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Journal articles on the topic 'Artistes – Mythe'

Author: Grafiati

Published: 6 July 2024

Last updated: 19 July 2025

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1

Hamou, Malak Ben. "Jean Genet devant le miroir de la destruction de l’identité." e-Scripta Romanica 9 (December 20, 2021): 122–34. http://dx.doi.org/10.18778/2392-0718.09.10.

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La vie et l’oeuvre de l’auteur français Jean Genet ont toujours été une quête de l’oeuvre d’art absolue. Dans cette quête, trois figures majeures le guideront : le sculpteur Giacometti, le peintre Rembrandt et le funambule Abdellah Bentaga. À travers les oeuvres de ces artistes, Genet découvrira l’identité absolue. Qu’est-ce qui le mena vers cette découverte et quelles conséquences eurent-elles sur l’écrivain ? C’est ce rapport à l’Autre, analysé dans les quatre textes que Genet a écrit sur ces artistes, que nous nous proposons d’interroger dans cet article, notamment à travers le mythe de Nar

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Boudreau, Raoul. "La création de Moncton comme « capitale culturelle » dans l’oeuvre de Gérald Leblanc." Revue de l'Université de Moncton 38, no. 1 (2008): 33–56. http://dx.doi.org/10.7202/018403ar.

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Résumé Un des legs important de l’oeuvre de Gérald Leblanc est d’avoir créé le mythe très improbable de Moncton comme capitale culturelle de l’Acadie. Il y parvient en utilisant des stratégies éprouvées ailleurs, comme l’intégration à son oeuvre d’un récit sur Moncton comme centre fébrile de création artistique et la mise en scène des oppositions parallèles tradition/modernité et ruralité/urbanité. Les handicaps de Moncton à une vocation culturelle en langue française deviennent pour Leblanc des stimulants qui relancent son écriture. La construction symbolique de Leblanc autour de Moncton s’av

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3

Hanquinet, Laurie. "Quand les discours s’entrecroisent : « Sauvons le Montmartre bruxellois ! »." Sociologie et sociétés 43, no. 1 (2011): 305–26. http://dx.doi.org/10.7202/1003541ar.

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En 2003, la dernière cité d’artistes bruxelloise, les Ateliers Mommen, était menacée par des promoteurs immobiliers. Cette affaire reçut une grande attention de la presse qui soutint véritablement les occupants. Comment expliquer un tel appui à des victimes de spéculation, comme il y en a d’autres ? Et pourquoi, malgré de nombreux arguments communs, les médias ne diffusèrent-ils pas les revendications des artistes autour de leurs droits ? L’article démontre, par l’analyse des discours de la presse et des artistes, que la sauvegarde des ateliers dépendit de leur pouvoir évocateur, renvoyant au

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Guédron, Martial. "Excusez du peu ! Notes sur la réception de la « Pietà Rondanini » de Michel-Ange." Circulations et transferts : France, Italie, Méditerranée…, no. 1 (October 18, 2022): 45–54. http://dx.doi.org/10.57086/sources.462.

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Excusez du peu ! Notes sur la réception de la « Pietà Rondanini » de Michel-Ange – Un mythe fort répandu dans les discours et les écrits sur l’art voudrait que, parvenus à un âge avancé, les grands artistes se libèrent des contraintes traditionnelles et trouvent dans leurs ultimes compositions une liberté d’exécution qui s’offre à nous comme un supplément d’âme. L’histoire de la réception critique de la Pietà Rondanini de Michel-Ange en livre une illustration saisissante, bien qu’on ne sache pas toujours où cette œuvre se situe exactement, entre apothéose et sénilité. Car un tel mythe pourrait

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Villeneuve, Lynda. "Mythe et vécu territorial : Charlevoix à travers l’art du paysage au XIXe siècle." Cahiers de géographie du Québec 40, no. 111 (2005): 341–62. http://dx.doi.org/10.7202/022586ar.

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Les représentations du paysage charlevoisien au cours du XIX e siècle font une large place aux normes dictées par l'art du paysage européen, britannique en particulier. Le mouvement esthétique romantique interpréta les signes du paysage charlevoisien en référence à une idéologie agriculturiste et anti-urbaine présente à partir de la décennie 1840 en particulier. Le paysage fut intégré à l'idéologie nationale canadienne dans la seconde moitié du XIXe siècle par les artistes torontois qui recherchaient, à cette époque, l'authenticité des paysages ruraux du Canada. Le paysage charlevoisien fut al

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Robineau, Anne. "La scène musicale anglo-québécoise : institutionnalisation, mutations et représentations." Recherche 55, no. 3 (2015): 559–81. http://dx.doi.org/10.7202/1028379ar.

