration of masculinity and the overcoming of trauma. The horses in Home stand as mythopoetic agents around whom the problematic completion of rituals revolves. As namely linguistic constructs, the rhetorical devices and choices employed in the description of the horses and their final fate points to a discourse that signifies on the structural tensions that are characteristic of classical mythology but that also draw on the African American communal experience. At the same time, they invite a reading of Morrison’s ritualistic pulse through Jacques Derrida’s carnophallogocentric schema. The schema links together the different motifs and interspecies similes and metaphors that populate the text, enabling a deconstruction of the “centaur” image that lies at the heart of the protagonist’s homecoming journey
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Xiao-bing, Zhao, and Zhao Wenqing. "About the Chinese Book “The Book of Poetry”." Humanitarian Vector 16, no. 1 (February 2021): 25–34. http://dx.doi.org/10.21209/1996-7853-2021-16-1-25-34.
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“The Shi Jing’’(‘‘The Book of Poetry”） is one of the first poems in the world, including Chinese poems, from the 11th century BC to the 6th century BC. During this period, about 3 000 verses appeared, of which 305 poems were selected by Confucius. Poetic texts in “The Shi Jing’are divided into three categories: regional songs, odes, hymns. The composition of the poems uses such techniques as Fu, Bi and Xing. These poems constitute the creative source (source) of Chinese poetry. “Fu”，“Bi” and “Xing” are important artistic features of “The Shi Jing”. “Fu”” - direct narration, parallelism. “Bi” is a metaphor, comparison. “Sin” means “stimulation”， it first speaks about others, then about what the poet wants to express. Fu and Bi are the most basic techniques of expression, and Xing is a relatively unique technique in “The Shi Jing”， even in Chinese poetry in general. “The Shi Jing” is an excellent starting point for Chinese literature, which has already reached a very high artistic level from the very beginning. "The Shi Jing” affects almost all aspects of the early social life of ancient China, such as sacrifice, banquet, labor, war, love, marriage, corvee, animals, plants, oppression and resistance, manners and customs, even astronomical phenomena, etc. It became historical value for the study of that society. The overwhelming majority of the poems in “The Shi Jing”reflect the reality, everyday life and everyday experience. There is almost no illusory and supernatural mythical world in it. As the first collection of poetry in China, “The Shi Jing” laid the foundation for the lyrical and realistic tradition of Chinese literature. “The Shi Jing” also has a huge impact on the genre structure and linguistic art of Chinese literature, etc., which is a role model for writers of later generations. “The Shi Jing”has already been translated into the languages of the countries of the world. “The Shi Jing”has been influencing Chinese poetics; it has become the source of the classical realistic tradition and literature in China. Lively description is essential for historical, anthropological and sociological research. We expect that as the cultural ties between China and Russia deepen, as well as the popularization and spread of Chinese-Russian translations, more and more Russian people will read “The Shi Jing”， study “The Shi Jing”， the Russian translation of “The Shi Jing” will improve and play its role as the original classic of Chinese literature. “The Shi Jing”is a book that cannot be read or translated forever. Keywords: “The Shi Jing” （“The Book of Poetry” )， regional songs, odes, hymns, artistic features, Chinese unique cultural value
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Rasche, Michael. "Kontiguität und Similarität der poetischen Sprache der Antike." Bochumer Philosophisches Jahrbuch für Antike und Mittelalter 17 (December 31, 2014): 1–26. http://dx.doi.org/10.1075/bpjam.17.01ras.
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Cassirer proclaimed the human as ‘animal symbolicum’. Language, art and religion are manifestations of an symbolic and symbol-creating awareness. The symbols are caused by a movement which is to be characterized as tropical. A symbol can be generated as a metonymic term, based on the principle of contiguity, but also as an metaphoric term, corresponding to the principle of similarity. The perception of these tropical movements draws the attention to the origination of a symbolic term as well as to the changes of already existing terms. The history of the ancient symbolic speech is a history of permanent creations, but also of mutations of meaning. This history is noticeable in Greece for the first time in Homer. His figurative speech is influenced by the mythical contiguity, which yields to a metaphorization and allegorization of the symbols in lyrics and philosophy in the following period, but still remains present in the religious literature. Finally, the symbolic speech of the new Christianity is situated in the non-solvable tension between the principles of contiguity and similarity. A recognition of this history of the ancient symbolic speech is required for its subsequent analysis, which is especially important for Christianity, for whom the ancient symbolism is normative, as well as for the philosophy, which desires to recognize its own history.