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Cet article interroge le lien entre la plus grande reconnaissance attribuée à une partie de la scène musicale anglo-québécoise et le développement d’institutions et d’organismes artistiques et culturels anglophones au Québec. Certaines représentations sociales quant au mythe des deux solitudes tendent à se reproduire dans le monde des arts, mais à se transformer aussi dans le cas de coproductions franco et anglo-québécoises qui attirent un public nouveau, encore mal circonscrit, un public bilingue et principalement montréalais. Nous abordons ce sujet en traitant de l’identité anglo-québécoise

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Tirel, Magali. "Klossowski: de la “cervitude” de l’art à l’esthétique du singe." Figures de l'Art. Revue d'études esthétiques 8, no. 1 (2004): 257–77. http://dx.doi.org/10.3406/fdart.2004.1348.

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Si le mythe de Diane et Actéon a inspiré abondamment les artistes de toutes les époques, c’est parce qu’il nous invite tant à une réflexion sur les rapports que l’homme entretient avec les formes animales et les forces divines, qu’à une réflexion sur les limites du regard (c’est-à-dire sur les limites de la connaissance) et des langages (c’est-à-dire de la représentation et de la transmission). Mais vu par Klossowski, le parcours d’Actéon devient l’histoire d’une errance aux limites de l’identité, qui nous emmène dans le lieu sans lieu du désir où l’artiste qui tient à divulguer ce qu’il a vu

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Alba Pagán, Ester, and Aneta Vasileva Ivanova. "Du côté de chez la nomade. La femme gitane : mythe, photographie et auto(re)présentation." HYBRIDA, no. 1 (December 3, 2020): 129. http://dx.doi.org/10.7203/hybrida.1.16871.

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L’article reflet une longue recherche sur la représentation sociale des gitanas (o romi espagnoles). L’un de nos outils d’analyse est la photographie dans le cadre de ses relations avec le régime de la politique visuelle préétablie. Dans ce cas, nous enquêtons sur la manière de construire l’image de l’Altérité faite par des artistes français qui ont visité l’Espagne plus ou moins impliqués dans le paradigme exotique. Plus tard, quelques tendances plastiques plus expérimentales ont essayé d’autres types de regard, non sans des difficultés. Le deuxième paramètre que nous avons utilisé était la r

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Urrutiaguer, Daniel. "Les visions d’un théâtre populaire à Aubervilliers sous les directions de Gabriel Garran et de Didier Bezace." L’Annuaire théâtral, no. 49 (June 7, 2012): 93–111. http://dx.doi.org/10.7202/1009304ar.

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Le théâtre de la Commune d’Aubervilliers a été le premier théâtre permanent de la banlieue rouge sans un soutien initial de l’État. Jack Ralite a appuyé son fondateur, Gabriel Garran, de 1960 à 1984 et demandé la nomination de Didier Bezace en 1997. Les deux metteurs en scène se reconnaissent une relation de filiation dans leurs références à un théâtre populaire émancipateur, centré sur les auteurs vivants. L’article présente et interroge les conditions de la mise en oeuvre de ce projet dans deux contextes sociétaux différents. Les dispositifs de mise en relation des artistes avec la populatio

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De Carvalho, Anithe. "Fin du mythe de l’art underground anti-institutionnel : L’utopie de la démocratie culturelle et l’environnement labyrinthe Vive la rue Saint-Denis ! (1971)." Revue internationale animation, territoires et pratiques socioculturelles, no. 5 (December 11, 2013): 73–88. http://dx.doi.org/10.55765/atps.i5.241.

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Cet article défend la thèse que l’underground artistique des années 1970 a été intégré à l’establishment à l’aube d’une nouvelle idéologie culturelle, la démocratie culturelle, qui s’adresse à un nouveau public. La mise en place de programmes comme Perspectives Jeunesse, Initiatives locales et Explorations a permis de financer des projets comme Vive la rue Saint-Denis ! De nouveaux publics sont rejoints avec des événements socioculturels. C’est l’ère de l’animation culturelle, si prisée par un milieu précis du champ de l’art ayant pour porte-parole Yves Robillard, membre de Fusion des arts inc

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Tanzharikova, A., D. Satemirova, and B. Kelgembayeva. "ARTISTIC FUNCTION OF MYTH IS IN KAZAKH PROSE." BULLETIN Series of Philological Sciences 72, no. 2 (2020): 368–73. http://dx.doi.org/10.51889/2020-2.1728-7804.57.

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The use of the myth in modern Kazakh prose in different senses is of interest to the reader. This allows us to determine how the authors' attitudes towards different literary trends are conveyed in the choice of basic myths to reflect the ideas presented in the myth. Using myths, the author enters into a dialogue with several traditions, and secondly, reinterprets a well-known mythological plot, creates his own image, as a result of which the narrative becomes a myth. The protagonist's mythological worldview is characterized by a special perception of time and space. This scientific article an

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Scarpaci, Joseph L., Eloise Coupey, and Sara Desvernine Reed. "Artists as cultural icons: the icon myth transfer effect as a heuristic for cultural branding." Journal of Product & Brand Management 27, no. 3 (2018): 320–33. http://dx.doi.org/10.1108/jpbm-02-2017-1416.

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Purpose Communicating the national values of artists and the role of product benefits as symbols of national values, infuse iconic national brands. This paper aims to validate a conceptual framework that offers empirical insights for cultural identity that drives brand management. Design/methodology/approach Case studies and cross-cultural focus group research establish the present study’s conceptual framework for cultural branding. Findings Brand awareness of a perfume named after a Cuban dancer and a spirit named for a Chilean poet, reflect authentic emblems of national identity. Informants’

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Vogel, Gerd-Helge. "Les Principaux moments d’après le Faust de Goethe (Hauptmomente zu Goethes Faust) de Carl Christian Vogel von Vogelstein comme interprétation nazaréenne tardive d’un mythe clé de la modernité et ses prédécesseurs dresdois Moritz August Retzsch et Carl Gustav Carus." Revue germanique internationale 39 (2024): 179–207. http://dx.doi.org/10.4000/123f7.

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Grâce aux premières illustrations du Faust de Goethe par Moritz August Retzsch, de 1808 à 1810, une réception artistique intensive de l’épopée nationale allemande s’est instituée dans l’art des artistes romantiques dresdois et s’est étendue bien au-delà du xixe siècle. Chaque génération d’artistes a abordé à sa manière ce mythe clé de la modernité en créant ses propres stéréotypes de la figure de Faust afin de pouvoir l’accaparer à ses propres fins idéologiques. Outre Moritz August Retzsch et Carl Gustav Carus, c’est surtout Carl Christian Vogel von Vogelstein, peintre de cour saxon et profess

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Ghasemi Rozveh, Nasser, and Aida Danaye. "Sindbad Myth in the Poem by Khalil Hawi." International Letters of Social and Humanistic Sciences 64 (November 2015): 150–61. http://dx.doi.org/10.18052/www.scipress.com/ilshs.64.150.

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Extensive use of mystery and myth as a means of expression is one of the most eminent artistic phenomena at new poetry experiences. The reflection of myths in poetry, is the most beautiful and artistic application of mythmaking. With reflection of myths, the mythological world became the parade ground for poet`s imagination and creation and also for mythmaker writer, so it can link past and present, and by this way shows social and political deductions and perceptions for readers, and fulfills human art and cultural needs. Also, Arab current poets used of Arabic and even other old nation`s myt

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Aguirre, Mercedes. "Classical Myths and American Abstract Expressionism: The Case of William Baziotes." Collectanea Philologica, no. 19 (December 30, 2016): 97–104. http://dx.doi.org/10.18778/1733-0319.19.08.

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Abstract Expressionism can be seen as a valid expression of the crisis of ‘Modern Man’ and, as a result, it assumed a central role in the cultural debate of its time. Within this crisis can be situated a new form of representing the ancient myths. William Baziotes, an artist who belongs to the New York School, becomes a modern ‘myth-maker’ who creates metaphors and symbols which refer to primitive cultures and primeval worlds. If a few of his paintings allude in their title to a particular Classical myth, others, without a specific title referring to a myth, have strong affinities with mytholo

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Alessandra Campoli. "Art, Myth and Memory." VISUAL REVIEW. International Visual Culture Review 7, no. 2 (2020): 199–206. http://dx.doi.org/10.37467/gka-revvisual.v7.2647.

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This paper aims at investigating the relationship between collective and cultural memory, myth, and contemporary art practice. Artists in the past have relied on the power of myth to visually speak to their audience, re-presenting myths in an illusionistic way. Today art is not conventionally telling stories anymore and is disentangled from the need for mimesis. How has the relation between art and myth changed outside the framework of representational art? Is the connection between myth and collective and cultural memory used in contemporary art practice? How do art and myth intersect today?

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Gauzer, Irina V., and Evgeny A. Ermolin. "MYTHOPOETICAL IMAGE OF GENIUS ARTIST IN K. BALMONT’S ARTISTIC EXPERIENCE: RECEPTION OF SPANISH ARTISTRY." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 12–21. http://dx.doi.org/10.17223/22220836/39/2.

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The Russian culture of the turn of the XX century is characterized by actualization of the prob-lems of intercultural dialogue. Thus, the analysis of the Silver age is impossible without considering the fact of such a dialogue as a cultural phenomenon. The problem of hispanism reception is considered in the aspect of creative genius in K. Bal-mont’s works. In the context of Balmont's symbolism, it is important to take into account his specific conceptualization of the artist's status and interpretation of creativity as dreaming. The task of the re-search is to study the implementation of this

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Bashory, Kharisma Adi. "Mitos Bawang sebagai Ide Penciptaan Seni Lukis." INVENSI 9, no. 2 (2024): 265–75. https://doi.org/10.24821/invensi.v9i2.11109.