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Cioancă, Costel. "Semiotica dreptului de a visa: dimensiuni mitice ale timpului din basmul fantastic românesc." Anuarul Muzeului Etnograif al Transilvaniei 34 (December 20, 2020): 151–70. http://dx.doi.org/10.47802/amet.2020.34.08.
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"Semiotics of The Right To Dream: Mythical Dimensions of Time From The Romanian Fantastic Fairy Tale A fundamental concept of human existence as a species, Time has always been a defining landmark of the depth of thought of homo sapiens. With religious or scientific character, the ensemble of myths, beliefs, ideas, ideologies, representations and significances given to this concept led, …in time, to the birth of a rich, distinct and complex symbolic imaginary. Both a physical continuum (space-time in which biological, chemical, physical and mechanical processes occur that cause changes in Nature) and a philosophical one (events are perceived and cognitively systematized by man from the past to present towards future), Time it has always aroused peoples interest. We have deities of Time (Cronus, Zurvan, Maku). We have, also, the characteristic concepts that mark the fictional-mythical transfiguration and the triumph of the irreducible search for the truth of meaning. Such as the promise of a (possible) paradisiacal land of eternity, such as the Aion concept of the ancient Greeks (in the sense of cyclical time/eternity), or the existence of specialized divine beings (Moirs of ancient Greece, Roman Parce or Scandinavian Norns) who measure the profane time (past, present, future), and relates it to the celestial, relativistic, perpetual-eternal time. From the area of pure philosophy who approache the subject, inevitably passing through the field of quantum physics that tries to define as precisely as possible the notion of Time (definition, dimensions, units of measurement etc.), we have approaches to this concept at the level of music, literature, art. An true illud tempus, moving the content from metaphysics to myth, and viceversa, there are the many reflections of famous people about the concept of time. Approaching topics about the existence of ,,fashionable” references (billionaires, famous or just controversial politicians, footballers, actors, etc.), we have a post-modern mythological imaginary offered daily by Time Magazine, The New York Times, The Sunday Times etc. As well, being an important landmark in the editing policy, we have a font agreed by more and more magazines, periodicals, publishing houses - Times New Roman. The social life of the traditional Romanian communities, who generates and consumes fantastic fairy tales, tried to reconcile the human activities with the constant phenomena of the environment (terrestrial, cosmic). Starting from certain constants that counted human activity with the cosmic and terrestrial rhythms of Nature (day-night succession; the succession of seasons; the rhythmicity of some manifestations of the vegetal and animal kingdom), the calendars had appeared lunar, solar, solar-lunar, popular, Christian, civil). Their existence and use made that the passage of time to be more easily perceived and memorized. The calendar practices and habits, performed in a predetermined time and in a certain way (= ritual), did nothing but mark in the traditional symbolic thinking the specificity of that human time, to perform in that tradition, in Cosmic Time, trans-human time. This study deal with the valorizations and symbolism given to this concept by the popular imagination from Romanian fantastic fairy tale. The collections of fairy tales offered me some major directions that defines Time, sometimes the traditional imagination being a subtle game of physical constants and mythical-epic variations. Thus, I discovered metaphysical dimensions of time, the reason for linking Time, an optimal time of action, but also the exercise of distance (Time-Space) to be traveled by the hero or realms of eternity, where Time does not even exist as an abstraction… Everything followed, naturally, by a series of conclusions. Keywords: imaginary, phenomenology, hermeneutics, Romanian fairytale, Time "
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KRAVETS, Larysa. "CONCEPTS OF CHRISTIAN CULTURE IN RECENT UKRAINIAN POETRY." Culture of the Word, no. 97 (2022): 61–72. http://dx.doi.org/10.37919/0201-419x-2022.97.7.