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Penelitian artistik ini dilakukan sebagai upaya untuk memberi pandangan baru terhadap mitos karena sering kali mitos hanya dianggap pesan oral tuturan yang sulit dipahami dan begitu abstrak. Teori Roland Barthes digunakan untuk mencari sebuah makna denotasi dari beberapa pesan mitos yang berkembang, khususnya pada mitos tumbuhan bawang. Tujuan penelitian penciptaan seni ini adalah menciptakan karya seni yang mempunyai cara pandang positif terhadap mitos tumbuhan bawang guna memantik wacana pentingnya merawat pikiran dan menjaga kesehatan. Metode penelitian artistik ini adalah practice-based re

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Linnichenko, S. I. "Language Representation of Myth-making as a Method of Artistic Cognition (Based on the British Postmodern Poetry)." NSU Vestnik. Series: Linguistics and Intercultural Communication 22, no. 4 (2025): 35–48. https://doi.org/10.25205/1818-7935-2024-22-4-35-48.

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The article is devoted to the issue of myth-making in postmodern literature. A new mythology is regarded as a philosophical and literary phenomenon, and is also analyzed from the point of view of cognitive linguistics. The main sources of mythology and trends in myth-making in modern fiction are also defined. The purpose of the study is to identify linguistic ways of representing myth-making as an innovative cognitive practice of British postmodern poets. Modern myth-making is a complex philosophical phenomenon that becomes a source of pseudo-reality and at the same time constantly refers to o

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Kozakowska-Zaucha, Urszula. "Jacek Malczewski’s picturesque story." Trimarium 1, no. 1 (2023): 360–71. http://dx.doi.org/10.55159/tri.2023.0101.15.

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Jacek Malczewski was a painter who, in his monumental artistic output, left works revolving around the problems of homeland, freedom and lost identity, life and death, spanning between romantic visions and metaphysics. He was inspired by the art of antiquity, Polish Romanticism, but also tapped into folklore, complicating the meaning of his paintings with symbolism that was not always easy to understand. It was a multi-layered oeuvre, a testament to his great erudition, but also to the imagination and sensitivity of a refined humanist. In his paintings, he also asked about the essence of being

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Rakhmanov, Bakhodir Mamajanovich. "The Genres Of Myth, Legend And Narration’s Historical Destiny." American Journal of Social Science and Education Innovations 02, no. 11 (2020): 301–8. http://dx.doi.org/10.37547/tajssei/volume02issue11-51.

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The article analyzes the current state and functional features of the genres of myth, legend and narrative in post folklore. Small genres of folk oral epic creation, such as myths, legends, and narratives, serve the function of providing artistic information to the listener. They do not have a special artistic form. In addition, these genres have a broad mass performance character and do not have special performers. Because myths, legends, and narratives are dominated by exaggerated fiction, exaggerated interpretation, real reality does not fit their imaginative capabilities.

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Mevorah, Vera, Jelena Guga, and Cedomir Markov. "Divine genius, subversive hero, or creative entrepreneur? Exploring various facets of the artist as a mythical figure." Bulletin de l'Institut etnographique 71, no. 1 (2023): 99–121. http://dx.doi.org/10.2298/gei2301099m.

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People have always related art to the creation and transmission of myths. While myth as a theme in art has been thoroughly addressed, research about the ?mythic? nature of the artist figure is far less common. The 20th and 21st centuries brought challenges to the status of art and artists in society, historically situated archetypes and stereotypes that we associate with the figure of the ?artist? still survive to this day (e.g. ?genius?, ?subversive artists?, ?child prodigy?, ?eccentric?, etc.). In this paper, we set out to analyze various tropes used persistently to describe artists and expl

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Radko, Elena V. "Mythopoetic Strategies in T. Tolstaya’s New Prose Tetralogy." Izvestia of the Ural federal university. Series 2. Humanities and Arts 27, no. 1 (2025): 72–90. https://doi.org/10.15826/izv2.2025.27.1.005.

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This paper analyses mythopoetic strategies in Tatyana Tolstaya’s artistic world with reference to four collections (Light Worlds (2014), Invisible Maiden (2015), Girl in Bloom (2015), Felt Age (2015)), which make up the tetralogy of the writer’s new prose. The author reveals the features and main mythopoetic strategies in the artistic world of T. Tolstaya. More particularly, the article analyses the appeal to mythological structures, the play with different types of myths, the use of mythologems and various kinds of mythological images, the inclusion of mythological plots, and the creation of

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Arazmedovich, Keruenov Turganbay. "THE USE OF ANTHROPOLOGICAL MYTHS IN THE WORKS OF MAKTUMKULI AND BERDAKH." ANGLISTICUM. Journal of the Association-Institute for English Language and American Studies 12, no. 2 (2023): 36. http://dx.doi.org/10.58885/ijllis.v12i2.36.ka.

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<p>This article discusses the synthesis of folklore and written literature, the use of anthropological myths in written literature and the issues of their artistic function in poetic works on the example of Maktymkuly and Berdak's education and the use of anthropological myths in poetry.</p><p><strong>Keywords</strong>: myth, written literature, folklore, fiction, classical literature, plot, image.</p>

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Sevelsted, Rasmus. "Myth and Truth in Republic 2-3." PLATO JOURNAL 22 (October 25, 2021): 115–31. http://dx.doi.org/10.14195/2183-4105_22_9.

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This paper argues that myth in Kallipolis is used to communicate philosophical truths, rather than distribute politically motivated falsehoods. It first considers the function of myth in the ideal artistic culture of Kallipolis (I), and the philosophical theology that informs it (II). On this basis, it is argued that the discussion of medicinal falsehoods at 382a-d is more focused on the truth-content of myth than usually assumed (III). The latter part of the paper (IV and V) explores the connection between this new understanding of myth in books 2-3 and the philosophical myths in the central

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Hoving, Kirsten. "Joseph Cornell’s Cosmos: An Artist’s Modern Interpretations of Astronomical Myths." Culture and Cosmos 24, no. 0102 (2020): 57–68. http://dx.doi.org/10.46472/cc.1224.0211.

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The American artist Joseph Cornell (1903–1972) devoted his career to making collages and box constructions touching on a dizzying assortment of personal interests, reflected in an eclectic array of materials. Among his wide ranging obsessions was the history of astronomy, especially myths of the constellations. Throughout his career, these stories provided the foundation for works that allude to modern advances in science, his own personal traumas, and popular culture. For instance, he employed the story of Andromeda to explore to new theories about the size and age of the universe; he labored

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Hassan, Zena D. Mohammed, and Dheyaa K. Nayel. "The Evolution of Female Characters From Antiquity to Modernity: An Examination of Marinna Carr's and Carol Lashof's Adaptations of Classical Mythology." Journal of Language Teaching and Research 15, no. 2 (2024): 374–82. http://dx.doi.org/10.17507/jltr.1502.06.

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Literature relies heavily on mythology. Myths are stories of deities, monsters or immortals which are transformed from one generation to the other. In addition to documenting the religious and cultural experiences of a specific community, myths also outline the consequent literary, artistic and dramatic customs. Some Greek myths have survived for thousands of years because they accurately depict historical events, cultural values, and trends. Among the most famous classical myths are the myths of Medusa and Medea. As for the myth of Medusa, the earliest known record was found in Theogony (700B

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Legret, Mathilde. "The Vocational Regime in Art: On Myths and Performativity." Journal of Extreme Anthropology 1, no. 2 (2017): 41–47. http://dx.doi.org/10.5617/jea.4886.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay analyzes the development and mythology behind the notion of 'vocation' within the art world, while using the case of the Viennese artist Ursula Hübner. It argues that it is not only art institutions and the society, but also artists themselves who are complicit in the reproduction and valorization of

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ABDURAKHMONOV, Ibrakhim R. "INTERPRETATION OF MYTHOLOGICAL TOPICS IN THE FINE ART OF THE XX CENTURY." Art and Design: Social Science 02, no. 02 (2022): 1–4. http://dx.doi.org/10.37547/ssa-v2-i2-01.

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This article provides a comprehensive and systematic study of the evolution of the interpretation of mythological themes in the fine arts of Uzbekistan in the XX century, the dynamics of development of works on the theme in the works of artists in terms of the relationship of socio-political ideology to our artistic culture. New interpretations of myths, epics and folklore in modern painting over the past hundred years, the originality of works based on the creative thinking of artists, the dynamics of development, the influence of new and old artistic traditions on the development of art are

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Oleksin, Danylo. "MYTHO-LOGIC IN NON-CLASSICAL HUMANITIES REFLECTIONS ON MYTH: METHODOLOGICAL ASPECT." UKRAINIAN CULTURAL STUDIES, no. 2 (13) (2023): 36–42. http://dx.doi.org/10.17721/ucs.2023.2(13).07.