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During its long existence, Christianity had a powerful influence on the development of world culture in general and Ukrainian culture in particular. The Bible and other Christian texts determined the formation of the aesthetic foundations of ancient Ukrainian literature and became an inexhaustible source for the creativity of Ukrainian writers of the new era. Today's tragic events actualized in the country’s cultural space religious texts of various genres and themes, which in the literary and artistic sphere became a powerful source of language and expressive means, as well as new contents and ideas. The modern poetic reception of Christian texts preserves the durability of the national literary tradition and at the same time is characterized by numerous different types of innovations. Through the concepts of Christian culture, their reinterpretation, the authors convey the tragedy of the events, the difficult trials that once again befell the fate of the Ukrainian people, and at the same time support and inspire people. The recorded units are divided into groups (1) concepts of God, the Holy Spirit, Jesus Christ, the Virgin Mary and biblical figures (Simon, Pilate, Judas, St. Peter), (2) biblical toponymic concepts, (3) concepts of mythical creatures (angels, beast; animals), (4) object concepts (cross, thirty pieces of silver, cup). It is natural that the concepts of the first and second groups are the most used in modern Ukrainian poetry, and the concepts of the third and fourth groups are less used. The artistic reception of Christian concepts in war poetry is diverse in terms of form and method of use, realized content and functional significance, and frequency of actualizations. Despite the differences in the stylistic and worldview-aesthetic direction of the artists’ creativity, they have in common an appeal to Christianity as the spiritual core of national culture. Concepts of Christian culture are emotional and meaningful clots of collective memory, spiritual culture, which deepen the content of poetic texts, appealing to universal values, evoking a wide range of associations. The actualization and reinterpretation of these concepts helps convey the tragedy of the events, the difficult trials that befell the Ukrainian people, and at the same time support and inspire people. Their use in poetic texts testifies to the bibliocentricity of the linguistic thinking of Ukrainian authors.
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Safonova, Natalia V. "NARRATIVES OF THE SO-CALLED “NOTEBOOK” OF PATRIARCH MACARIUS IBN AZ-ZA’IM IN CONTEMPORARY DISCOURSE." Journal of the Institute of Oriental Studies RAS, no. 4 (18) (2021): 232–38. http://dx.doi.org/10.31696/2618-7302-2021-4-232-238.
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Macarius Ibn al-Za’im, primate of the Orthodox Church of Antioch, is interesting to Russian researchers first of all because of his travels to the Russian lands, which were later described by his son, and became an important source on the church history and culture of Eastern Europe. But the legacy of Macarius — his translations of Greek theological literature, made for the Arabic-speaking Antiochian flock, is an equally important source since it allows a better understanding of the Orthodox world of Syria of 17th century. The article examines several narratives from the so-called Notebook of the Patriarch, in which he included excerpts from Physiologus, that was very popular across the Christian world (a collection of allegorical stories, where descriptions of plants, minerals and animal habits, as well as mythical characters are compared with narratives from the Holy Scriptures). By this time, the Physiologus was known to the Western and Eastern Christian worlds, mainly as part of the bestiary tradition. Its entertaining stories were very often included in sermons as examples of struggle between virtues and vices and served as a source for the pictorial narrative in the temples. In some Latin and national bestiaries as well as in encyclopedias (for example, in books about Nature), allegory could be omitted, and then these stories acquired a “pseudo-zoological” character. Excerpts from Notebook of the Patriarch were first published by Nicholai I. Serikov and translated into English. We are interested here in the substantive differences of above narratives from the original Physiologus and possible borrowings from other sources.
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Ulric, Karen. "Mythical animals: a reference pathfinder." Collection Building 15, no. 3 (September 1996): 32–35. http://dx.doi.org/10.1108/01604959610126037.
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Tsolyk, Nataliia. "LITERARY VISION OF HISTORY IN THE WORKS OF MICHAL TCHAIKOVSKY." Polish Studies of Kyiv, no. 37 (2021): 354–66. http://dx.doi.org/10.17721/psk.2021.37.354-366.
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Polish prose of the “Ukrainian school” in Polish literature, which in its artistic, aesthetic and ideological content was quite a noticeable phenomenon and still remains little studied in Polish and Ukrainian literary criticism. It is also important for us that the concept of literary Ukrainianism is reflected here. This is especially true of writers on the Ukrainian-Polish borderland, many of whom idealized the common Polish-Ukrainian history and were passionate supporters of the Cossacks, as well as those who were fierce opponents of the latter. It can be argued that romantic frontier prose also impresses with all the variety of themes, motives, topos, first of all, related to Ukraine. This is what prompted to choose the object of study of the artistic and textual array of creative heritage of Mikhail Tchaikovsky. The coexistence in the works of romance of myth and history was considered obvious, because historical events were to confirm the truth of the mythical story, the myth, in turn, was to give meaning to history. Given this, this study is relevant and timely, and this approach is quite justified. Tchaikovsky is considered the father of the Polish historical novel. The writer built his works on the basis of Walterscott’s model of the historical novel: a combination of love and historical-political plots. The work is a further step towards rethinking the place and role of Tchaikovsky’s work in Polish romanticism through the prism of the features of historical prose. At the theoretical level, it is an attempt to scientifically read works in broad connection with historical, social and cultural factors. Michal Tchaikovsky’s works on Ukrainian historical themes are undoubtedly a relevant and insufficiently covered topic in Ukrainian Polish studies, so they need new approaches and interpretations. The obtained results, no doubt, can be used in an in-depth and comprehensive study of the history of Polish and Ukrainian literature of the Romantic era. Work experience is also useful in conducting special courses and special seminars, will help in writing new textbooks and manuals, enriching modern knowledge of the theory and history of the “Ukrainian school” of Polish romanticism.
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Eslit, Edgar R. "Use of Mythical Creatures in Folk Literature of Southeast Asia: A Comparative analysis." IJRAEL: International Journal of Religion Education and Law 2, no. 2 (August 1, 2023): 89–96. http://dx.doi.org/10.57235/ijrael.v2i2.493.
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This paper presents a comparative analysis of the use of mythical creatures in Southeast Asian folk literature, focusing on the dragons in Javanese folktales from Indonesia, the naga in Thai folklore, and the aswang in Filipino mythology. The paper examines the historical and cultural context of Southeast Asia, the evolution of folk literature in the region, and the role of mythical creatures in Southeast Asian culture. It analyzes the similarities and differences in the portrayal of mythical creatures across different cultures, identifies common themes and motifs in Southeast Asian folk literature, and evaluates the significance of the use of mythical creatures in conveying cultural values and beliefs. The paper concludes that the use of mythical creatures is an important aspect of Southeast Asian folk literature and highlights the implications of the study for future research in the field. The findings contribute to a deeper understanding of the cultural and historical heritage of Southeast Asia and shed light on the unique features of its folk literature.
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Holmes, George, Thomas Aneurin Smith, and Caroline Ward. "Fantastic beasts and why to conserve them: animals, magic and biodiversity conservation." Oryx 52, no. 2 (July 24, 2017): 231–39. http://dx.doi.org/10.1017/s003060531700059x.
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AbstractThere is a broad set of human beliefs, attitudes and behaviours around the issue of magical animals, referring to both mythical animals not recognized by science and extant animals that are recognized by science but have magical properties. This is a broad issue ranging from spiritual beliefs around mythical animals living in Malagasy forests, to cultural heritage associated with the Loch Ness Monster in Scotland. Beliefs and behaviours around magical animals can have positive and negative impacts on biodiversity conservation goals. Yet, so far, the discipline of conservation biology has not adequately considered magical animals, neglecting to account for the broader knowledge from outside the natural sciences on this issue, and taking a narrow, utilitarian approach to how magical animals should be managed, without necessarily considering the broader impacts on conservation goals or ethics. Here we explore how magical animals can influence conservation goals, how conservation biology and practice has thought about magical animals, and some of the limitations of current approaches, particularly the failure to consider magical animals as part of wider systems of belief and culture. We argue that magical animals and their implications for conservation merit wider consideration.
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Rehman, Shazia. "INDIAN MYTHOLOGICAL HYBRID FORMS IN CONTEMPORARY INDIAN ARTWORKS." International Journal of Research -GRANTHAALAYAH 4, no. 12 (December 31, 2016): 155–69. http://dx.doi.org/10.29121/granthaalayah.v4.i12.2016.2405.
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In this paper I have highlighted those art works which have hybrid/composite imagery. These images are not only appealing visually but also have strong connections with Indian Mythology. In Indian Myths these are considered as heavenly being and are mentioned in mythological stories in many forms such as aerial or atmospheric mythical animals, terrestrial mythical animal, and aquatic mythical animals etc. I have provided analysis of these types of images which are a part of Indian contemporary paintings with a new interpretation of meaning. I have included variety of these images and distributed them according to their physical appearance. For this paper I have chosen those contemporary Indian artists who have maintained a relation with their philosophy, mythology as well as with present scenario. They have reinvented the meaning of Indian mythology by giving a new appearance of its idioms and metaphors. In contemporary art I have surveyed hybrids or composite images personified into a new expression.