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Over the past century, a lot of conceptual reflections on myth have been accumulated; however, there has been no attempt to systematically objectify and catalog such investigations. The relevance of research can be divided into two loci: the general and the particular. The general relevance is based on the high level of entwinement of myth and its motifs within contemporary culture; the particular aspect is due to the need to objectify the 20th-century theories of myth and to define their general method (1), and to enrich cultural discourse with new works in the field of myth philosophy (2). T

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Fonari, Victoria. "Fragmentation and the Tendency to Hybridize the Myth in The Artistic Literature." Acta Marisiensis. Philologia 4, no. 1 (2022): 1–8. http://dx.doi.org/10.2478/amph-2022-0066.

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Abstract The phenomenon of globalization becomes a component of the artistic literature. Writers felt the need to create their own universe based on recognizable symbols. This launch from inside an asteroid of ancient myth offers opportunities to climb Mount Olympus in his personal dissection. Thus, the authors are tempted to extract from myths fragments in which they can mirror their reality. The fragment holds in the work the part of the whole, similar to a starfish that reconstructs its body after a fragment. In the same way, the writer of our century creates his hybrid from the myth he cut

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Bordenave, Ana. "Le recours au mythe pour un dépassement des représentations de genre. Mystère I : Hermaphrodite endormi/e (1982) de Klonaris et Thomadaki." Caietele Echinox 42 (June 30, 2022): 231–42. http://dx.doi.org/10.24193/cechinox.2022.42.16.

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"Maria Klonaris and Katerina Thomadaki are Greek artists and art theorists, who make experimental film and multimedia art. With this article, I analyse the reinvestment of the mythical figure of Hermaphrodite, use to move beyond the binary of gender representation in the art installation Mystère I: Hermaphrodite endormi/e, created in 1982. With this study, I try to question the link between the mythical image, the artist’s images, and the social image of androgyny, and their impact on the choices of the artists."

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Ismailova, Gulbarchyn. "SOME PROBLEMS OF KYRGYZ TERMINOLOGY AND WAYS OF INTERPRETATION." Alatoo Academic Studies 2021, no. 4 (2021): 129–35. http://dx.doi.org/10.17015/aas.2021.214.15.

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The scientific article analyzes the genetic relationship between myth and fiction. The myth has always, to one degree or another, claimed the universality of the explanation of the world. Myth and verbal art, myth and artistic creation are genetic, for myth represents the fundamental principle of the spiritual culture of mankind. In ancient times, mythology was the main and main form of world perception and therefore possessed universalism and ideological syncretism. Due to the specifics of its genesis, the myth was not only a form of social consciousness, but also a kind of narrative model, t

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Villiers, Celia De. "Contemporary Performance Art as a Hermeneutic Pathway to Transcendence and Healing." Art&Sensorium 1, no. 01 (2014): 117–35. http://dx.doi.org/10.33871/23580437.2014.1.01.117-135.

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The Romanian historian and philosopher Mircea Eliade suggested that the medicine man or shaman is a sick man who has managed to cure himself. Maintaining a so called "˜balanced' identity has become the constant feature of our ever-changing contemporary environment. Some contemporary socio-political events, and technological advances have given rise to traumatic emotional feelings of "˜thrown-ness' and being in situations beyond one's control. By appropriating and traversing traditional boundaries between contemporary performance art, ancient rites, shamanic action and myths the contemporary pe

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Ljøgodt, Knut. "‘Northern Gods in Marble’: the Romantic Rediscovery of Norse Mythology." Romantik: Journal for the Study of Romanticisms 1, no. 1 (2012): 141. http://dx.doi.org/10.7146/rom.v1i1.15854.

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The Norse myths were rediscovered in the late 18th century, and became important to contemporary culture during the first half of the 19th century. The Romantics discussed the usage of themes from Norse mythology; soon, these themes became widespread in art and literature. Their popularity is closely connected with the national ideals and political situations of the period, but they were often given individual artistic interpretations. The Romantic interest in Norse myths and heroes held sway over artists and writers throughout the 19th century.

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Aroshidze, Marine, and Nino Aroshidze. "The great social experiment: when dreams did not turn into reality." Balkanistic Forum 30, no. 3 (2021): 314–28. http://dx.doi.org/10.37708/bf.swu.v30i3.18.

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The great social experiment in building socialism, which was supposed to develop into communism, was based on a number of attractive political myths, for the creation of which a special symbolic universe was created, a wide range of various sign systems were involved, among which language played the most important role: as a means of creating a political myth and the means of its constant feeding (the myth-making function of the language). This allowed (in conjunction with other means of subjugating the totalitarian state) for a long period to manipulate the consciousness of the masses, educat

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Bulas, Ryszarda. "Wysokie krzyże irlandzkie i ich związki z mitologią (VIII-XII wiek)." Vox Patrum 44 (March 30, 2003): 143–54. http://dx.doi.org/10.31743/vp.8072.

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The Celtic Crosses are an original phenomenon that unites in itself spiritual traditions of the East and artistic heritage of the West. The original basic shape of the idea is Indo-Iranian and it was close to Celtic mentality. Old myths were translated into a symbolic language of art. The particular feature of the Celtic Cross is the co-existence of Nature and Bible, Myth and Christology.