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Mason, David, Sigurd Hoel, Sverre Lyngstad, Toni Morrison, Annie Dillard, Reynolds Price, Alice McDermott, Susan Howatch, and Jay McInerney. "Mythical Histories." Hudson Review 45, no. 4 (1993): 659. http://dx.doi.org/10.2307/3852497.
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Gao, Fen. "Virginia Woolf’s Mythical Method." Style 57, no. 2 (May 2023): 225–29. http://dx.doi.org/10.5325/style.57.2.0225.
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Bowman, Laurel. "Mythical Monsters in Classical Literature by Paul Murgatroyd." Phoenix 64, no. 1-2 (2010): 214–16. http://dx.doi.org/10.1353/phx.2010.0008.
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Khamraev, A. "RABGUZI AND MYTHICAL CONSCIOUSNESS IN ANCIENT KAZAKH LITERATURE." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 312–17. http://dx.doi.org/10.51889/2020-3.1728-7804.48.
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The article is devoted to the study of the philosophical views of the famous Turkic writer of the 13th early 14th centuries. Rabguzi. The unification of different religions and multilingual communities into a single state of Altyn Horde under the leadership of the descendants of Genghis Khan led to the establishment of monotheistic views. In accordance with social requirements, Rabguzi introduces different peoples to the main categories of the great monotheistic religion. Having studied all the previous stories on the Koranic motives, Rabguzi combined and developed well-known religious stories about the creation of the earth. Human nature is one of the most important problems of ancient religions. According to religions, Adam was always trying to find a natural meaning for his life. He hoped to understand how and why he was given life. In Rabguzi's work, the riddle of human nature is given a strict answer from the point of view of religion, and therefore its scientific value is high.
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István, Józsa. "Faustus. The mythical memory." Studia Universitatis Babeș-Bolyai Theologia Catholica 65, no. 2 (December 30, 2020): 71–89. http://dx.doi.org/10.24193/theol.cath.latina.2020.lxv.2.04.
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The figure and story of Faustus is part of the European cultural heritage, and as it usually, even inevitably happens with legends, it lives further in the adaptations of later periods and authors . It is mainly linked to Goethe’s name, his figure became well known and immortal in his works. Ever since Goethe, all authors – who respect themselves – in German literature must write a new Faustus, while in other nation’s literatures newer and newer paraphrases were born, which on their turn gave rise to further adaptations, and the scientific, aesthetic etc. literature also has gotten richer. However the canonized, more precisely, classicisized framework of interpretation is not transgressed by any of the newer writers and poets of the past centuries, moreover it is only the form of the legend that is rewritten – naturally with the aim of modernization. All of that as part of the literary heritage. As far as the problem of original sources is concerned: what can be regarded as a source and what is adaptation, which are the works that motivated writers, are just a matter of the preliminary work of the interpretation. On the other hand the problem that within the ancient, mythical tradition there is an original, ancient Faustus legend, does not raise any attention as that is “mere raw material”. The truth is ... that the beginning that has been preliminarily, yet directly definitory for centuries, is that original force that is given in the topic and thus it is difficult to bring it to the surface, preferably independently from the heritage that was built upon it. As far as the time dimension is concerned, we are searching in an undefineable, open past, moreover it is most probable that the legend itself is not entirely original, so to say, but it is the adaptation of a more ancient idea or topic. And by this its symbolism and hidden semantics lose their European characteristics.
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Guillory, John. "The Period of Literature." PMLA/Publications of the Modern Language Association of America 115, no. 7 (December 2000): 1972–74. http://dx.doi.org/10.2307/463619.
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On the occasion of the millennium it seems appropriate to reflect yet once more on the subject of the canon, if only to set the canon debate of the 1980s in relation to the longue durée of Western writing. There is a lesson in the fact that the turn of the millennium evoked a pervasive sense of anticlimax. History follows another and more elusive rhythm than the cycles of the calendar or the expectations of short-lived human beings. In retrospect, the debates of the 1980s greatly overestimated the stakes and possible consequences of “opening the canon,” not because there were no stakes or consequences, but because the concept of the canon belonged to the order of a mythical time, the order of millennial expectations. If it was never true that the canon was irrevocably closed to the revision and reordering of its supposed monuments, this is not to say that the tendency of verbal artifacts to solidify into monuments does not need to be resisted and that the struggle to prevent the schools from becoming the agents of this monumentalization must sometimes take the form of mythical antagonism.
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Haselswerdt, Ella. "COUNTERMYTHOLOGIES: IPHIGENIA'S ANIMAL PART." Ramus 52, no. 1 (June 2023): 36–39. http://dx.doi.org/10.1017/rmu.2023.6.
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Early in the first act of Shorter and spalding's …(Iphigenia) the carousing band of Argive soldiers cum frat boys dumps the body of a deer stage left, close to the audience. A spotlight is trained onto the carcass, and there it remains: as the bodies of Iphigenias pile up alongside it through Act I; as the Iphigenias are revivified and we enter a new conceptual plane in Act II; as the mythic plot reconvenes in Act III; and during the curtain call, when the cast, musicians, and crew come onto the stage to take their bows. At one point, I half expected the ensemble to smile wide and extend their arms towards the rigid body of the deer, inviting audience applause for their fellow performer, still, even now, fixed motionless under a spotlight.
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Mingilas, Vilius. "The Mythical Dimension in Saulius Tomas Kondrotas' Novel “The Look of a Grass-Snake”." Jaunųjų mokslininkų darbai 51, no. 1 (August 31, 2021): 67–77. http://dx.doi.org/10.15388/jmd.2021.6.
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The aim of the article is to identify and explain the mythical images used in Saulius Tomas Kondrotas’ novel “The Look of a Grass-Snake”. By transforming pagan and Christian mythical systems, the writer contrasts them with rational thinking. In “New Age“ there is no place for myths and the meanings of figurative language. The mythical dimension in the work is understood as a way of perceiving the world that contradicts the modern idea of progress. S. T. Kondrotas also transforms the meanings of archetypal figures such as fire, sun or grass-snake in his novel. The concepts of life, death, or rebirth gain the different perspectives from archaic and modern world. New mythical dimension allows us to reconsider existential phenomena of human existence in a new light. In this way, the Baltic worldview extends its life in works of art, and the literature, which contains mythical elements, becomes a modern version of the myth.
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Van Duze, Chet. "From Odysseus to Robinson Crusoe: A Survey of Early Western Island Literature." Island Studies Journal 1, no. 1 (2006): 143–62. http://dx.doi.org/10.24043/isj.192.
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This paper examines the history and development of books about islands in Western culture. Islands are prominent in Homer’s Odyssey, and Plato’s island of Atlantis is perhaps the most famous mythical island of all time. The Greeks were the first to develop the island-book as such, but Roman writers showed much less interest in insular themes. The article traces the history of the immrama (medieval Irish accounts of mythical Atlantic island voyages), notes the importance of islands in Marco Polo and John of Mandeville, describes the rise of the isolario, or island-book illustrated with maps, and concludes with the emergence of the Robinsonade.
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Mukhamediyar, А. К. "REFLECTION OF MYTHICAL PLOTS IN CHILDREN'S GAME FOLKLORE." Keruen 82, no. 1 (March 25, 2024): 263–77. http://dx.doi.org/10.53871/2078-8134.2024.1-21.
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It is known that the conscious beginning of the cultural life of any nation is rooted in a myth. From a historical point of view, myth is the first spiritual and cultural form of human consciousness and retains its leadership character to this day. The golden core of every culture is a value system fueled by a mythical worldview. In other words, a myth is a complex worldview closely related to the laws of formation of each culture. The myth depicts the inner spiritual movement of the conscious life of mankind and its relationship with the surrounding nature and the social environment. The myth is reflected in culture as a whole as a model of the world in human consciousness. Mythical narratives arise from the purpose of depicting the world, which raises various questions in people's minds, as compensation for the need to create a complete model by improving unfinished parts of the world that have not yet been "realized" by mythical consciousness. For example, he explains countless questions in his own way, for example, how heaven and earth, the sun and the moon, humanity and animals, and other natural phenomena appeared, thereby creating a mythical model of the world in human consciousness. The article shows that such a representation of real life is the main form of mythical consciousness. In addition, game elements in any myth are analyzed and described. The purpose and objective of the article are to distinguish mythical plots in children's game folklore and emphasise game elements. It is determined that the meaningful and structural commonality of the game with the myth is clearly visible, primarily in children's play.
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Malej, Izabella. "Centaury Andrieja Biełego." Zoophilologica, no. 6 (December 29, 2020): 143–60. http://dx.doi.org/10.31261/zoophilologica.2020.06.10.