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Davidko, Natalya. "Greek Myths in Elizabethan Literature and Art: A Conceptual Theory Study." Athens Journal of Philology 12, no. 2 (2025): 129–62. https://doi.org/10.30958/ajp.12-2-3.

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Ancient Greek myths played a crucial role in the Renaissance culture taking on new meanings in textual and visual art. This article assesses the role of Greek mythology in the Elizabethan period in two particular aspects: 1) the plot forming significance of fabled Greek tales and 2) their capacity to constitute a given situation within the framework of a broader myth. Antique stories were used by Elizabethan poets, dramatists, and artists as a cognitive base, a point of departure for their works setting a general direction with a clear-cut conceptual structure. The archetypal myth was then mod

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Friedrich, Michał. "„The bloodiest flower”. Myth of Medea According to Pier Paolo Pasolini." Tekstualia 1, no. 60 (2020): 83–92. http://dx.doi.org/10.5604/01.3001.0014.1364.

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The article discusses Pier Paolo Pasolini’s reinterpretation of the myth of Medea in his 1969 fi lm by placing it in a range of artistic contexts, primarily painting. It fi rst recounts the history of mythological sorceress from ancient Kolchida, known from Greek myths and Eurypides’s play. A number of artistic works dedicated to Medea are referred to, including Seneca’s tragedy, Lars von Trier’s movie, Christa Wolf’s novel, Victor Mottez’s and Thomas Satterwhite Noble’s paintings. The methodological framework is based on the work of critics such as Alicja Helman, Kinga Anna Gajda, Piotr Kleto

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Schipper, Mineke. "Creation Myths and the Visual Arts: An Ongoing Dialogue between Word and Image." Religion and the Arts 13, no. 4 (2009): 410–18. http://dx.doi.org/10.1163/107992609x12524941449840.

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AbstractEven though in most arts faculties the verbal and the material arts are usually studied separately, they are closely connected in mutually clarifying ways. The various contributions to this issue demonstrate convincingly how relevant it is to study verbal and visual artistic expressions of creation myths in combination. In practical terms, the first step is to describe the connections and functions of the specific material and verbal genres concerned. African oral myths about the origin of black and white people and wooden sculptures referred to as colons are a case in point. The funct

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Scarsbrook, Sarah. "Artists Shaping Policies Through Higher Art Education. How Visual Artists Develop Policies that Affect their Lives, Practices, and Careers." Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik 8, no. 2 (2022): 175–92. http://dx.doi.org/10.14361/zkmm-2022-080209.

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Abstract This paper centralises visual artists in policymaking processes. It foregrounds the ways artists influence and determine the policies that affect their lives, practices, and careers through their higher art education in London (UK) art schools between 1986-2016. The uninvited and indirect processes by which artists are shaping policies using their education is captured through artsbased/informed methods developed for listening, analysing, and interpreting alongside grounded theory methodology. The practitionerled approach is key to noticing and raising the subtle agitations in the act

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Scarsbrook, Sarah. "Artists Shaping Policies Through Higher Art Education. How Visual Artists Develop Policies that Affect their Lives, Practices, and Careers." Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik 8, no. 2 (2022): 175–92. http://dx.doi.org/10.14361/zkmm-2022-0208.

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Abstract This paper centralises visual artists in policymaking processes. It foregrounds the ways artists influence and determine the policies that affect their lives, practices, and careers through their higher art education in London (UK) art schools between 1986-2016. The uninvited and indirect processes by which artists are shaping policies using their education is captured through artsbased/informed methods developed for listening, analysing, and interpreting alongside grounded theory methodology. The practitionerled approach is key to noticing and raising the subtle agitations in the act

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V, Valarmathi. "Art myths in the epic." International Research Journal of Tamil 3, no. 1 (2021): 158–65. http://dx.doi.org/10.34256/irjt21117.

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Art is essentially the one which fantasizes by its aesthetics and provides pleasure through a newer perspective. Nature is the basis for any artistic creation and a creative artist composes literature based on his perseverance love for nature and intellectual vigor. The artist intensely feels that everyone should enjoy what he has enjoyed and this is the uniqueness of art. Myth is the originator of all the arts which came later and myth is employed as the interior focal matter around which the story of an epic nature revolves. We come to know that the ancient Tamilians knew the art of integrat

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Slon'ovska, Olha. "Yevhen Malaniuk as a founder of the Ukrainian literary myth of the XX century." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 85–91. http://dx.doi.org/10.34079/2226-3055-2020-13-22-85-91.

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Myths are regarded as the metaphysical engines of the national progress, a specific code-program for the state development, as a vector of the individual mission of an individual nation. In general, the ideological and political myths of national states are metaphorically derived primarily from their national anthems. The anthem is a kind of vaccine against assimilation and is effectively delivered to educate the younger generation in the spirit of civic consciousness. Decadent (frustration) myths destroy the national idea, vitaistic and consolidating myths inspire, compact and unite any natio

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Oruzbaeva, Gulnara T. "The historical aspects of the formation of material culture among the ancient Kyrgyz." Acta Baltica Historiae et Philosophiae Scientiarum 13, no. 1 (2025): 108–16. https://doi.org/10.11590/abhps.2025.1.05.

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The thousand-year historical path traversed by the ancient Kyrgyz people alongside other tribes has embedded a sense of leadership in their unique culture, the origins of which go back to myth-making practices. Myths not only provided an explanation of the origin of the world and its image, but the reinterpretation and artistic processing of the original, vague and unclear images of myths also led to the emergence of art, which was an expression of the ideological, aesthetic and mythical foundations of the worldview. The technological skills of the ancient Kyrgyz also developed under the recom

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Gerschultz, Jessica. "Mutable Form and Materiality: Toward a Critical History of New Tapestry Networks." ARTMargins 5, no. 1 (2016): 3–29. http://dx.doi.org/10.1162/artm_a_00130.

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This article raises two concerns underpinning the need for a critical history of fiber art in the 20th century. The first is a critique of aesthetic formalism predominant in the Lausanne Biennale during the 1960s and 70s, which overlooks artistic, ideological, and political milieus that drew together textile artists from localities formerly treated as peripheral in art history. The second holds to account Euro-American institutions and related historiographies for their curatorial exclusion of Arab and African fiber artists. Such inclusion, I argue, would have conjured tapestry's deeper incong

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Altanova, A. "MYTHS IN THE POETIC WORLD OF LINA KOSTENKO: PROJECTIONS OF THE AESTHETIC IDEAL." Mìžnarodnij fìlologìčnij časopis 14, no. 1 (2023): 61–72. http://dx.doi.org/10.31548/philolog14(1).2023.07.

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The article analyzes the intertextual connections of Lina Kostenko's work (in particular, her novels "Marusya Churai" and "Notes of the Ukrainian samashedshego", as well as individual poems) with world myths - ancient, biblical and literary. Such intertextuality gives rise to an artistic world where the individual and the collective, the human and the divine, the everyday-practical and the unspeakable-unexplainable, the national-historical and the eternal, the material and the spiritual, the rational and the irrational, interact. Allusive echoes of the texts of the Ukrainian poetess with the a

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Hannigan, Tim. "Beyond control: Orientalist tensions and the history of the “upas tree” myth." Journal of Commonwealth Literature 55, no. 2 (2018): 173–89. http://dx.doi.org/10.1177/0021989418754345.

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The “upas tree” is one of the most enduring European myths about Southeast Asia. Accounts of a tree so toxic that it renders the surrounding atmosphere deadly can first be identified in fourteenth-century journey narratives covering what is now Indonesia. But while most other such apocrypha vanished from later European accounts of the region, the upas myth remained prominent and in fact became progressively more elaborate and fantastical, culminating in a notorious hoax: the 1783 account of J. N. Foersch. This article examines the history of the development of the upas myth, and considers the

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Vasiljeva, Ekaterina V. "METHODS AND TECHNIQUES OF MYTHOLOGIZATION IN S. RUSHDIE’S NOVEL ‘THE GROUND BENEATH HER FEET’." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 73–82. http://dx.doi.org/10.17072/2073-6681-2021-1-73-82.

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The study is devoted to the analysis of methods and techniques of mythologization in the novel The Ground Beneath Her Feet written by the British author of Indian origin S. Rushdie. The paper explores the narrative organization of the novel, in which images and motifs of ancient mythology are used as a special code for artistic interpretation of European culture of the second half of the 20th century. The article examines the artistic reality of the novel, which combines the modern history of rock culture and classical mythology of Ancient Greece. S. Rushdie addresses problems related to the n

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Paek, Mihyun. "Exploring Generational Theory in Artists' Perception of Occupational Identity and Art Labor: for the second generation around the age of 40." Korean Society of Culture and Convergence 45, no. 3 (2023): 305–24. http://dx.doi.org/10.33645/cnc.2023.03.45.03.305.

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The purpose of this study is to explore the generational theory of artists' job identity and perception of artistic labor, and 16 artists around the age of 40 (30-59) were interviewed in-depth to interpret their perceptions. As a result of the study, no clear generational theory was confirmed around the age of 40. The same perception without generational differences is first, most of the participants consider the artist job to be an “incomplete” job that cannot be compensated for their livelihood, and hope to become a “full-time Artist” before they die. Second, they pursue the spirit of “spiri

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