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Andrei Bely, like most Russian symbolists, absorbed and transposed mythical characters and stories into his work, especially those born in the ancient times. Centaurs derive their origins from Greek mythology and are most often presented as hybrid creatures (half man, half animal). In Bely’s view, they become a symbol of the dual nature of man who struggles with suffering resulting from the simultaneous belonging to two worlds: humans and animals, matter and senses, spirituality and dark urges. In Bely’s works, the image of these mythical animals serves as an element of an artistic game with the recipient (by analogy to the “games of centaurs”), in the course of which it becomes possible to read the artist’s attitude to the myth about these animals, to the surrounding reality, and finally – to oneself. The myth itself reveals its philosophical, psychological and hermeneutical potential. That is why in Bely’s works the presence of centaurs has a multidimensional character, built on the interpenetration of the tame and the alien, tempered and wild, real and cosmic. All this determines the transgressive quality of the myth of centaurs in the work of the Russian symbolist.
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Garrouri, Sihem. "Mythologizing the Memory of Gloriana." Anafora 8, no. 1 (2021): 81–98. http://dx.doi.org/10.29162/anafora.v8i1.5.
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Consideration of Anne Bradstreet’s poem “In Honour of That High and Mighty Princess, Queen Elizabeth, of Most Happy Memory” (1643) draws our attention to the paramount significance of mythical imagery in shaping Elizabeth I’s posthumous reputation. The examination of this poem illustrates the ways in which Elizabeth’s memory is glorified and discusses the elegiac mythical reconstruction of her image by what Schweitzer aptly labelled a “gendered poetic voice” (307). This project shows that the poet makes good use of myth to write Elizabeth’s afterlife image. It scrutinizes Bradstreet’s mythological depiction of the last Tudor monarch, Queen Elizabeth I, illustrating how a woman poet rewrites the identity of a female sovereign. A close analysis of various mythical, elegiac images celebrating Elizabeth allows us to evaluate Bradstreet’s contribution to her myth-creation. It examines three mythical representations: Elizabeth as an incomparable leader, a Phoenix Queen, and a warrior Amazonian monarch.
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Garval, Michael D. "The Miserable, Mythical, Magical Marmiton." Historical Reflections/Réflexions Historiques 44, no. 3 (December 1, 2018): 72–94. http://dx.doi.org/10.3167/hrrh.2018.440306.
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Revealing paradoxes abounded in early Third Republic French representations of the marmiton, or culinary apprentice. Investigative reportage and reformist discourse exposed apprentices’ miserable existence while still depicting these young fellows as playful and carefree. Conversely, popular marmiton mythology, particularly in children’s literature, idealized culinary apprenticeship, amid glimpses of harsh living and working conditions, while also highlighting admittedly rare opportunities for ambitious apprentices to achieve substantial public success. Max Jacob’s children’s book Histoire du Roi Kaboul Ier et du Marmiton Gauwain provides an emblematic example with its parodic fairy-tale rendering of celebrity chef Auguste Escoffier’s extraordinary triumphs. Ultimately, while enchanting, the rosy popular vision of the magical marmiton obfuscated exploitative child labor practices underpinning the whole culinary enterprise in this supposed golden age of French gastronomy.
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Nishiwaki, Masaharu. "ECOLOGY OF THE DUGONG AND ITS MANAGEMENT." Marine Research in Indonesia 19 (May 10, 2018): 1–6. http://dx.doi.org/10.14203/mri.v19i0.368.
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Today, many people know that the mythical mermaids of legendal stories originated from the animals belonged to the order Sirenia. Sirenians can be devided into two groups, manatees of the Atlantic coasts and the dugong of the IndoPacific area. Table I shows the present living species belong to the order Sirenia.
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Gautam, Mani Bhadra. "Cultural Performances and Practices in Kirtipur: A Mythic Perspective on Lakhe Dance, Arts and Literature of Newars." Cognition 4, no. 1 (January 31, 2022): 71–79. http://dx.doi.org/10.3126/cognition.v4i1.46450.
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Kirtipur is a historical place of Nepal that is important for its geographical location, arts and cultural performances. Majority of the people living in Kirtipur are Newars and they perform special Newar Dance, Lakhe Dance, Satgaunle Jatra, Ghatemangal etc. The performances help to study the Newars arts, culture and literature which are quite interesting while studying from mythical perspective. Myth centers on transformation of consciousness, the hero journey, human feelings, understanding, observation, actions, experiences and, life and death rituals. This study undergoes on cultural performances and spiritual growth of the time derived themes and ideas from a long standing, scenarios/socio-historical context. Primitive mental images inherited from the earliest human ancestors are reflected in Lakhe Dance performances of Kirtipur as they perform in different forms. Objective of this study is to capture the mythical images and present events in field based method relating with human feelings and thoughts in social-survey for views collection. It also subjectivizes on human cruelty, socio-cultural violence and dis-harmony representing the past reality and present excitement for socio-cultural changes in a different way. This article presents a brief sketch of a new perspective on cultural orientation to mythical world as Lakhe Dance reflects practices of the past and creates the meanings to the present. Lakhe Dance is one of the tools to excavate Kirtipur’s history through Cultural Studies in this research that helps to carry out the expected result. I have tried to study and examine the performances and analyze the narratives in Newar literature from mythical perspectives.
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Bilić, Tomislav. "Locations of Mythical Exile: Two Mythical Models Accounting for the Phenomenon of the Diurnal Solar Movement." Mnemosyne 66, no. 2 (2013): 247–72. http://dx.doi.org/10.1163/156852511x584937.
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Abstract Various mythical ‘exiles’, gods (Cronus), heroes (Cadmus), and other individuals (Ophion, Typhon, Ogygus, Briareus) or groups (Cyclopes) were conceived as exiled for various reasons, but mainly because of a struggle with Zeus. Locations of their mythical exile were regularly conceived as distant, extreme, inaccessible, and, sometimes, out of this world. Consequently, the terms sometimes associated with those mythical exiles are ἔσχατα, ἄκρος, and πέρατα. Most of the exiles were at some point placed in Tartarus, a term more or less applicable to a section of Hades; but they were regularly conceived as continuing their existence by the shore of the mythical Oceanus, most probably in the farthest West. In a number of cases, both versions of the story existed, and they probably referred to the same thing: one can be at the ἔσχατα, ἄκρος, or πέρατα both under earth and at its western extremity. This fact is explained by the existence of two mythical models accounting for the diurnal solar movement.
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Riquet, Johannes. "Phantom Islands: In Search of Mythical Lands." Studies in Travel Writing 24, no. 4 (October 1, 2020): 393–96. http://dx.doi.org/10.1080/13645145.2021.1951776.
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Kokbas, Zhazira, Zhanat Aimukhambet, Karlygash Kurmambayeva, Nurgul Smagulova, and Mendykyz Yesmatova. "Mythical Cognition and Artistic Method." International Journal of Criminology and Sociology 9 (April 5, 2022): 3198–202. http://dx.doi.org/10.6000/1929-4409.2020.09.386.
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The aim of the study is to research mythical cognition, which is of particular importance for deep understanding of the issue of mythologism, mythopoetics in literature, and world literary science. The leading research methods for this issue is the analysis method. The specifics of using the mythopoetic method in poetry was given by the poetry of Tynyshtykbek Abdikakimov, the artistic and aesthetic value of mythical knowledge was revealed. The article also analyses the differences between mythological and poetic cognition and proves the value and power of the mythopoetic method in fiction. The system of mythological thinking of a mythological worldview not only determines Kazakh national worldview, but also transfers the fruits of mythical consciousness to the visual system, forming a huge channel of artistic approach. The novelty of the study is determined by the fact that the actual problem of literary criticism was analysed, which is a spiritual value, the transformation of mythological consciousness into poetic consciousness in the poems of the poet, into the basis of images and poetic expressions formed in the system of modern literary thinking. The practical significance of the study is determined by the necessity to study the activity of mythical knowledge in poetics.
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Rajeev T, Anjana. "Writing Ithihasa: Subversion Of Mythical Stereotypes In Select Novels In Indian Literature." Journal of Women Empowerment and Studies, no. 11 (August 13, 2021): 17–21. http://dx.doi.org/10.55529/jwes.11.17.21.
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Anjana Rajeev T. (2021). Writing Ithihasa: Subversion Of Mythical Stereotypes In Select Novels In Indian Literature. Journal of Women Empowerment and Studies (JWES) ISSN:2799-1253, 1(01), 17–21. Retrieved from http://journal.hmjournals.com/index.php/JWES/article/view/42